Q: What is Charlie's dilemma at the beginning of the story?
Text: <b>                                   MEAN STREETS
</b>                         
                         
                         
                         
                                   Written by
                         
                Martin Scorsese, Mardik Martin & Ethan Edwards

                         
                         
                         
                         
           Ah, get born, keep warm
           Short pants, romance, learn to dance
           Get dressed, get blessed
           Try to be a success
           Please her, please him, buy gifts
           Don't steal, don't lift
           Twenty years of schoolin'
           And they put you on the day shift
                         
<b>                          BOB DYLAN
</b>           Subterranean Homesick Blues
                         
<b>          (SUPERED OVER BOTTOM OF SCREEN LIKE A TV NEWS BULLETIN)
</b>                         
<b>          (THE FILM IS IN COLOR UNLESS OTHERWISE NOTED.)
</b>                         
          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.
                         
<b>                          ANNOUNCERS VOICE
</b>           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.
                         
<b>                          ANNOUNCERS VOICE
</b>           Watch closely, at the moment of
           death.
                         
          The small orange fire fades away.
                         
<b>                         COLOR
</b>          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.
                         
<b>          INT. BEDROOM - NIGHT
</b>                         
          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.
<b>                         
</b><b>           2.
</b>                         
                         
          He returns to bed and as his head hits the pillow, we hear
          the RONETTES singing "BE MY BABY."
                         
<b>                          CUT TO:
</b>                         
          An 8-mm. projector whirring away.
                         
<b>          INT. PARTY - HOME MOVIES - DAY
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. BATHROOM IN A NEIGHBORHOOD BAR
</b>                         
          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.
                         
<b>                          TONY
</b>           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.
                         
<b>                          TONY
</b>           Not in my fuckin' place... get
           out... get out!
                         
<b>          INT. BAR AREA
</b>                         
          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.
<b>                         
</b><b>           3.
</b>                         
                         
          TONY pushes him out the front door.
                         
<b>                          TONY
</b>           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.
                         
<b>                          TONY
</b>           And you scumbag...what did I tell
           you 'bout passin' that shit in my
<b>                          PLACE
</b><b>                          (HITS AGAIN)
</b>           ...huh?
                         
<b>                          BOY
</b>           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
                         
<b>          EXT. WEST SIDE DOCKS - LATE AFTERNOON
</b>                         
          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.
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          MAN
</b>           What's this? More shit...?
                         
<b>                          MICHAEL
</b>           Naw...that ain't shit...that's a
           German lens.
                         
          The MAN looks at it carefully.
<b>                         
</b><b>           4.
</b>                         
                         
<b>                          MICHAEL
</b>           A good buy...good two shipments of
           them.
                         
<b>                          MAN
</b>           Can't use it...
                         
<b>                          MICHAEL
</b>           Why...? That's a telescopic one...
           it's good.
                         
<b>                          MAN
</b>           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.
<b>                          (HE LAUGHS)
</b>                         
                         
          MAN hands adaptor back to MICHAEL.
                         
<b>                          MICHAEL
</b><b>                          (DISAPPOINTED)
</b>           A Jap adaptor?
                         
          TITLE APPEARS on bottom of screen: MICHAEL.
                         
<b>          EXT. STREET - DAY
</b>                         
          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:
<b>          JOHNNY BOY.
</b><b>                         
</b><b>           5.
</b>                         
                         
          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.
                         
<b>          INT. CHURCH
</b>                         
          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.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           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'...
                         
<b>          THE CAMERA BEGINS TO TRUCK OUT. IT MOVES AROUND CHARLIE AND
</b><b>          AWAY FROM THE HOLY CANDLES REVEALING CHARLIE'S PROFILE.
</b>                         
<b>                          CHARLIE
</b><b>                          (CONTINUED)
</b>           ...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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUING)
</b>           ...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.
                         
<b>          INT. TONY'S PLACE - NIGHT
</b>                         
          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.
<b>                         
</b><b>           6.
</b>                         
                         
          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.
                         
<b>                          DISSOLVE TO:
</b>                         
          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.
                         
<b>                          GEORGE
</b>           It's ten o'clock and they're like
           this. And they're just starting?
                         
          TONY smiles.
                         
<b>                          GEORGE
</b><b>                          (CONTINUING)
</b>           Smile...What are you smiling at?
           This is a business night.
                         
<b>                          TONY
</b><b>                          (INTERRUPTING)
</b>           George...did I ever tell you the
           story about the three chickens?
                         
<b>                          GEORGE
</b><b>                          (GENUINELY)
</b>           No...
                         
<b>                          TONY
</b>           Too bad.
                         
<b>                          DISSOLVE TO:
</b>                         
          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.
<b>                         
</b><b>           7.
</b>                         
                         
          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.
                         
<b>                          DISSOLVE TO:
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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
<b>                          EMPTY GLASS)
</b>                         
                         
          Suddenly MICHAEL appears and sits down at CHARLIE's table.
          He hands CHARLIE two cartons of cigarettes.
                         
<b>                          CHARLIE
</b>           Oh great...hey - Winstons?
                         
<b>                          MICHAEL
</b>           For these prices don't be particular.
           That's all they had - but next week
           we'll see...
                         
          CHARLIE gives him the money.
                         
<b>                          CHARLIE
</b>           OK, ok...
                         
<b>                          MICHAEL
</b>           Sell 'em if you can't smoke them.
<b>                         
</b><b>           8.
</b>                         
                         
<b>                          CHARLIE
</b>           No...I'll be ok for a week.
                         
<b>                          MICHAEL
</b>           You seen Johnny Boy tonight?
                         
<b>                          CHARLIE
</b><b>                          (DISINTERESTED)
</b>           Nope...
                         
<b>                          MICHAEL
</b>           Isn't he supposed to be here
           tonight...I mean...
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          MICHAEL
</b>           I'd like to know Charlie, it looks
           like your little friend is trying
           to duck me...
                         
          CHARLIE remains silent.
                         
<b>                          MICHAEL
</b><b>                          (CONTINUING)
</b>           ...Charlie, don't you think you
           should be interested in Johnny's
           payments to me? I think you should
           be, you know that.
                         
<b>                          CHARLIE
</b><b>                          (QUIETLY)
</b>           Michael, nobody's out to screw you,
           I guarrantee that.
                         
<b>                          MICHAEL
</b>           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?
                         
<b>                          CHARLIE
</b><b>                          (PATRONIZING)
</b>           You're right. You're right. Look,
           I'm not gonna wind up paying his
           debts. You know that.
<b>                         
</b><b>           9.
</b>                         
                         
<b>                          MICHAEL
</b>           I don't know that. That's what I'm
           telling you.
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          MICHAEL
</b><b>                          (SATISFIED)
</b><b>           OK.
</b>                         
<b>                          DISSOLVE TO:
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           Drinks for everybody Tony...
                         
<b>                          CHARLIE
</b><b>                          (INTERRUPTING)
</b>           Giovanino! Where have you been?
<b>                         
</b><b>           10.
</b>                         
                         
<b>                          JOHNNY BOY
</b><b>                          (CONTINUING)
</b>           and a double for you and Charlie
           here.
           (quietly to TONY)
           And put it on my tab, willya?
                         
<b>                          TONY
</b>           Which one, the big tab or the
           little tab?
                         
<b>                          JOHNNY BOY
</b>           Put it on the little tab so that it
           balances with the big one.
                         
<b>                          TONY
</b><b>                          (SARCASTICALLY)
</b>           Yeah, so things'll be even.
                         
          CHARLIE and JOHNNY BOY grimace. MICHAEL appears.
                         
<b>                          MICHAEL
</b>           How about me? I don't get a drink
           John?
                         
<b>                          JOHNNY BOY
</b><b>                          (FEIGNING SURPRISE)
</b>           Of course! A double for Michael,
           Tony.
                         
          TONY mumbles.
                         
          JOHNNY BOY interrupts MICHAEL who is about to speak.
                         
<b>                          JOHNNY BOY
</b><b>                          (CONTINUING)
</b>           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.
                         
<b>                          MICHAEL
</b>           You what?
                         
          The drinks arrive. They all smile and salute each other
          with their drinks.
                         
<b>                          CHARLIE
</b><b>                          (SALUTING)
</b>           The queen!
<b>                         
</b><b>           11.
</b>                         
                         
<b>                          ALL
</b><b>                          (DRINKING)
</b>           The queen!
                         
<b>                          CUT TO:
</b>                         
          CHARLIE and JOHNNY BOY are sitting alone at a table.
                         
<b>                          CHARLIE
</b>           (refering to JOHNNY
<b>                          BOY'S FACE)
</b>           What happened to you Flash?
                         
<b>                          JOHNNY BOY
</b>           Charlie, I swear on my mother,
           you're not going to believe this.
                         
<b>                          CHARLIE
</b>           I know but let's hear it anyway.
                         
<b>                          JOHNNY BOY
</b>           I swear to God Charlie, it's the
           truth.
                         
<b>                          CUT TO:
</b>                         
<b>                         FLASHBACK
</b>                         
<b>          EXT. STREET - LATE AFTERNOON
</b>                         
          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.)
                         
<b>                          SAL
</b>           Hey Johnny, where're you goin'?
                         
<b>                          JOHNNY BOY
</b>           Sal!... fourteen street.
                         
<b>                          SAL
</b>           Come on.
                         
<b>          INT. INSIDE CAR - LATE AFTERNOON
</b>                         
<b>                          JOHNNY BOY
</b>           This is some boat. Your father's?
                         
<b>                          SAL
</b>           Yeah...just had it delivered...
<b>                         
</b><b>           12.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           Hey... you got stereo.
                         
<b>                          SAL
</b>           Yeah, I think so.
                         
          As JOHNNY BOY admires the gadgets in the car he notices that
          SAL is becoming very nervous.
                         
<b>                          JOHNNY BOY
</b>           You got a speaker back there?
                         
          He turns to look for the speaker and sees a police car not
          far behind.
                         
<b>                          JOHNNY BOY
</b><b>                          (CONTINUING)
</b>           Ah...there's a funny lookin' cab
           behind us.
                         
<b>                          SAL
</b><b>                          (NERVOUSLY)
</b>           I know...I know.
                         
<b>                          JOHNNY BOY
</b>           What'sa matter...forget your
           registration?
                         
<b>                          SAL
</b>           No...no. Nooo...it's just that
           I...I...uh... this ain't my car.
                         
<b>                          JOHNNY BOY
</b>           Yeah, it's your father's.
                         
<b>                          SAL
</b>           Well...no.
                         
<b>                          JOHNNY BOY
</b>           You mean it's heisted.
                         
<b>                          SAL
</b>           You could say that.
                         
<b>                          JOHNNY BOY
</b>           (announcing it loudly)
           This is a heisted car!
                         
          SAL smiles sheepishly. JOHNNY BOY panics.
                         
<b>          EXT. STREET - LATE AFTERNOON
</b>                         
          The police switch on their flashing red light and try to get
          closer to them but the traffic is too heavy.
<b>                         
</b><b>           13.
</b>                         
                         
          SAL manages to turn the next corner at about twenty miles
          per hour.
                         
<b>          INT. INSIDE CAR - LATE AFTERNOON
</b>                         
          JOHNNY BOY frightened now, underestimates the speed of the
          car and quickly opens the door.
                         
