MOONSTRUCK

by

John Patrick Shanley

FOR EDUCATIONAL PURPOSES ONLY

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"MOONSTRUCK"

BY JOHN PATRICK SHANLEY

FADE IN:

INT. ZITO'S BREAD STORY - DAY

Several dozen loaves of golden Italian bread are standing onend in a shaft of morning sunlight. They are standing onend in bins. In the window, ZITO'S can be read in reverse. We leave the loaves and DRIFT DOWN TO a Progresso Productscalendar, which hangs from the wall by a nail. The month isNovember. Various phone numbers and delivery dates havebeen penned in in a rough scrawl. Now WE GO TO a whiteformica counter, scuffed and pocked from long use. On thecounter, in a rinsed out olive jar filled with water, arethree fat red roses. The TITLE APPEARS IN BLACK SCRIPT AGAINSTTHE WHITE BACKGROUND.

MOONSTRUCK

Now WE FAINTLY HEAR THE VOICE of Zito himself, and a lowTAPPING SOUND. SOME CREDITS ROLL.

ZITO'S VOICE(barely discernable)

Three times they cancel the orderwith me, and three times they comeback. Who they kidding? They cheap,cheap, cheap. The other bread theyget is no good. They save pennies. Everybody complain and they comeback. "Zito, your bread is the best."They're like children stupid in schoolwho cannot learn. The water. It'sthe water. You buy bread in Hoboken,you get Hoboken water. Hoboken wateris dry. Ask anybody who knows. Askyour father. He knows.

During Zito's plaintive words, WE LEAVE the roses and MOVEDOWN the counter TO a calculator being tapped very efficientlywith the eraser end of pencil. When the results appear, thepencil notes the figure in a threadbare old ledger.

NOW WE SEE ZITO

He's a middle-aged Italian man with a kind face. But it'searly in the day, and he's already been working for hours,so he's a little tired and disgruntled.

ZITOYou want me to make you some coffee?

2.

NOW WE SEE LORETTA FOR THE FIRST TIME

She's entering a few final figures in the ledger. LORETTAis Italian, 37. Her hair black, done in a dated style, isflecked with grey. She's dressed in sensible butunfashionable clothes of a dark color.

LORETTAWhat d'you know about coffee? Gimmea loaf of bread.

EXT. ZITO'S BREAD STORE - DAY

Loretta emerges with her little weathered leather bookkeepingsatchel and a loaf of Zito bread in a white paper bag. Shemoves off briskly.

EXT. A.J. CONTI FUNERAL CHAPEL - DAY

This is a little Italian funeral parlor.

INT. THE "WAKE" ROOM"

A generic little room filled with many flowers and wreathes,many folding chairs, a few OLD PEOPLE sitting and, up front,the star of the show, the CORPSE on display in his gold andformica casket. Before the casket is a little kneeler. Wediscover an OLD LADY there, who crosses herself and rises. She goes and sits by RUBY, another old women. She leansover and says.

OLD WOMANHe looks great.

RUBYThat Al Conti is a genius.

INT. OFFICE OF THE FUNERAL PARLOR

First WE SEE a name plate on a desk. The plate reads ALFONSOCONTI. We HEAR his VOICE.

CONTI'S VOICEI am a genius.

The SHOT WIDENS TO INCLUDE the loaf of bread which is halfcut up and being buttered. Next to the bread are two steamingmugs of coffee. We HEAR the subdued TAPPING of Loretta'stabulations.

LORETTA'S VOICEIf you're such an artistic genius,why can't you keep track of yourreceipts? How am I going to do yourincome tax?

3.

CONTI'S VOICEI am an artistic genius.

The SHOT WIDENS and now we can see Al Conti and Lorettasitting at the desk having Zito's buttered bread and mugs ofcoffee. Loretta's got her calculator going and is enteringfigures in Al's black, gold-lettered ledger.

LORETTAIf you're an artistic genius, howcome you got butter on your tie?

He looks down and sees the stain. He's at a loss.

LORETTAGive it here. I'll give you this,Al, you make good coffee.

She downs her coffee, accepts the stained tie which Al hastaken off, and slams the ledger shut.

INT . ROBERT'S S DRY CLEANERS - DAY - MORE CREDITS ROLL

We are looking at a wall of dry-cleaned clothes bags. Theyare hanging from an automated grid. As we watch, the wallstarts to move off to the left. A gap appears where noclothes are hung. The gap creates visual frame. In theframe is ROBERT. He is operating the grid with a littlestick shift. He stops it and takes down a garment. He leavesthe frame, heading off to the counter. When he moves away,WE SEE that Loretta is behind him, working her calculator,entering in a ledger. She slams the ledger shut, wavesgoodbye. and goes. After beat she reappears, produces Conti'stie, says something to Robert, who is out of view, leavesthe tie, and

INT. BUTCHER SHOP - DAY

WE SEE a cleaver whacking an oxtail into section.

Now WE SEE Loretta, a few feet away, tabulating on a choppingblock that is partially obscured by a row of hanging rabbits,unskinned.

INT. A FLORIST SHOP - DAY

A long white box is being filled with red roses. We HEARthe FLORIST'S VOICE.

FLORIST'S VOICERed roses. Very romantic. The manwho sends these knows what he's doing.

Now WE SEE Loretta tabulating and the Florist working on thebox of roses.

4.

LORETTAThe man who sends those spends a lotof money on something that ends upin the garbage can.

The Florist gives her a look and then smiles.

FLORISTI'm glad everybody ain't like you,Loretta. I'd be outta business.

LORETTAWithout me, you'd be out of business. I like flowers.

She gives him a sudden, brief, blinding smile. It's thefirst time we've seen her smile. She has gold work aroundone of her two front teeth. The Florist grunts and handsher a red rose. Camera moves close to Loretta and the rose.

END OF CREDITS

DISSOLVE TO:

EXT. THE GRAND TICINO - AN ITALIAN RESTAURANT - NIGHT

A red neon sign hangs in the window.

It's a quaint downstairs restaurant in Greenwich Village. AYOUNG COUPLE stop, look at the menu, become more interestedin each other, kiss, and decide to go in.

INT. THE GRAND TICINO - NIGHT

White tablecloths and dark green walls, a tiny bar up by thedoor. The WAITERS all look a little alike. That's becausethey're all related. The place is about half full, andbustles along pleasantly.

MUSIC

A VIOLIN PLAYS a melancholy Neapolitan air.

MR. JOHNNY and Loretta sit at a table for two talking quietly. They have their menus and glasses of red wine. Mr. Johnnyis Italian, around 42. His wavy salt-and pepper hair isimpeccably combed back; but there is so much that it threatensto fall forward someday and engulf his face. He is wearinga pinky ring, a dark suit, a gold watch, and, on his face, amustache and a look of incredible seriousness. Loretta isItalian, 37. Her black hair, done in a dated style, isflecked with grey. She is wearing a dark blouse, black skirt,and high heels. One of her teeth is framed with gold work. Mr. Johnny is really timid of life, an overgrown boy, whohides these qualities behind a veil of dignity.

5.

Loretta is tough and efficient, loyal and watchful; shewatches out for Mr. Johnny, and defends him against life.BOBO, an Old World Italian waiter, comes over to take theirorder.

BOBOAre you ready?

MR. JOHNNYHello, Bobo. How are you tonight?

BOBOVery good, Mr. Johnny.

MR. JOHNNYWe will both have the Salad Ticino.

BOBOUh-huh

MR. JOHNNYAnd I'll have the special fish.

LORETTAYou don't want the fish.

MR. JOHNNYNo?

LORETTAIt's the oily fish tonight. Notbefore the plane ride.

MR. JOHNNYMaybe you're right.

LORETTAGive him the manicotta, Bobo. Me,too.

BOBOYes, Miss Loretta.

LORETTA(to Mr. Johnny)

That will give you a base. For yourstomach. You eat that oily fish,you go up in the air, halfway toSicily you'll be green and your handswill be sweating.

MR. JOHNNY(smiles)

You look after me.

6.

They HEAR a distinguished MAN'S VOICE rise out of the babble. They turn and look. The man's name is PERRY.

PERRY AND PATRICIA FROM LORETTA'S POV

Perry is a university professor. PATRICIA is hisgirlfriend/student. He's in his 50's. She's about 25 yearsyounger. She's getting her coat on in a huff.