<b>          EXT. STREET - LATE AFTERNOON
</b>                         
          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.
                         
<b>                         END FLASHBACK
</b>                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE - NIGHT
</b>                         
          TONY has now joined the group sitting at the table...
          CHARLIE and TONY nod in disbelief.
                         
<b>                          JOHNNY BOY
</b>           It's the truth, I swear.
                         
<b>                          CHARLIE
</b>           All right, forget it. Tony, you
           got anything we can put on his face?
                         
<b>                          TONY
</b>           Yeah, in the back.
                         
          They all get up.
                         
<b>                          TONY
</b><b>                          (CONTINUING)
</b>           C'mon, I got something to show you
           anyway.
                         
<b>          INT. TONY'S PLACE - BACK HALL - NIGHT
</b>                         
          They push their way through the crowd and enter a narrow
          dimly lit hallway on both sides.
                         
<b>          INT. BACK ROOM - TONY'S PLACE - NIGHT
</b>                         
          A boy and girl are necking on a make-shift couch in the
          darkened room.
<b>                         
</b><b>           14.
</b>                         
                         
<b>                          GIRL
</b><b>                          (WHISPERING)
</b>           Jimmy, I tell you there's something
           in this room.
                         
<b>                          JIMMY
</b><b>                          (MURMURS)
</b>           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.
                         
<b>                          TONY
</b>           Excuse us Jimmy, we'll only be a
           moment.
                         
<b>                          TONY
</b>           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.
                         
<b>                          GIRL
</b>           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.
                         
<b>                          TONY
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
<b>                         
</b><b>           15.
</b>                         
                         
<b>                          TONY
</b><b>                          (ENTERING CAGE)
</b>           Really wanted to get a little tiger
           Charlie, y'know...a little William
           Blake and all that...
                         
<b>                          CHARLIE
</b>           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.
                         
<b>          INT. TONY'S PLACE - CORNER TABLE - NIGHT
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUES)
</b>           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.
<b>                         
</b><b>           16.
</b>                         
                         
<b>                          CHARLIE
</b>           See what I mean?
<b>                          (PAUSE)
</b>           A question please...'Is this what
           you call living?'
                         
<b>                          TONY
</b><b>                          (WEARILY)
</b>           'Take a little tip from Mack the
           Knife...'
                         
<b>                          JOHNNY BOY
</b><b>                          (INTERRUPTS)
</b>           Tony, break down and open another
           bottle willya'?
                         
          A well dressed young boy enters the club. GEORGE, the
          bouncer, approaches him.
                         
<b>                          GEORGE
</b>           We're closed.
                         
<b>                          BOY
</b>           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.
                         
<b>                          DRUNK
</b><b>                          (MUTTERS)
</b>           I...I gotta go to the bathroom.
                         
          EVERYONE laughs.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           (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.
<b>                         
</b><b>           17.
</b>                         
                         
<b>                          CHARLIE
</b><b>                          (CONTINUING)
</b>           And I wouldn't call it TONY'S PLACE
           or CHARLIE'S PLACE...
<b>                          (MORE CONFIDENTIALLY)
</b>           I'd call it something like SEASON
           OF THE WITCH... get it?
                         
<b>                          TONY
</b><b>                          (QUIETLY)
</b>           You are with out a doubt the
           biggest, most pretentious bullshit
           thrower I know. Like to see what
           kind of business you'd do.
                         
<b>                          CHARLIE
</b>           Look who's talking. Pretentious
           bullshit. Who's the guy with
           William Blake and the tigers, eh?
                         
<b>                          JOHNNY BOY
</b>           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?
                         
<b>                          TONY
</b>           We'll close up as soon as everybody
           leaves.
                         
<b>                          CHARLIE
</b>           Don't forget what's-his-name there
           in the bathroom.
                         
          EVERYONE laughs. JIMMY is drawing on a table top. CHARLIE
          wanders over.
                         
<b>                          JIMMY
</b>           Wanna see your picture?
                         
          CHARLIE leans over. OVERHEAD VIEW shows large crude swastika.
                         
<b>                          JIMMY
</b>           Waddaya think?
                         
<b>                          CHARLIE
</b>           Not quite...but keep trying.
                         
          CHARLIE picks up the cards again.
                         
<b>                          CHARLIE
</b>           Let's have a game after we close.
<b>                         
</b><b>           18.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           Nah.
                         
<b>                          CHARLIE
</b>           C'mon Tony, waddaya say?
                         
<b>                          TONY
</b>           No.
                         
<b>                          CHARLIE
</b><b>                          (ADDRESSING THE
</b><b>                          ENTIRE BAR)
</b>           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.
                         
<b>          INT. MENS ROOM - TONY'S PLACE - NIGHT
</b>                         
          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.
                         
<b>          INT. BAR AREA - NIGHT
</b>                         
          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.
                         
<b>          INT. TONY'S PLACE - STAIRWAY EXIT
</b>                         
          The BOY reaches the exit and fires at the DRUNK from the top
          of the stairs. The DRUNK still follows.
                         
<b>          EXT. STREET - NIGHT BLACK & WHITE
</b>                         
          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.
<b>                         
</b><b>           19.
</b>                         
                         
          He staggers straight across the street at tremendous speed
          smashing directly into a parked car.
                         
<b>          EXT. TONY'S PLACE - BACK ENTRANCE - NIGHT BLACK & WHITE
</b>                         
          Everyone (including the two GAYS at the bar) is running out
          the back way.
                         
<b>                          TONY
</b>           Don't run...don't run. Everyone
           split up.
                         
<b>          EXT. STREET - NIGHT BLACK & WHITE
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           Michael, give us a lift.
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          BENTON
</b>           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.
                         
<b>                          MICHAEL
</b>           Get in, get in.
                         
<b>          INT. MICHAEL'S CAR - NIGHT BLACK & WHITE
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           Oh Jesus Christ...what's this.
                         
<b>                          BENTON
</b>           Sammy get control of yourself.
<b>                         
</b><b>           20.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           Yes, you're gettin' it all over my
           tie.
                         
<b>                          CHARLIE
</b>           Should I slap him?
                         
<b>                          SAMMY
</b>           (suddenly in control)
           You wouldn't dare.
                         
<b>                          BENTON
</b>           I'm terribly sorry guys...It's just
           that he was terribly frightened.
                         
<b>                          MICHAEL
</b>           Just keep him quiet.
                         
<b>                          JOHNNY BOY
</b>           Friends of yours Michael.
                         
<b>                          MICHAEL
</b>           Shut up.
                         
<b>                          BENTON
</b>           (sensing the hostility)
           Oh...ah...I'm Benton and this is
           Sammy.
                         
<b>                          CHARLIE
</b>           I can't get over the way he just
           kept going at him.
                         
<b>                          JOHNNY BOY
</b>           Must have been all the liquor in him.
                         
<b>                          MICHAEL
</b><b>                          (IN ITALIAN)
</b>           Quiet please.
                         
          He returns to English.
                         
<b>                          MICHAEL
</b>           Where should I drop you Charlie?
                         
<b>                          SAMMY
</b>           (interrupting the conversation)
           Yes Charlie, your place or mine.
                         
<b>                          BENTON
</b>           Sammy.
                         
<b>                          CHARLIE
</b>           Away from the neighborhood.
<b>                         
</b><b>           21.
</b>                         
                         
<b>                          SAMMY
</b>           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.
                         
<b>                          SAMMY
</b><b>                          (CONTINUING)
</b>           Hi beautiful!!! I love you.
                         
          CHARLIE and JOHNNY BOY hide their faces.
                         
<b>                          MICHAEL
</b>           Hey, shut up.
                         
<b>                          CHARLIE
</b>           Get him in.
                         
<b>                          JOHNNY BOY
</b>           What...are you kidding.
                         
<b>                          BENTON
</b>           Sammy, get in here this minute.
                         
<b>                          SAMMY
</b>           I won't...I won't! They're all
           beautiful.
<b>                          (SHOUTING)
</b>           I'll suck them all...I'll suck them
           all!
                         
          CHARLIE and JOHNNY BOY groan. They are still hiding their
          faces.
                         
<b>                          CHARLIE
</b>           Disgraceful.
                         
<b>                          MICHAEL
</b>           Ok...that's it.
                         
          He pulls the car over to the nearest corner.
                         
<b>                          MICHAEL
</b>           Out!!!!
                         
<b>                          CHARLIE
</b>           C'mon Johnny.
                         
<b>                          MICHAEL
</b>           You getting out too?
                         
<b>                          CHARLIE
</b>           Yeah, thanks, it's ok.
<b>                         
</b><b>           22.
</b>                         
                         
<b>          EXT. STREET - NIGHT BLACK & WHITE
</b>                         
          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.
                         
<b>                          SAMMY
</b><b>                          (SHOUTING)
</b>           Going our way?
                         
<b>                          CHARLIE
</b>           (to JOHNNY BOY)
           Don't answer.
                         
          BENTON guides SAMMY the opposite way.
                         
<b>          EXT. NEIGHBORHOOD STREET - DAWN
</b>                         
          CHARLIE and JOHNNY BOY are walking down the street on their
          way home.
                         
<b>                          JOHNNY BOY
</b>           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?
                         
<b>                          CHARLIE
</b>           No, she isn't.
                         
<b>                          CUT TO:
</b>                         
<b>                         FLASHBACK
</b>                         
<b>          INT. CHARLIE'S APARTMENT - DAY
</b>                         
          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.
<b>                         
</b><b>           23.
</b>                         
                         
<b>                          CHARLIE
</b>           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...
<b>                          (PAUSE)
</b>           Yes the place will be here, I'll
           take care of it.
<b>                          (PAUSE)
</b>           Yeah don't worry about me, I'll
           take care of myself.
<b>                          (PAUSE)
</b>                         
                         
          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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUED)
</b>           No...no parties.
<b>                          (PAUSE)
</b>           I'll eat.
<b>                          (PAUSE)
</b>           Mom, look, just don't worry...ok?
                         
<b>                         END FLASHBACK
</b>                         
<b>          INT. CHARLIE'S MOTHER'S BEDROOM - MORNING
</b>                         
          CHARLIE and JOHNNY BOY are lying on CHARLIE'S MOTHER'S bed
          in their underwear.
                         
<b>                          CHARLIE
</b>           You'd better make a move kid. He
           thinks you're trying to screw him.
                         
<b>                          JOHNNY BOY
</b>           Wouldn't bother me.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           Don't worry. I can handle it.
<b>                         
</b><b>           24.
</b>                         
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b><b>                          (LAUGHS)
</b>           There won't be any this week.
                         
<b>                          CHARLIE
</b>           What do you mean?
                         
<b>                          JOHNNY BOY
</b>           Didn't show up.
                         
<b>                          CHARLIE
</b>           You sick or what? You forget what
           we had to do to get you on the
           trucks, stupid?
                         
<b>                          JOHNNY BOY
</b>           I don't like loading crates.
                         
<b>                          CHARLIE
</b>           You're not supposed to like it.
           What gets me is your attitude.
           Listen... tomorrow you show up.
                         
<b>                          JOHNNY BOY
</b>           What about your attitude...Where's
           your job...eh? You talk and talk
           and I go to work...what do you do?
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          JOHNNY BOY
</b>           Ok, ok...take it easy. I'll show.
           Tuesday I'll give Michael something.
           I promise.
                         