PERRYPatricia, please don't go!

PATRICIAWhat do you think I am, a talkingdog?

PERRYl was just making a point about theway you said... the way you statedyour aspirations.

PATRICLAYou can kiss my aspirations! Professor!

She storms out, leaving Perry muttering to himself.

PERRYKiss my aspirations. Oh, very clever. The height of cleverness. Waiter!

An abnormally SHY WAITER stops.

SHY WAITERYes?

PERRYCould you do away with her dinner,and any evidence of her, and bringme an big glass of vodka?

SHY WAITERBut absolutely!

THE SHY WAITER begins to efficiently clear.

MR. JOHNNY AND LORETTA EXCHANGE A GLANCE

Mr. Johnny is amused. Bobo serves them their salad.

MR. JOHNNYA man who can't control his woman isfunny.

7.

LORETTAShe was too young for him.

Mr. Johnny considers this a point well taken.

BOBO AND HIS NEPHEW EDDIE STAND NEAR THE KITCHEN

Which can be seen through a serving window. They can lookout over the restaurant tables. Bobo is melancholy andphilosophical. EDDIE is a young waiter.

EDDIEWhat'samatter, Uncle Bobo?

BOBOTonight Mr. Johnny's gonna proposemarriage.

EDDIEHow you know that?

BOBOHe arranged it with me. When heasks her, then he'll wave to me andI'll bring champagne. Good bachelorcustomer for twenty years. But whoknows? Maybe he'll lose courage.

EDDIEHeavy duty stuff.

PERRY, FEELING NO PAIN, COLLARS THE SHY WAITER

He holds out his empty glass.

PERRYCan I get another one of these?

SHY WAITERDefinitely!

Perry takes his arm.

PERRYMay I presume to ask you a question?

SHY WAITERSure!

PERRYDo you have a girlfriend?

SHY WAITERI am alone in the world.

8.

Perry lets go of his arm. He and the Shy Waiter commiseratea moment. Then, wordlessly, the Shy Waiter goes.

PERRYThat's very sad.

BOBO IS CLEARING THE REMAIN5 OF MR. JOHNNY'S DINNER. He'salready cleared Loretta's.

BOBOHow's things?

LORETTAFine, Bobo. We'll take the check.

MR. JOHNNYNo, I want to see the dessert cart.

BOBOVery good.

Bobo goes. Loretta is surprised.

LORETTAYou never have dessert.

MR. JOHNNYNever is a long time.

Mr. Johnny is uneasy. He massages his head.

LORETTAWhat's the matter?

MR. JOHNNYMy scalp is not getting enough bloodsometimes.

Loretta looks at him strangely. Bobo rolls up the dessertcart. WE SEE Loretta and Mr. Johnny through the frame ofthe dessert cart. They turn and look at the desserts.

MR. JOHNNYHave Something.

LORETTAI shouldn't.

MR. JOHNNYWill you marry me?

LORETTAWhat?

9.

MR. JOHNNYWill you marry me?

LORETTABobo, take the cart away.

He does.

LORETTA(continuing)

Are you proposing marriage to me?

MR. JOHNNYYes?

LORETTAYou know I was married and that myhusband died. But what you don'tknow is I think he and I had BadLuck.

MR. JOHNNYWhat do you mean?

LORETTAWe got married at the City Hall andI think it gave bad luck the wholemarriage.

MR. JOHNNYI don't understand.

LORETTARight from the start we didn't do itright. Could you kneel down?

MR. JOHNNYOn the floor?

LORETTAYes, on the floor.

MR. JOHNNYThis is a good suit.

LORETTAI helped you buy it. It came withtwo pairs of pants. It's for luck,Johnny. When you propose marriageto a woman, you should kneel down.

MR. JOHNNYAlright.

10.

Mr. Johnny slowly gets out of his chair. There's not enoughroom for him to kneel down. He has to ask two off-duty PROWRESTLERS who are eating dinner to move their chairs. Theydo so with bemused expressions. Their names are BOB andMOOK.

SHY WAITER BRINGS PERRY A FRESH GLASS OF VODKA ASKS THE SHYWAITER

PERRYIs that man praying?