<b>                          CHARLIE
</b>           Don't promise...just deliver.
                         
<b>                          JOHNNY BOY
</b>           Ok, now that that's over with...what
           are you gonna make me for breakfast?
<b>                         
</b><b>           25.
</b>                         
                         
<b>                          CHARLIE
</b>           I won't wait until Tuesday. I'll
           break your arms right now.
                         
<b>                          JOHNNY BOY
</b>           (rising from bed)
           Listen...I'm a guest here.
                         
          CHARLIE reaches out to grab him.
                         
<b>                          JOHNNY BOY
</b>           OK...ok...I'm going.
                         
<b>          INT. KITCHEN - CHARLIE'S APARTMENT
</b>                         
          JOHNNY is raiding the icebox.
                         
<b>                          JOHNNY BOY
</b>           Hey...you got nothing here.
                         
<b>                          CHARLIE
</b>           (from the other room)
           I could have told you that.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>          INT. CHARLIE'S MOTHER'S BEDROOM - MORNING
</b>                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b>           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?
<b>                         
</b><b>           26.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>          INT. KITCHEN - DAYBREAK
</b>                         
          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.
                         
<b>          INT. BEDROOM - CHARLIE'S APARTMENT - DAYBREAK
</b>                         
          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.
                         
<b>                          JOHNNY BOY
</b>           (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.
<b>                         
</b><b>           27.
</b>                         
                         
          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.
                         
<b>          INT. TERESA'S BEDROOM
</b>                         
          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.
                         
<b>          INT. HOTEL ROOM - MID-DAY
</b>                         
          CHARLIE and TERESA are in the hotel room making love. The
          sounds of traffic can be heard from the street below.
                         
<b>                          CUT TO:
</b>                         
          They are getting dressed.
                         
<b>                          TERESA
</b>           I'd like to eat something before I
           go back to work.
                         
<b>                          CHARLIE
</b>           Ok, we'll go for lunch.
                         
<b>                          TERESA
</b>           Do you have enough?
                         
          CHARLIE checks his wallet.
                         
<b>                          CHARLIE
</b>           Well...with the hotel that's ten...
           fifteen...
                         
<b>                          TERESA
</b>           Here.
                         
          She hands him a few bills. He hesitates.
                         
<b>                          TERESA
</b>           Please take it.
                         
<b>                          CHARLIE
</b>           Well...
                         
<b>                          TERESA
</b>           I don't mind.
                         
          She puts the money into his hand.
<b>                         
</b><b>           28.
</b>                         
                         
<b>                          CHARLIE
</b>           Sure...it's not that...I mean...
                         
<b>                          TERESA
</b>           (touching his face)
           It's all right.
                         
<b>                          CHARLIE
</b>           Well, if things go the way I hope
           they'll go, this money business
           will take care of itself.
<b>                          (ASIDE)
</b>           God willing.
                         
<b>                          TERESA
</b>           An apartment uptown? Downtown?
                         
<b>                          CHARLIE
</b>           Maybe, who knows.
                         
<b>                          TERESA
</b><b>                          (SEARCHINGLY)
</b>           Charlie...?
                         
<b>                          CHARLIE
</b>           Nobody knows anything, believe me.
                         
          She kisses him gently.
                         
<b>                          CUT TO:
</b>                         
          TERESA is putting on her stockings. A few minutes have
          passed.
                         
<b>                          CHARLIE
</b>           See if you can get your hands on
           some pamphlets on laws or by
           laws...or proprietorship...you
           know...at your place.
                         
<b>                          TERESA
</b>           Anything specific?
                         
<b>                          CHARLIE
</b>           You know...like restaurants, night
           clubs...
                         
<b>                          TERESA
</b><b>                          (AFFECTIONATELY)
</b>           What is it now?
                         
<b>                          CHARLIE
</b>           Don't ask.
<b>                         
</b><b>           29.
</b>                         
                         
          He gives her a quick kiss on the tip of her nose.
                         
<b>                          TERESA
</b>           Alright... Hey, did you hear any
           more about what happened last night?
                         
<b>                          CHARLIE
</b>           Did you?
                         
<b>                          TERESA
</b>           No.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          TERESA
</b>           It doesn't make any sense. He
           wouldn't shoot him just because he
           insulted a racket guy...not unless
           it was personal.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          TERESA
</b>           It's still sick.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          TERESA
</b>           You're sure he doesn't know.
                         
          He takes her in his arms.
                         
<b>                          CHARLIE
</b>           Don't worry.
<b>                         
</b><b>           30.
</b>                         
                         
<b>          INT. HOTEL - BATHROOM - MID-DAY
</b>                         
          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.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUING)
</b>           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.
                         
<b>                          CHARLIE
</b>           ...'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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUED)
</b>           ...I'll cut out. "If Thy eye is an
           occasion of sin to thee...
                         
<b>                          CUT TO:
</b>                         
          Stills of girls, sexy pornographic nude magazine spreads.
<b>                         
</b><b>           31.
</b>                         
                         
<b>                          CHARLIE
</b>           ...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...
                         
<b>                          CUT TO:
</b>                         
          Textbook illustration of vocations.
                         
<b>                          CHARLIE
</b>           ...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...
                         
<b>                          CUT TO:
</b>                         
          CHARLIE in sync.
                         
<b>                          CHARLIE
</b>           ...first last. For many are called
           but few are chosen."
                         
<b>          INT. RESTAURANT - MID-DAY
</b>                         
          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.
                         
<b>                          OSCAR
</b>           (with a slight Jewish accent)
           Hey...you're here. They told me
           you're here...and you're here. How
           are you?
                         
<b>                          CHARLIE
</b>           Ok, how's everything going?
                         
          OSCAR sits down next to CHARLIE.
<b>                         
</b><b>           32.
</b>                         
                         
<b>                          OSCAR
</b>           Don't ask...do you have any idea
           what I've been doing all
           morning...eh?
                         
<b>                          CHARLIE
</b>           No.
                         
<b>                          OSCAR
</b>           I was in the basement fixing the
           pipes. Would you believe that?
                         
<b>                          CHARLIE
</b><b>                          (LAUGHING)
</b>           What pipes?
                         
<b>                          OSCAR
</b><b>                          (MIMICKING)
</b>           What pipes...the ones from last
           year...those pipes.
                         
          CHARLIE shakes his head in sympathy.
                         
<b>                          OSCAR
</b>           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.
                         
<b>                          CHARLIE
</b>           That bad, huh?
                         
<b>                          OSCAR
</b>           I can't make this week's payment
           and if this keeps up not next
           week's either.
                         
<b>                          CHARLIE
</b>           Not next week's either...listen...you
           tell that to Giovanni, not me.
                         
<b>                          OSCAR
</b>           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.
                         
<b>                          CHARLIE
</b>           He'd rather have the loan payed,
           you know that.
<b>                         
</b><b>           33.
</b>                         
                         
<b>                          OSCAR
</b>           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.
                         
<b>                          CHARLIE
</b>           I don't understand, where's Groppi?
                         
<b>                          OSCAR
</b>           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?
                         
<b>                          CHARLIE
</b>           My uncle figured that this week was
           bad...but about next week...I dunno.
           Maybe you should speak to him
           yourself.
                         
<b>                          OSCAR
</b>           What can I say?
                         
<b>          EXT. STREET - DAY
</b>                         
          CHARLIE is walking down the street on the lower east side.
          A noisy religious street festival is being held on the block.
                         
<b>          INT. SMALL ITALIAN CAFE - DAY
</b>                         
          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.
<b>                         
</b><b>           34.
</b>                         
                         
          A man is putting new records into the jukebox which is in
          the corner of the room in the luncheonette area.
                         
<b>                          CHARLIE
</b>           (to repair man)
           Is my uncle back there?
                         
          CHARLIE points in the direction of a doorway.
                         
<b>                          REPAIR MAN
</b>           Yeah, but I think he's busy now.
           Hey Charlie play 463 today - for
           sure.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>          INT. DINING ROOM - DAY
</b>                         
          GIOVANNI and MARIO are calmly sipping their coffee as they
          listen to the old man's nervous talk.
                         
<b>                          OLD MAN
</b>           (in Italian with
<b>                          ENGLISH TITLES)
</b>           What I'm telling you is that he did
           it for Mario's honor.
                         
<b>                          MARIO
</b>           But you don't understand. I knew
           the kid. He was drunk. He made of
           fool of himself...not me.
<b>                         
</b><b>           35.
</b>                         
                         
<b>                          OLD MAN
</b>           (in Italian with
<b>                          ENGLISH TITLES)
</b>           Giovanni - an insult to Mario is an
           insult to you.
                         
<b>                          MARIO
</b>           There was no insult.
                         
<b>                          OLD MAN
</b>           (in Italian with
<b>                          ENGLISH TITLES)
</b>           The boy only did what was right.
                         
<b>                          GIOVANNI
</b>           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.
                         
<b>          INT. LUNCHEONETTE AREA - DAY
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           Marie, are there Columbian coffee
           beans in this coffee?
                         
<b>                          MARIE
</b>           I dunno.
                         
<b>                          CHARLIE
</b>           Just a second. Let me taste it.
                         
          He pauses to sip the coffee, then shakes his head.
                         
<b>                          CHARLIE
</b>           Yes, I'd say there are some
           Columbian coffee beans in this
           coffee, but only about 39%.
                         
          MARIE is disinterested. CHARLIE continues.
<b>                         
</b><b>           36.
</b>                         
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>          BLACK & WHITE & COLOR
</b>                         
          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.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUED)
</b>           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.
<b>                         
</b><b>           37.
</b>                         
                         
          The image culminate in aerial shots of downtown New York
          City. (STOCK FOOTAGE)
                         
          CHARLIE now sees MARIE totally naked as she serves the
          customers.
                         
<b>          INT. DINING ROOM - DAY
</b>                         
          GIOVANNI and CHARLIE are standing and talking.
                         
<b>                          CHARLIE
</b>           Uncle, how are you feeling?
                         
<b>                          GIOVANNI
</b>           Fine. Did you have a good time
           last night?
                         
<b>                          CHARLIE
</b><b>                          (QUIETLY)
</b>           About that shooting last night...I
           was there and...
                         
<b>                          GIOVANNI
</b>           No you weren't.
                         
          CHARLIE is struck silent for a moment. He listens.
                         
<b>                          CHARLIE
</b><b>                          (EMBARRASSED)
</b>           You're right uncle. I must have
           gotten it confused with something
           else.
                         
<b>                          GIOVANNI
</b>           Yes, you did.
                         
<b>                          CUT TO:
</b>                         
          CHARLIE and GIOVANNI are now sitting at a table.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          GIOVANNI
</b>           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.
<b>                         
</b><b>           38.
</b>                         
                         
<b>                          CHARLIE
</b>           Yes...I understand...I'll be careful.
                         
<b>          EXT. BEACH - HAMPTONS - DAY
</b>                         
          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.
                         
<b>                          TERESA
</b>           C'mon Charlie...one more day. I'll
           call in sick for work.
                         
<b>                          CHARLIE
</b>           No...we can come back in a couple
           of weeks. Besides, if we're both
           gone for three days it wouldn't
           look right.
                         
<b>                          TERESA
</b>           Ok.
                         
          CHARLIE picks up a copy of Henry James' Portrait of a Lady
          and tries to read it. He tosses it aside.
                         
<b>                          CHARLIE
</b>           Bore.
                         
<b>                          TERESA
</b>           A paper on that one too?
                         
<b>                          CHARLIE
</b>           Yeah...but don't worry about that
           now. The Hemmingway one is first.
                         
<b>                          TERESA
</b>           It was nothing. I'm almost finished.
                         
<b>                          CHARLIE
</b>           Take your time. I don't care.
                         
<b>                          TERESA
</b>           I know you don't. You've been very
           preoccupied lately.
                         
<b>                          CHARLIE
</b>           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.
<b>                         
</b><b>           39.
</b>                         
                         
<b>                          CHARLIE
</b>           Let's go back inside.
                         
<b>                          CUT TO:
</b>                         
          CHARLIE and TERESA already farther up the beach, walking.
          They notice a very beautiful house with limousines parked in
          front of it.
                         
<b>                          CHARLIE
</b>           See that...know who lives there?
           The name George Earhardt mean
           anything to you?
                         
<b>                          TERESA
</b>           Sure...He lives there?
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           That W.A.S.P. bastard.
                         
<b>                          TERESA
</b>           You're intolerable today.
                         
<b>                          CHARLIE
</b>           Watch your language.
                         
          They arrive at the cottage.
                         
<b>          INT. HAMPTONS COTTAGE - DAY
</b>                         
          CHARLIE and TERESA are coming in, putting down the books and
          papers.
                         
<b>                          TERESA
</b>           I like it here...alone.
                         
          She caresses CHARLIE. He is still preoccupied.
                         
<b>                          TERESA
</b>           I'm going to take that apartment
           uptown.
                         
<b>                          CHARLIE
</b>           Uhuh...probably a good idea. Why
           don't you do it this time?
<b>                         
</b><b>           40.
</b>                         
                         
<b>                          TERESA
</b>           You know why...with my parents.
                         
<b>                          CHARLIE
</b>           Well you can't blame them in a way.
                         
<b>                          TERESA
</b>           (pulling away from him)
           I can take care of myself. You
           know that.
                         
<b>                          CHARLIE
</b>           I know...I know.
                         
          They embrace.
                         
<b>                         FLASHBACK
</b>                         
<b>          INT. HOSPITAL ROOM
</b>                         
          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.
                         
<b>                          TERESA'S MOTHER
</b>           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.
                         
<b>                          TERESA'S MOTHER
</b><b>                          (CONTINUED)
</b>           Who is that?
                         
<b>                          CHARLIE'S FATHER
</b>           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.
<b>                         
</b><b>           41.
</b>                         
                         
<b>          INT. HAMPTONS COTTAGE - DAY
</b>                         
          TERESA and CHARLIE make love.
                         
<b>                          DISSOLVE TO:
</b>                         
          CHARLIE is getting dressed. TERESA is wrapped warmly in the
          sheets - still in bed.
                         
<b>                          CHARLIE
</b>           ...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?
                         
<b>                          TERESA
</b>           Ummmmmmmmmmmmm.
                         
<b>                          CHARLIE
</b>           Of all people. Now say the truth.
           Do I look like Che Guevara. C'mon.
                         
          They laugh. He crosses to TERESA and they kiss.
                         
<b>                          TERESA
</b>           I'm sleepy.
                         
<b>                          CHARLIE
</b>           You've been running round too much.
           Bet you've been forgetting your
           medicine.
                         
<b>                          TERESA
</b>           The green capsules in the top drawer.
                         
          CHARLIE gets her the pills and heads out of the cottage for
          a walk.
                         
<b>          EXT. ROADWAY - HAMPTONS - DAY
</b>                         
          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.
                         
<b>                         FANTASY
</b><b>                         
</b><b>           42.
</b>                         
                         
<b>          EXT. ROADWAY IN FRONT OF COTTAGE - DAY
</b>                         
          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.
                         
<b>                          GROPPI
</b>           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.
                         
<b>                          GROPPI
</b>           What do you want?.......well?
                         
<b>                          CHARLIE
</b>           I...I'm selling encyclopedias...er
           a magazines...newspapers...I'm
           conducting a survey...I...
                         
<b>                          GROPPI
</b>           We don't want no fuckin' books!
                         
          GROPPI slams the door in CHARLIE'S face.
                         
<b>                         REALITY
</b>                         
<b>          EXT. ROADWAY IN FRONT OF COTTAGE - DAY
</b>                         
          CHARLIE is still standing in front of the cottage. Suddenly
          a little boy of about nine appears.
                         
<b>                          BOY
</b>           There's nobody here mister.
                         
          CHARLIE turns in surprise.
                         
<b>                          CHARLIE
</b>           Isn't this Jack Groppi's place?
                         
<b>                          BOY
</b>           Yeah. But he ain't here now.
                         
<b>                          CHARLIE
</b>           Know where he is?
                         
<b>                          BOY
</b>           Follow me.
                         
          The BOY leads him towards a heavily overgrown treed area.
<b>                         
</b><b>           43.
</b>                         
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           Now, don't get excited.
                         
          CHARLIE is trying to find his way out of the forest.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUED)
</b>           'The stone which the builders'
           reject will become the
           cornerstone'...I think.
                         
<b>          INT. ITALIAN CAFE - DAY
</b>                         
          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.
                         
<b>                          GIOVANNI
</b>           Play it again!!!
                         
          Everyone laughs and joins in.
                         
<b>                          EVERYONE
</b>           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.
                         
<b>                          GIOVANNI
</b><b>                          (SHOUTING BOISTEROUSLY
</b>           over the music)
           Take a drink!
                         
<b>                          CHARLIE
</b><b>                          (SHOUTING)
</b>           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.
<b>                         
</b><b>           44.
</b>                         
                         
<b>                          GIOVANNI
</b>           Hey, where you been?
                         
<b>                          CHARLIE
</b><b>                          (SMILING NERVOUSLY)
</b>           Oh...around...why?
                         
<b>                          GIOVANNI
</b><b>                          (LEANING CLOSER)
</b>           You heard what happened to GROPPI,
           eh?
                         
          CHARLIE gets very nervous at the mention of GROPPI'S name.
                         
<b>                          CHARLIE
</b><b>                          (INNOCENTLY)
</b>           Who me? ...No, I don't know, not
           me...all I know is...
                         
<b>                          GIOVANNI
</b>           (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...
                         
<b>                          CUT TO:
</b>                         
<b>          DARKENED ROOM - NIGHT
</b>                         
          An old woman is sitting in front of the television watching
<b>          JOHNNY CARSON'S TONIGHT SHOW.
</b>                         
<b>                          GIOVANNI
</b>           (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.
                         
<b>                          GIOVANNI
</b>           ...that he's sorry.
                         
          GROPPI leaves the frame. The old woman looks up from the
          television.
                         
<b>                          OLD WOMAN
</b>           It's all right.
                         
          WE SEE GROPPI walking towards the bathroom.
<b>                         
</b><b>           45.
</b>                         
                         
<b>                          GIOVANNI
</b>           (voice over continued)
           ...he goes in the next room...
                         
          GROPPI TURNS ON the bathroom light.
                         
<b>                          GIOVANNI
</b>           (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.
                         
<b>           FAST FADE TO WHITE
</b>                         
<b>          INT. ITALIAN CAFE - DAY
</b>                         
<b>                          GIOVANNI
</b>           (with an Italian hand gesture)
           ...so...
                         
          CHARLIE is visibly shocked.
                         
<b>                          GIOVANNI
</b><b>                          (SMILING)
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (GRUDGINGLY)
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET CORNER - NEAR CAFE - DAY
</b>                         
<b>                          MICHAEL
</b>           I gave him all the breaks I can give.
<b>                         
</b><b>           46.
</b>                         
                         
<b>                          CHARLIE
</b>           Oh Michael, look...
                         
<b>                          MICHAEL
</b>           Nevamind 'look'...This punk
           bastard...I call him at work...I
           say 'Johnny Boy there?'...He
           doesn't even show up for work
           anymore...
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          CHARLIE
</b>           We'll settle it tonight.
                         
          Two YOUNG BOYS about 15 years old walk up to CHARLIE.
                         
<b>                          BOY #1
</b>           Hey, you sell firecrackers?
                         
<b>                          CHARLIE
</b>           Firecrackers! No...no.
                         
<b>                          BOY #1
</b>           You know where we can get some?
                         
<b>                          CHARLIE
</b>           Sure, see that guy over there...
                         
          He points to MICHAEL.
                         
<b>                          CHARLIE
</b><b>                          (CONTINUING)
</b>           ...him. He's got the best.
                         
          The BOYS go over to MICHAEL.
                         
<b>                          BOY #1
</b>           Hey - fella...you sell firecrackers?
<b>                         
</b><b>           47.
</b>                         
                         
<b>                          MICHAEL
</b>           Sssh! Quiet.
           (He looks around)
           Y'know that's illegal.
                         
<b>                          BOY #2
</b>           Well the guy over there said...
                         
<b>                          MICHAEL
</b><b>                          (INTERRUPTING)
</b>           Yeah, yeah, never mind. You gotta
           be careful.
                         
<b>                          BOY #1
</b>           We went down to Chinatown but they
           don't have any.
                         
<b>                          MICHAEL
</b>           Yeah, well, keep away from those
           Chinx. They don't have shit.
                         
<b>                          BOY #2
</b>           Well, we got $40, and we wanna buy...
                         
<b>                          MICHAEL
</b><b>                          (INTERRUPTING)
</b>           All right! Quiet! For $40 I could
           give you...
                         
<b>                          BOY #1
</b>           Well, I don't know if we want to
           buy all $40 worth...
                         
<b>                          MICHAEL
</b>           Hey! You want good stuff, or you
           want shit?
                         
<b>                          BOY #2
</b>           Well, we want good stuff.
                         
<b>                          MICHAEL
</b>           Well, my stuff comes from Maryland...
           you know what that means?
                         
<b>                          BOY #1
</b>           No.
                         
<b>                          MICHAEL
</b>           That means it's good.
                         
<b>                          BOY #1
</b>           You got sparklers?
<b>                         
</b><b>           48.
</b>                         
                         
<b>                          MICHAEL
</b>           Yeah.
                         
<b>                          BOY #2
</b>           And cherry bombs...ash cans...and
           rockets?
                         
<b>                          MICHAEL
</b>           Ok. For another $5.00 a special on
           the packs.
                         
<b>                          BOY #1
</b>           No, all we got is $40.
                         
<b>                          MICHAEL
</b>           You sure?
                         
<b>                          BOYS
</b>           Yeah.
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          MICHAEL
</b>           (to the boys)
           C'mon. Get in the car.
                         
          The four of them get into TONY'S car. They drive to
<b>          CHINATOWN.
</b>                         
<b>          EXT. CHINATOWN - DAY IN TONY'S CAR
</b>                         
<b>                          MICHAEL
</b>           Ok, you guys get out, and wait here
           for me.
                         
<b>                          BOYS
</b>           Why?
                         
<b>                          MICHAEL
</b>           I gotta get the stuff.
                         
<b>                          BOYS
</b>           Can't we come with you?
                         
<b>                          MICHAEL
</b>           Nobody sees where I get the stuff.
           That's good business. I'll be back
           in thirty minutes.
<b>                         
</b><b>           49.
</b>                         
                         
          They start to get out.
                         
<b>                          MICHAEL
</b>           Hey hold it! Gimmie the cash.
                         
<b>                          BOYS
</b>           Uh...can we give you a check?
                         
<b>                          MICHAEL
</b>           A check? What the...hey, where you
           kids from?
                         
<b>                          BOY #1
</b>           Riverdale.
                         
<b>                          MICHAEL
</b><b>                          (CONTEMPTUOSLY)
</b>           Well, maybe they do that in
           Riverdale, but down here we take
           cash. Now, you got it or not?
                         
          They give him the money.
                         
<b>                          MICHAEL
</b>           Ok. Now wait here...and keep your
           mouths shut!
                         
          The car pulls away.
                         
<b>                          TONY
</b>           How much?
                         
<b>                          MICHAEL
</b>           Not bad. $20. Here, $5.
                         
<b>                          TONY
</b>           Can you spare it?
                         
<b>                          MICHAEL
</b>           Sure.
                         
<b>                          TONY
</b><b>                          (SARCASTICALLY)
</b>           Thanks.
                         
<b>          EXT. LOWER EAST SIDE - DAY
</b>                         
          The car pulls up at TONY'S PLACE. TONY yells to CHARLIE,
          who is standing outside.
                         
<b>                          TONY
</b>           Hey Charlie. Get in.
                         
          CHARLIE gets in.
<b>                         
</b><b>           50.
</b>                         
                         
<b>                          CHARLIE
</b>           What's a'matter?
                         
<b>                          MICHAEL
</b>           Nothin'. Just stiffed those kids.
           Don't want'em comin' back and
           findin' you...start asking you
           questions.
                         
<b>                          CHARLIE
</b>           How much?
                         
<b>                          MICHAEL
</b><b>           $20.
</b>                         
<b>                          CHARLIE
</b>           Let's go to the movies...on you.
                         
<b>                          TONY
</b>           Yeah.
                         
<b>                          MICHAEL
</b>           Ok guys...have a heart. This is my
           business.
                         
<b>                         BLACK & WHITE
</b>                         
<b>          EXT. NIGHT - IN FRONT OF MOVIE THEATER
</b>                         
          The boys are paying for their tickets.
                         
<b>          INT. MOVIE THEATER - NIGHT
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
          The boys smile and watch.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. CHINATOWN - NIGHT BLACK & WHITE
</b>                         
          The two boys from Riverdale are still watching on the
          corner, in the dark.
                         
<b>          INT. CHARLIE'S APARTMENT - DAY
</b>                         
          CHARLIE is at home shaving.
<b>                         
</b><b>           51.
</b>                         
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           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.
                         
<b>                          CUT TO:
</b>                         
          CHARLIE is gluing on a fake beard.
                         
<b>                          CHARLIE
</b><b>                          (VOICE OVER)
</b>           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...
                         
<b>                          CUT TO:
</b>                         
          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.)
                         
<b>                          CHARLIE
</b>           (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...
                         
<b>                          CUT TO:
</b>                         
          CHARLIE grabbing a white robe off his bed. We don't see his
          face.
                         
<b>                          CHARLIE
</b>           (continued voice over)
           That's there and I'm here and
           that's the way it's going to stay!
<b>                         
</b><b>           52.
</b>                         
                         
<b>          INT. WEST SIDE TENEMENT APARTMENT BATHROOM - NIGHT
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          LIVING ROOM & KITCHENETTE - PARTY - NIGHT
</b>                         
          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.
                         
<b>                          TERESA
</b>           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.
                         
<b>                          MICHAEL
</b>           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.
<b>                         
</b><b>           53.
</b>                         
                         
          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.
                         
<b>                          TONY
</b><b>                          (SMILING)
</b>           Hallelujah!!
                         
          CHARLIE enters in mock holiness.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           May God be with you.
                         
<b>                          TONY
</b>           'And with your spirit.'
                         
<b>                          CHARLIE
</b>           (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.
                         
<b>                          TONY
</b>           (taking on the guise
           of an interviewer)
           'Art thou the King of the Jews'?
                         
<b>                          CHARLIE
</b>           'Dost thou say this of thyself, or
           have others told thee of me?'
<b>                         
</b><b>           54.
</b>                         
                         
<b>                          TONY
</b>           '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.
                         
<b>                          CHARLIE
</b>           '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.'
                         
<b>                          TONY
</b>           'Thou art then a king?'
                         
<b>                          CHARLIE
</b>           '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.
                         
<b>                          TONY
</b>           '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.
                         
<b>                          TONY
</b>           Prophesy to us, oh Christ! Who is
           it that struck thee?
                         
<b>                          CHARLIE
</b>           I don't know, but God help him if
           he does it again!
                         
          They all laugh.
                         
<b>          INT. SAME APARTMENT - NEXT ROOM - NIGHT
</b>                         
          CHARLIE is talking to MICHAEL. The conversation is serious.
          CHARLIE has not lost his sense of humor.
                         
<b>                          CHARLIE
</b>           He said he'd be here.
<b>                         
</b><b>           55.
</b>                         
                         
<b>                          MICHAEL
</b>           Well, he isn't. Nice...real nice.
                         
<b>                          CHARLIE
</b>           He'll be here. Look, take this for
           now.
                         
          He hands MICHAEL a twenty dollar bill from under his robe.
                         
<b>                          MICHAEL
</b>           You kiddin. The way it is now this
           isn't even interest for two hours.
                         
<b>                          CHARLIE
</b>           (putting the bill
           back into his pocket)
           How much was the original loan again?
                         
<b>                          MICHAEL
</b>           $500. He borrowed that because he
           wanted to pay off his other loans...
           now, counting the interest...it's
           almost $3,000.
                         
<b>                          CHARLIE
</b>           $3,000. Shit! Can we hold it at
<b>           $3,000?
</b>                         
<b>                          MICHAEL
</b>           Charlie, this is business.
                         
<b>                          CHARLIE
</b>           (avoiding the issue)
           'But I say to you, love your
           enemies, do good to those who hate
           you, and pray for those who
           persecute...'
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          CHARLIE
</b>           (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!
<b>                         
</b><b>           56.
</b>                         
                         
<b>                          MICHAEL
</b><b>                          (EXASPERATED)
</b>           He could at least show some respect
           and show his face, even if he
           doesn't have the money...
                         
<b>                          CHARLIE
</b>           (more serious now)
           'Amen I say to thee, thou wilt not
           come out from it until thou hast
           paid the last penny.'
                         
<b>                          MICHAEL
</b>           You said it.
                         
          A loud scream is heard from the bathroom.
                         
<b>                          CUT TO:
</b>                         
<b>          APARTMENT - BATHROOM - NIGHT
</b>                         
          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.
                         
<b>                          EVERYONE
</b>           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.
                         
<b>                          CHARLIE
</b>           '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.
<b>                         
</b><b>           57.
</b>                         
                         
<b>                          TERESA
</b>           Charlie...? Charlie here...?
                         
<b>                          CUT TO:
</b>                         
<b>                         BLACK & WHITE
</b>                         
<b>          EXT. STREET - NIGHT
</b>                         
          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.
                         
<b>                          TERESA
</b><b>                          (FRANTICALLY)
</b>           The building on the corner. That
           one! He's been on the roof a half
           hour now!
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          FRIENDS
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           Don't come any closer!!!
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                         BLACK & WHITE
</b><b>                         
</b><b>           58.
</b>                         
                         
<b>          EXT. TENEMENT ROOF - NIGHT
</b>                         
          CHARLIE has reached the roof.
                         
<b>                          JOHNNY BOY
</b>           Charlie...pssst. Over here.
                         
          He laughs with glee.
                         
<b>                          CHARLIE
</b>           What are you...crazy?
                         
          He slaps JOHNNY BOY on the back of the head.
                         
<b>                          JOHNNY BOY
</b>           Hey...don't do that...I'm only
           scaring them.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           Let's get out of here.
                         
<b>                          JOHNNY BOY
</b><b>                          (LAUGHING)
</b>           Did you see them run!
                         
<b>                         BLACK & WHITE
</b>                         
<b>          EXT. CEMETARY - NIGHT
</b>                         
          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.
<b>                         
</b><b>           59.
</b>                         
                         
          It is very quiet and dark. They sit and rest. CHARLIE is
          still in his makeup.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (ANGRY)
</b>           That's not going to help.
                         
<b>                          JOHNNY BOY
</b>           I'm going to work this week...I
           mean it.
                         
<b>                          CHARLIE
</b>           It's impossible for you to catch up
           on the loan now...the interest is
           going up...$3,000...do you realize
           that, flash?
                         
<b>                          JOHNNY BOY
</b>           I'm sorry Charlie...I didn't mean it.
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          JOHNNY BOY
</b>           Charlie, you know the best way to
           take care of this whole mess.
                         
<b>                          CHARLIE
</b>           How?
                         
<b>                          JOHNNY BOY
</b><b>                          (COAXING)
</b>           If you had a little talk with your
           uncle...if anybody can do it, he can.
                         
<b>                          CHARLIE
</b>           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.
<b>                          (MORE)
</b><b>                         
</b><b>           60.
</b>                         
                         
<b>                          CHARLIE (CONT'D)
</b>           I don't get involved with anything,
           you understand that? Nothing! I'm
           clean as far as you know...right?
                         
<b>                          JOHNNY BOY
</b>           Yeah, take it easy. Will you relax.
                         
<b>                          CHARLIE
</b>           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!!
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b>           'Could you not, then, watch one
           hour with me?'
                         
          He wakes JOHNNY BOY up.
                         
<b>                          CHARLIE
</b>           'The spirit is willing but the
           flesh is weak.'
<b>                         
</b><b>           61.
</b>                         
                         
          They leave.
                         
<b>          INT. OSCAR'S RESTAURANT - NIGHT
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
          OSCAR approaches the table where CHARLIE, GIOVANNI, and
          MARIO are seated and greets them warmly.
                         
<b>                          OSCAR
</b>           Put the menus away. I, personally
           do the cooking tonight.
                         
<b>                          GIOVANNI
</b>           Fine...that's why I'm here.
                         
<b>                          MARIO
</b>           Calamari?
                         
<b>                          OSCAR
</b>           Capozelle, Calamari...anything you
           want...
                         
<b>                          GIOVANNI
</b><b>                          (POURING WINE)
</b>           Drink.
                         
<b>                          DISSOLVE TO:
</b>                         
<b>          INT. OSCAR'S RESTAURANT - LATER IN THE MEAL
</b>                         
          OSCAR sits.
                         
<b>                          OSCAR
</b>           Giovanni...er...can I talk?
                         
          Refering to CHARLIE.
                         
          GIOVANNI nods his head yes.
                         
<b>                          OSCAR
</b>           About the place, Giovanni...
<b>                         
</b><b>           62.
</b>                         
                         
<b>                          GIOVANNI
</b>           ...I know all about it. We'll
           discuss it later.
                         
<b>                          OSCAR
</b><b>                          (CONTINUING)
</b>           Our arrangements about the place
           haven't changed, have they? I
           mean...
                         
<b>                          GIOVANNI
</b><b>                          (GOOD-NATUREDLY)
</b>           No, no, not at all...look, we leave
           it the way it is for now, we talk
           later, understand?
                         
<b>                          OSCAR
</b><b>                          (SOMEWHAT RELIEVED)
</b>           Sure, Giovanni...I understand.
           I'll bring the clams now.
                         
<b>                          DISSOLVE TO:
</b>                         
<b>          INT. OSCAR'S RESTAURANT - DURING DINNER
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           I really couldn't believe it when
           you told me, you know that?
                         
<b>                          GIOVANNI
</b>           Well, he was always a little
           crazy... he puts a gun in his
           mouth...
<b>                          (HE SMILES)
</b>           ...like your friend...comme si
           chiama...Henning? Heming?
                         
<b>                          CHARLIE
</b>           Hemmingway. Killed himself. I was
           more upset about that than about
           Groppi, that's for sure.
                         
<b>                          GIOVANNI
</b>           (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.
<b>                         
</b><b>           63.
</b>                         
                         
<b>                          CHARLIE
</b>           Wasn't a book...was a short story.
                         
<b>                          MARIO
</b>           What was it?
                         
<b>                          CHARLIE
</b><b>                          (EMBARRASSED)
</b>           Nothing.
                         
<b>                          MARIO
</b>           No, c'mon...Y'know, I read.
                         
<b>                          CHARLIE
</b><b>                          (MUTTERING)
</b>           "Francis Macomber."
                         
<b>                          MARIO
</b>           Wha?
                         
<b>          THE CONVERSATION IS NOW ENGLISH.
</b>                         
<b>                          CHARLIE
</b><b>                          (SOFTLY)
</b>           "Short Happy Life of Francis
           Macomber."
                         
<b>                          MARIO
</b>           Oh yeah...didn't read it but I saw
           the movie...Gregory Peck...pretty
           good.
                         
<b>                          GIOVANNI
</b>           Yeh, Mario over here, he reads a lot.
                         
<b>          IN ITALIAN.
</b>                         
<b>                          GIOVANNI
</b>           Surprised?
                         
<b>                          MARIO
</b>           I like this Harold Robbins...
                         
<b>                          CHARLIE
</b><b>                          (POLITELY)
</b>           Oh yes, he's pretty good.
                         
<b>                          GIOVANNI
</b>           What I don't understand is why you
           have to go to college to read these
           books that you're gonna read anyway.
<b>                         
</b><b>           64.
</b>                         
                         
<b>                          CHARLIE
</b>           It's only a couple of courses...just
           for the draft.
                         
<b>                          MARIO
</b>           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.
                         
<b>                          GIOVANNI
</b>           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.
                         
<b>                          DISSOLVE TO:
</b>                         
          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.
                         
<b>                          GIOVANNI
</b>           These politicians...they talk nice.
                         
          CHARLIE listen attentively, but obviously has heard
          GIOVANNI'S philosophy before.
                         
<b>                          GIOVANNI
</b><b>                          (CONTINUING)
</b>           ...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...
                         
<b>                          CHARLIE
</b>           What did he do?
<b>                         
</b><b>           65.
</b>                         
                         
<b>                          GIOVANNI
</b>           What did he do? He was there...
           that's what he did.
                         
<b>                          MARIO
</b>           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.
                         
<b>                          GIOVANNI
</b><b>                          (TO CHARLIE)
</b>           I told this...the same thing to
           your father thirty years ago...I
           told him what to do...but he didn't
           listen.
                         
<b>          INT. OSCAR'S RESTAURANT - COFFEE
</b>                         
          The conversation turns to more direct topics while they have
          their coffee and ainsette.
                         
<b>                          GIOVANNI
</b>           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...
<b>                          (SARCASTIC)
</b>           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.
                         
<b>                          GIOVANNI
</b><b>                          (CONFIDENTIALLY)
</b>           His whole family has problems...his
           cousin, the girl who lives next
           door to you...
                         
<b>                          CHARLIE
</b>           Teresa.
                         
<b>                          GIOVANNI
</b>           ...The one who's sick, right? In
           the head.
<b>                         
</b><b>           66.
</b>                         
                         
<b>                          CHARLIE
</b>           No, she's got epilepsy.
                         
<b>                          GIOVANNI
</b>           Yeah. That's what I said, sick in
           the head.
                         
          CHARLIE nods.
                         
<b>                          GIOVANNI
</b>           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?
                         
<b>                          CHARLIE
</b>           What do they expect you to say?
                         
<b>                          GIOVANNI
</b>           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.
                         
<b>                          CHARLIE
</b>           All right.
                         
<b>                          MARIO
</b>           Why don't you take a look around
           the place if you want?
                         
<b>                          CHARLIE
</b>           Oh, that's ok...I've been in and
           out of this place fifty times.
                         
<b>                          GIOVANNI
</b>           Well, maybe you missed something?
                         
<b>                          CHARLIE
</b><b>                          (CATCHING ON)
</b>           Oh yeah, that's a possibility.
                         
          CHARLIE heads for the kitchen.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           ...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?
                         
<b>                          CUT TO:
</b><b>                         
</b><b>           67.
</b>                         
                         
<b>          INT. OSCAR'S RESTAURANT KITCHEN - NIGHT
</b>                         
          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.
                         
<b>                          COOK
</b>           Hi Charlie.
                         
          CHARLIE smiles and moves in closer to the grill. The cook
          is sweating and mopping his brow.
                         
<b>                          COOK
</b><b>                          (CONTINUING)
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (SMILING)
</b>           Hot as hell...You're not the only
           one going through Hell kid.
                         
<b>                          COOK
</b>           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."
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           '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.
                         
<b>          INT. TONY'S CAR (NEW CADILLAC CONVERTIBLE-TOP UP) - DAY
</b>                         
          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.
<b>                         
</b><b>           68.
</b>                         
                         
          TONY rolls up the window and rolls the car forward a bit to
          force the derelict out of the way.
                         
<b>                          TONY
</b>           Is it near Sullivan Street?
                         
<b>                          JIMMY
</b>           No - by Bedford.
                         
<b>                          TONY
</b>           Oh - you gotta show me. I always
           get lost in the village.
                         
<b>                          CHARLIE
</b>           Next time, bet with your own kind.
                         
<b>                          JIMMY
</b>           The number was 235 - I bet it
           combination.
                         
<b>                          CHARLIE
</b>           It'll be OK - I know those guys.
           They won't stiff you.
                         
<b>                          JIMMY
</b>           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...
                         
<b>                          JOHNNY BOY
</b>           Yeah, yeah - enough.
                         
          They arrive at the bar.
                         
<b>                          JOEY
</b>           Hello Charlie, you canonized yet?
                         
<b>                          CHARLIE
</b>           No - not yet - just blessed.
                         
<b>                          CUT TO:
</b>                         
          Boys are in mid-discussion.
                         
<b>                          JIMMY
</b>           On Friday, the 25th--I placed it
<b>                          WITH SALLY--
</b>                         
<b>                          JOEY
</b><b>                          (BEING DISTRACT)
</b>           I never heard of it.
<b>                         
</b><b>           69.
</b>                         
                         
<b>                          CHARLIE
</b>           Oh Joey, really...we're all friends
           here--let's cut the bullshit.
                         
<b>                          JOEY
</b>           (begins to chuckle)
           ...Well...
<b>                          (TO JIMMY)
</b>           you got a good friend here--come to
           think of it, I do remember now.
                         
<b>                          JOHNNY BOY
</b>           (under his breath)
<b>                          SCUMBAG--
</b>                         
<b>                          TONY
</b>           (nudging JOHNNY BOY)
           (under his breath)
           Shut up.
                         
<b>                          JOEY
</b><b>                          (MAKING EXCUSE)
</b>           Well, Friday's are busy--a mistake
           can be made y'know. Have another
           drink.
                         
<b>                          CHARLIE
</b>           Whatever, just lets settle this and
           it's all forgotten.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           Lower the fuckin music--I can't
           hear nothin.
                         
<b>                          JOEY
</b>           The girls like it loud.
                         
<b>                          JOHNNY BOY
</b>           Girls? You call those skanks girls?!
                         
          JOEY, his friends, and the girls all look up. JOEY'S
          attitude changes.
<b>                         
</b><b>           70.
</b>                         
                         
<b>                          JOEY
</b><b>                          (TO CHARLIE)
</b>           What's the matter with this kid?
                         
<b>                          JOHNNY BOY
</b>           I feel fine--nothing wrong with me.
                         
<b>                          CHARLIE
</b>           Keep your mouth shut.
                         
<b>                          JOHNNY BOY
</b>           You tell me that in front of these
           creeps?
                         
<b>                          JOEY
</b>           We won't pay...
                         
<b>                          JIMMY
</b>           Why? We just said...
                         
<b>                          JOHNNY BOY
</b><b>                          (INTERRUPTING)
</b>           We won't pay...because this guy
           (pointing to JIMMY)
           is a...mook.
                         
<b>                          JIMMY
</b>           But I didn't say nothin.
                         
          The fellows look at each other bewildered.
                         
<b>                          JOEY
</b><b>                          (TO JIMMY)
</b>           We don't pay mooks!
                         
          Nobody knows what a mook is. JIMMY'S attitude now changes.
                         
<b>                          JIMMY
</b><b>                          (ANGRILY)
</b>           A mook...I'm a mook...
<b>                          (PAUSES)
</b>           What's a mook?
                         
          CHARLIE can no longer control the situation as tempers rise.
                         
<b>                          JIMMY
</b>           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.
<b>                         
</b><b>           71.
</b>                         
                         
          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.
                         
<b>                          JOEY
</b>           We were gonna pay you Jimmy, we
           just don't like being moved in on.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          JOEY
</b>           Don't count it...it's all there.
                         
<b>                          JOHNNY BOY
</b><b>                          (SARCASTIC)
</b>           Count it.
                         
<b>                          JOEY
</b>           Hey, c'mon - no bullshit - friends.
                         
          JOEY extends his hand. JIMMY and CHARLIE shake. JOEY
          extends his hand to JOHNNY.
                         
<b>                          JOHNNY BOY
</b>           Don't fuckin' touch me - scumbag.
                         
          CHARLIE and the others "Oh no."
                         
<b>                          CHARLIE
</b>           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.
<b>                         
</b><b>           72.
</b>                         
                         
<b>                          CHARLIE
</b>           You got some mouth!
                         
<b>                          JIMMY
</b>           Johnny, you're a real jerk-off.
                         
<b>                          JOHNNY BOY
</b><b>                          (LAUGHING)
</b>           What're ya hollering? You got your
           money.
                         
          They reach the car. TONY heads in first behind the wheel.
                         
<b>                          TONY
</b>           (about to take off)
           Fuck youse all.
                         
          The others jump in.
                         
<b>                          CHARLIE
</b>           You got no honor Tony. Charge!
                         
          The car starts off.
                         
          Garbage and garbage pails are tosses after them as the boys
          take off.
                         
<b>          INT. TONY'S PLACE
</b>                         
<b>                          CUT TO:
</b>                         
<b>          A LONG-HAIRED ROCK GROUP
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE
</b>                         
          CHARLIE is talking to the leader of the group.
                         
<b>                          CHARLIE
</b>           No, really, I liked it...thought it
           was great.
                         
<b>                          BOY
</b>           Thanks.
<b>                         
</b><b>           73.
</b>                         
                         
<b>                          CHARLIE
</b>           What are your plans?
                         
<b>                          BOY
</b>           Well, we're here for about two
           weeks, then whatever else comes
           along... we're still working on our
           album and...
                         
<b>                          CHARLIE
</b>           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...
                         
<b>                          BOY
</b>           Sounds good.
                         
<b>                          CHARLIE
</b>           Of course, 'The Season of the
           Witch' won't be ready for a while
           yet but we have to keep in touch.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE - PHONE BOOTH
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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...
                         
<b>                          TERESA
</b>           Charlie...I've got to see you. I
           want to talk...
                         
<b>                          CHARLIE
</b>           Honey, I can't talk now...I've
           gotta run, bye.
                         
<b>                          TERESA
</b>           But...
<b>                         
</b><b>           74.
</b>                         
                         
<b>                          CHARLIE
</b>           I'll see you later.
                         
          He hangs up.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE - DRESSING ROOM
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           Diane, how are you feeling?
                         
<b>                          DIANE
</b><b>                          (COLDLY)
</b>           Fine.
                         
          As CHARLIE continues to talk to her she undresses and begins
          to get into her first costume. CHARLIE feels slightly
          uncomfortable.
                         
<b>                          CHARLIE
</b>           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...
                         
<b>                          DIANE
</b>           Fine.
                         
<b>                          CHARLIE
</b>           No, I'm serious...You're really good.
                         
<b>                          DIANE
</b>           I know.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          DIANE
</b>           That's nice.
<b>                         
</b><b>           75.
</b>                         
                         
<b>                          CHARLIE
</b>           I was thinking maybe you'd do very
           nicely for the place.
                         
<b>                          DIANE
</b>           Stripper?
                         
<b>                          CHARLIE
</b>           No...no stripping...as the hostess.
                         
<b>                          DIANE
</b>           Hostess?
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          DIANE
</b>           Chinese food?
                         
<b>                          CHARLIE
</b>           Ok. Chinese. We'll meet on the
           corner of 6th Avenue and Waverly
           Place after you finish.
                         
<b>                          DIANE
</b>           Why not here...Ok nevermind...6th
           Avenue and Waverly.
                         
<b>                          CHARLIE
</b>           Bye.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. TONY'S PLACE - NEAR ENTRANCE
</b>                         
          CHARLIE bumps into MICHAEL and a friend as he is leaving.
                         
<b>                          MICHAEL
</b>           Be seeing you and Johnny tonight...
           here...right?
                         
<b>                          CHARLIE
</b>           We'll be here.
                         
          MICHAEL is sarcastic. He points to the parked car in front
          of him.
                         
<b>                          MICHAEL
</b>           I tell you, Charlie. If that kid
           doesn't show up tonight...
<b>                         
</b><b>           76.
</b>                         
                         
          MICHAEL'S plan is seen on the screen as he speaks.
                         
<b>                          MICHAEL
</b>           ...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.
                         
<b>                          MICHAEL
</b>           ...and his other leg to that
           Chrysler over there.
                         
          JOHNNY BOY'S other leg is tied to the Chrysler.
                         
<b>                          MICHAEL
</b>           ...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.
                         
<b>                          CHARLIE
</b>           Look, Michael, I'll get him here.
           What do you want me to do, kill him?
                         
<b>                          MICHAEL
</b>           Whatever.
                         
          CHARLIE leaves.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CHARLIE'S APARTMENT
</b>                         
          CHARLIE is on the phone trying to locate JOHNNY BOY. TERESA
          is pacing back and forth nervously in the background.
          CHARLIE hangs up.
                         
<b>                          CHARLIE
</b>           Are you sure he didn't say anything
           to you about tonight?
                         
<b>                          TERESA
</b>           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?
<b>                         
</b><b>           77.
</b>                         
                         
          CHARLIE turns and smiles at her. He kisses her because he
          doesn't feel like listening. TERESA is too preoccupied to
          respond. CHARLIE turns.
                         
<b>                          CHARLIE
</b><b>                          (MUTTERING)
</b>           ...that sonofabitch.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. NIGHT - BLACK AND WHITE
</b>                         
          JOHNNY BOY walking through Greenwich Village looking around
          as if being chased.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CHARLIE'S APARTMENT
</b>                         
          CHARLIE is kissing TERESA who is still very upset.
                         
<b>                          TERESA
</b>           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?
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET - NIGHT - BLACK AND WHITE
</b>                         
          JOHNNY BOY is making his way back to the apartment by
          sneaking along the sides of the buildings in the darkened
          street.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CHARLIE'S APARTMENT
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET - NIGHT - BLACK AND WHITE
</b>                         
          JOHNNY BOY imagines he is being followed and dashes into the
          door of a nearby building and up the stairs.
                         
<b>                          CUT TO:
</b><b>                         
</b><b>           78.
</b>                         
                         
<b>          INT. CHARLIE'S APARTMENT
</b>                         
          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.
                         
<b>                          TERESA
</b>           Don't you realize what that
           apartment means?
                         
          CHARLIE doesn't answer. TERESA continues.
                         
<b>                          TERESA
</b>           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.
                         
<b>                          CHARLIE
</b>           Are you serious? Me move in with
           you. You crazy?
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. ROOFTOP - NIGHT - BLACK AND WHITE
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CHARLIE'S APARTMENT
</b>                         
<b>                          CHARLIE
</b><b>                          (CONTINUES)
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>                         CHARLIE'S WINDOW
</b>                         
          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.
<b>                         
</b><b>           79.
</b>                         
                         
          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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (TO TERESA)
</b>           Shut up!
                         
<b>                          JOHNNY BOY
</b><b>                          (TO TERESA)
</b>           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.
                         
<b>                          CHARLIE
</b>           You had me going crazy!
                         
          TERESA is crying. JOHNNY goes into the kitchen and CHARLIE
          follows. TERESA stays in the doorway.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. KITCHEN - CHARLIE'S APARTMENT
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           Your cousin here was getting sick,
           worrying about you. We've been in
           here calling...
                         
<b>                          JOHNNY BOY
</b>           Oh, that's too bad, Teresa...
                         
          CHARLIE is embarrassed and TERESA is afraid.
<b>                         
</b><b>           80.
</b>                         
                         
<b>                          JOHNNY BOY
</b><b>                          (CONTINUES)
</b>           Well kids...have the bans been
           announced yet?
                         
<b>                          CHARLIE
</b>           Don't be smart.
                         
<b>                          JOHNNY BOY
</b>           I'm not smart...I'm stupid, remember.
           I'm so stupid that you have to look
           out for me, remember?
                         
          TERESA is crying.
                         
<b>                          JOHNNY BOY
</b>           Don't be upset Teresa. You have to
           understand Charlie, here...he gives
           of himself to help others...
                         
<b>                          TERESA
</b>           I'm going to go home.
                         
<b>                          JOHNNY BOY
</b>           No, you stay.
                         
<b>                          CHARLIE
</b>           Johnny, I swear to God, if you open
           your mouth about any of this...
                         
<b>                          JOHNNY BOY
</b><b>                          (ANGRY)
</b>           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.
                         
<b>                          JOHNNY BOY
</b><b>                          (SHOUTING)
</b>           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.
<b>                         
</b><b>           81.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           You rat bastard!! Don't hit me
           again!!
                         
          CHARLIE stops.
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          TERESA
</b>           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.
                         
<b>                          CHARLIE
</b>           What do I do? You know anything
           about this?
                         
          JOHNNY BOY steps over TERESA to go down the stairs. He turns.
                         
<b>                          JOHNNY BOY
</b>           I don't know...she's your girl...I
           gotta go.
                         
          CHARLIE is furious. JOHNNY BOY points to TERESA who is
          getting worse.
                         
<b>                          JOHNNY BOY
</b>           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.
<b>                         
</b><b>           82.
</b>                         
                         
          The neighbors take over. One woman appears to know how to
          administer aid to TERESA.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CHARLIE'S BUILDING - STAIRS
</b>                         
          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.
                         
<b>          EXT. STREET - NIGHT - BLACK AND WHITE
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           You...
                         
          Again, JOHNNY BOY is thrown up against the door.
                         
<b>                          CHARLIE
</b>           You threaten me with my uncle?
           After what I'm doing for you?
                         
<b>                          JOHNNY BOY
</b>           What you're doing for me isn't
           worth it...believe me!
                         
          CHARLIE slaps JOHNNY BOY and pushes him against the door
          again.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           How much have you got for Michael
           tonight?
<b>                         
</b><b>           83.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           Take it. I'm doing it for you,
           stupid!
                         
<b>                          JOHNNY BOY
</b>           No you're not...
                         
          CHARLIE, calmer now, is feeling ashamed.
                         
<b>                          CHARLIE
</b>           Oh, cut it out, will ya?
                         
<b>                          JOHNNY BOY
</b>           Charlie, twenty-eight bucks is
           nothing. The only way to do it is
           through your uncle...think about it
           will you?
                         
<b>                          CHARLIE
</b>           NO!!! What do you think I am,
           crazy???
                         
<b>                          JOHNNY BOY
</b>           No, I just want to help myself,
           that's all.
                         
<b>                          CHARLIE
</b>           Come on.
                         
          He tugs JOHNNY BOY along.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE - BAR
</b>                         
<b>                          TONY
</b>           You're over an hour late. Michael
           said he'll be back later, though...
<b>                         
</b><b>           84.
</b>                         
                         
          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.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           Don't you move!!!
                         
<b>                          JOHNNY BOY
</b><b>                          (SULKING)
</b>           I'll be here. Don't worry.
                         
          JOHNNY orders a drink.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. CAB - NIGHT - BLACK AND WHITE
</b>                         
          CHARLIE gets into the cab.
                         
<b>                          CHARLIE
</b>           6th Avenue and Waverly Place, fast
           please.
                         
          The cab takes off. They soon arrive at their destination.
                         
<b>                          CAB DRIVER
</b>           Where do you want me to stop?
                         
          CHARLIE leans back into the seat and peeks out the window.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CHARLIE
</b>           Stop here.
<b>                          (HE HESITATES)
</b>           No...what am I...crazy??? Take me
           back to where you picked me up.
<b>                         
</b><b>           85.
</b>                         
                         
<b>                          CAB DRIVER
</b><b>                          (SIGHING)
</b>           Ok.
                         
          The car drives away, passing DIANE who is on the corner.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TONY'S PLACE
</b>                         
          CHARLIE is back inside the club.
                         
<b>                          JOHNNY BOY
</b>           Back so soon.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          TERESA
</b>           Hey, cut it out. Will ya?
                         
          He blows out the flames. CHARLIE moves to the other and of
          the room with his drink.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (TO TONY)
</b>           Who's the girl?
                         
<b>                          TONY
</b>           Jewish...
                         
<b>                          CHARLIE
</b>           How do you know?
<b>                         
</b><b>           86.
</b>                         
                         
<b>                          TONY
</b>           Look at her.
                         
<b>                          CHARLIE
</b>           She don't look Jewish.
                         
<b>                          TONY
</b>           Sure she is. She's always in here
           with some different guy. You know
           the way they are.
                         
          CHARLIE approaches the girl.
                         
<b>                          CHARLIE
</b>           I love you.
                         
          The girl looks at him, first embarrassed, then annoyed.
                         
<b>                          CHARLIE
</b><b>                          (SMILING)
</b>           Ever since that first day I saw you
           at the convent with the nuns,
           playing volleyball, I couldn't help
           myself.
                         
<b>                          GIRL
</b>           You Italian?
                         
<b>                          CHARLIE
</b>           Yeah why?
                         
<b>                          GIRL
</b>           You don't look it.
                         
          The girl laughs. Her boyfriend comes out of the men's room.
          He has her coat in his hand.
                         
<b>                          GIRL
</b>           (to the Boy)
           Fuck off.
                         
<b>                          BOY
</b><b>                          (STUNNED)
</b>           What do you mean?
           (he looks at CHARLIE)
           ...let's go.
                         
<b>                          GIRL
</b>           You go...I'm staying.
                         
<b>                          BOY
</b>           Let's go!
<b>                         
</b><b>           87.
</b>                         
                         
          CHARLIE reaches over and grabs the GIRL'S arm tightly. She
          looks up, startled, and the boy appears to be frightened.
                         
<b>                          CHARLIE
</b>           It's obvious that the girl doesn't
           want to accompany you, isn't it?
                         
<b>                          BOY
</b>           Look fella...this is private...
                         
<b>                          CHARLIE
</b>           Nothing's private...
                         
          The GIRL is really scared now.
                         
<b>                          GIRL
</b>           I'd like to leave.
                         
          CHARLIE won't let go of her arm. She tries to pull away but
          his grip tightens.
                         
<b>                          CHARLIE
</b>           Whether she wants to or not...she's
           not going.
                         
<b>                          BOY
</b>           Let go of her.
                         
          The GIRL is in tears.
                         
<b>                          GIRL
</b>           Stop it...you're hurting me.
                         
<b>                          CHARLIE
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. TONY'S PLACE - BACK ALLEY - BLACK AND WHITE - NIGHT
</b>                         
          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.
                         
<b>                          CUT TO:
</b><b>                         
</b><b>           88.
</b>                         
                         
<b>          INT. TONY'S PLACE - BAR AREA
</b>                         
          MICHAEL has entered the club. The BOY and GIRL are gone.
          TONY is with CHARLIE and JOHNNY BOY, whose return went
          unnoticed.
                         
<b>                          MICHAEL
</b>           What's it gonna be? I was here
           tonight...you kept me waiting for
           over an hour.
                         
          MICHAEL has two friends with him.
                         
<b>                          JOHNNY BOY
</b>           Hello, Michael. I've got something
           for you...not much...but...
                         
<b>                          CHARLIE
</b>           He has about twenty-eight bucks...
           it's all he has on him.
                         
<b>                          MICHAEL
</b>           Better than nothing.
                         
          JOHNNY BOY takes out a ten dollar bill and hands it to him.
                         
<b>                          MICHAEL
</b>           Where's the rest?
                         
<b>                          CHARLIE
</b>           Yeah, where's the rest?
                         
<b>                          JOHNNY BOY
</b>           I bought a few rounds of drinks
           while waiting.
                         
          CHARLIE is stunned.
                         
<b>                          MICHAEL
</b><b>                          (ANGRY)
</b>           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.
<b>                         
</b><b>           89.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           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.
                         
<b>                          CHARLIE
</b><b>                          (MUTTERING)
</b>           You're really crazy.
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          MICHAEL
</b>           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.
                         
<b>                          CHARLIE
</b>           You stupid bastard! Never pull a
           gun unless you intend to use it.
                         
          He hits JOHNNY BOY again.
                         
<b>                          TONY
</b><b>                          (HOLDING GUN)
</b>           ...No bullets in it.
                         
          CHARLIE hits JOHNNY BOY again.
<b>                         
</b><b>           90.
</b>                         
                         
<b>                          TONY
</b>           Get out of here before this really
           goes up.
                         
<b>                          CHARLIE
</b>           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?
                         
<b>                          TONY
</b><b>                          (RELUCTANTLY)
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>          SCENE FROM "TOMB OF LIGEIA"
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. NIGHT - TONY'S CONVERTIBLE - BLACK AND WHITE
</b>                         
          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.
                         
<b>                          JOHNNY BOY
</b>           I think we should see your uncle.
                         
<b>                          CHARLIE
</b>           No.
                         
<b>                          JOHNNY BOY
</b>           This can't be settled any other way
           now...I'll take full blame.
                         
<b>                          CHARLIE
</b>           Forget it.
<b>                         
</b><b>           91.
</b>                         
                         
<b>                          JOHNNY BOY
</b>           What are you going to do? Hide me?
                         
<b>                          CHARLIE
</b>           Good idea.
                         
          JOHNNY BOY turns away and tunes in the radio to a loud rock
          song.
                         
<b>                          CHARLIE
</b><b>                          (CONFESSION)
</b>           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.
                         
<b>                          JOHNNY BOY
</b>           What are you talking to yourself???
                         
          He turns up the radio.
                         
<b>                          CHARLIE
</b><b>                          (SARCASTIC)
</b>           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.
                         
<b>                          CHARLIE
</b>           Hey, what is this guy, crazy?
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. NIGHT - BLACK AND WHITE
</b>                         
<b>          BLACK SEDAN - MICHAEL AND ANOTHER BOY.
</b>                         
<b>                          VOICE
</b>           Now, now's the time!
                         
          CHARLIE turns his head to look. JOHNNY BOY looks up. They
          fire the gun.
                         
<b>                          CUT TO:
</b><b>                         
</b><b>           92.
</b>                         
                         
<b>          FULL COLOR SHOTS
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>                         TONY'S CONVERTIBLE
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. NEIGHBORHOOD STREET
</b>                         
          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.
                         
<b>                          MUSIC:
</b>                         
<b>          CONTINUES THROUGH ALL CUTS.
</b>                         
<b>                          CUT TO:
</b>                         
<b>                         TERESA'S ROOM
</b>                         
          TERESA is in bed, asleep. The music can be heard echoing in
          the background.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET CORNER
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          GIOVANNI'S LIVING ROOM
</b><b>                         
</b><b>           93.
</b>                         
                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          ALL NIGHT VILLAGE LUNCHEONETTE
</b>                         
          DIANE is alone, sipping coffee.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET CORNER
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          TONY'S PLACE - MEN'S ROOM
</b>                         
          TONY is relieving himself. He washes his hands.
                         
<b>                          CUT TO:
</b>                         
<b>                         NEIGHBORHOOD STREET
</b>                         
          The last song of the festival is ending now. As the singers
          come to a stirring climax they wave and shout in Italian.
                         
<b>                          SINGERS
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>          MICHAEL'S CAR - PARKED
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>                         STREET CORNER
</b>                         
          CHARLIE is still in shock, sitting on the curb.
                         
          The police are still walking around in a businesslike manner.
<b>                         
</b><b>           94.
</b>                         
                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. POLICE STATION - DAY
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           My uncle didn't come?
                         
          MARIO says nothing, just nods at him to step outside.
          CHARLIE goes out into the street. MARIO follows.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. STREET - DAY
</b>                         
          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.
                         
<b>                          MARIO
</b>           (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.
                         
<b>                          MARIO
</b>           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.
                         
<b>                          MARIO
</b><b>                          (ABRUPTLY)
</b>           Things worked out rotten kid. Sorry.
                         
<b>                          CUT TO:
</b><b>                         
</b><b>           95.
</b>                         
                         
<b>          INT. CAR - DAY
</b>                         
          TONY'S car. He is driving CHARLIE to the airport. A
          suitcase can be seen in the back seat.
                         
<b>                          TONY
</b>           Where to?
                         
<b>                          CHARLIE
</b><b>                          (PREOCCUPIED)
</b>           Kennedy.
                         
<b>                          TONY
</b>           (trying to be jolly)
           I know, I know, stupid. I mean
           where you goin'?
                         
<b>                          CHARLIE
</b>           It's an open ticket. I can go
           anywhere up to $350.
                         
<b>                          TONY
</b>           So?
                         
<b>                          CHARLIE
</b><b>                          (EDGY)
</b>           So I'll send you a postcard from
           wherever. If I get there.
                         
<b>                          TONY
</b>           Nervous?
                         
<b>                          CHARLIE
</b>           Yeah.
                         
<b>                          TONY
</b>           You flew before?
                         
<b>                          CHARLIE
</b>           No.
                         
<b>                          CUT TO:
</b>                         
          CHARLIE'S face - slightly upset.
                         
          CHARLIE snapping seat belt in car.
                         
<b>                          CUT TO:
</b>                         
          STOCK SHOT: airplane exploding BLACK AND WHITE (FANTASY)
                         
<b>           CUT BACK TO:
</b>                         
          CHARLIE in car - more upset.
<b>                         
</b><b>           96.
</b>                         
                         
<b>                          CHARLIE
</b><b>                          (IRRITATED)
</b>           Hey, come on...
                         
<b>                          TONY
</b>           Take it easy. I only asked because
           maybe I could, you know, let you
           have a little something.
                         
<b>                          CHARLIE
</b>           Yeah, well thanks, but I got enough
           to hold me. My mother can send me
           some. I don't know.
                         
<b>                          TONY
</b>           How about Teresa? I could talk...
                         
<b>                          CHARLIE
</b>           (trying not to be impatient)
           Listen, I appreciate it, but I'll
           handle it myself. I'll write.
                         
<b>                          TONY
</b>           And say what?
                         
<b>                          CHARLIE
</b>           I'll say that I'm travelling.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. AIRPORT - DAY
</b>                         
          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.
                         
<b>                          TONY
</b>           Listen, try a place with some sun.
           Swimming pools. Palm trees. Girls
           in little French bathing suits.
                         
<b>                          CHARLIE
</b><b>                          (SMILES)
</b>           Thanks for the ride.
                         
          CHARLIE breaks away from the handshake and grabs TONY
          affectionately behind the neck.
                         
<b>                          CHARLIE
</b>           Take care of that tiger.
<b>                         
</b><b>           97.
</b>                         
                         
<b>                          TONY
</b><b>                          (CORRECTING HIM)
</b>           Panther...
                         
<b>                          CHARLIE
</b>           Panther! Same thing...
                         
<b>                          TONY
</b>           Hey...no more good times like
           before. Until you come back.
                         
<b>                          CHARLIE
</b>           Sure. And you're gonna take the
           vows next Tuesday, right.
                         
<b>                          TONY
</b><b>                          (LAUGHS)
</b>           Yeah, I'm gonna worry about you, too.
                         
          TONY gives CHARLIE'S hand a last slap, then gets back behind
          the wheel.
                         
<b>                          TONY
</b>           See you.
                         
          CHARLIE nods and watches the car pull away. Then he picks
          up his bag from the sidewalk and walks into the terminal.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. TERMINAL - DAY
</b>                         
          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.
                         
<b>                          CHARLIE
</b>           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.
<b>                         
</b><b>           98.
</b>                         
                         
<b>                          CLERK
</b>           May I help you?
                         
          CHARLIE stares at the flight board in dismay and indecision.
          He apparently does not hear her.
                         
<b>                          CLERK
</b>           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.
                         
<b>                          CHARLIE
</b>           (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.
                         
<b>                          CUT TO:
</b>                         
<b>          QUICKLY TO BLACK - MUSIC IN 
</b>
He is torn between his faith and his mafia ties.