MR. JOHNNY ON HIS KNEES ADDRESSES LORETTA

JOHNNYSo. Will you ma...

LORETTA(interrupting)

Where's the ring?

MR. JOHNNY(at a loss)

The ring?

BOB AND MOOK ARE WATCHING MR. JOHNNY'S PERFORMANCE

They are deadpan mugs.

BOB(to Mr. Johnny)

A ring. That's right.

MOOKI woulda sprung for a ring if it wasme.

BOBO AND EDDIE STAND NEAR THE KITCHEN WATCHING

BOBOShe's got him on his knees. He'sruining his suit.

LORETTA AND MR. JOHNNY

LORETTAYou could use your pinky ring.

MR. JOHNNYI like this ring.

LORETTAYou propose to a woman you shouldoffer her a ring of engagement.

11.

Mr. Johnny takes off the ring and holds it out to her.

MR. JOHNNYLoretta. Loretta Castorini Clark. On my knees. In front of all thesepeople. Will you marry me?

She meekly accepts the ring from him and takes his hands.

LORETTAYes, Johnny. Yes, John AnthonyCammareri. I will marry you. Iwill be your wife.

Mr. Johnny slowly stands up, brushes off his knees. Therestaurant has fallen utterly silent. Loretta smiles. Theyembrace. Loretta kisses him quickly.

A MIDDLE-AGED WOMAN, SUSAN, IS MAUDLIN FROM THE PROPOSAL

Bobo stands very near her table. She is about to applaudthe proposal. She brings her hands together. Bobo's handflashes out and neatly captures her hands before they canpart again. The single sound dies abruptly in the silentroom.

LORETTA AND MR. JOHNNY

Mr. Johnny is in control now. He looks around once, regally.

MR. JOHNNYBobo! The check!

PERRY AND THE SHY WAITER LOOK AT MR. JOHNNY AND LORETTA

PERRYI feel like I have just witnessed acar accident.

The Shy Waiter sits down at Perry's table.

SHY WAITERWhen I was twenty-seven years old,in Jersey City, I asked a woman tomarry me. She had red hair. Shesmelled a jasmine. She wore blackshoes with pointy white tips.

PERRYWhat happened?

SHY WAITERShe didn't hear me. She asked me torepeat, so she could understand whatI said. But I wouldn't repeat it.

12.

SHY WAITEROutta shyness. So I'm a bachelor.

MR. JOHNNY AND LORETTA

He's helping her on with her coat.

LORETTAWhat time is it?

MR. JOHNNYSeven-thirty.

LORETTASo we'll pick up the car, we'll makethe plane in plenty of time.

Mr. Johnny puts on his coat.

MR. JOHNNYMy mother will be happy I'm gettingmarried.

Bobo approaches with the bucket of champagne. He's flustered.

BOBOI forgot to bring the champagne, Mr.Johnny.

MR. JOHNNYI forgot to wave. We'll have it atthe wedding.

EXT. MIDTOWN TUNNEL - A CREAM COLORED LTD SPEEDING - NIGHT

INT. THE CREAM LTD - NIGHT

Loretta driving and Mr. Johnny sitting beside her. In theback seat are two suitcases.

LORETTAWhat about the wedding?

MR. JOHNNYMy mother is dying. When she is dead,I'll come back and we'll be married.

LORETTAHow near is she to death?

MR. JOHNNYA week. Two weeks. No more.

LORETTAThen let's set the date.

13.

LORETTAHow about a month from today?

MR. JOHNNYMust it be so definite? Can't wejust say that we will be marriedwhen I get back?

LORETTAWhere? At the City Hall? No! Iwant the whole wedding or we willhave Bad Luck. For a whole weddingto be planned, a date must be set.

MR. JOHNNYAlright. A month. In a month.

LORETTAA month from today?

MR. JOHNNYYeah.

LORETTAI'll take care of it, Johnny. I'lltake care of the whole thing. Allyou have to do is show up.

INT. A TERMINAL AT KENNEDY INTERNATIONAL AIRPORT - NIGHT

CLOSE UP ON TV MONITOR - VIDEO INSERT

Dialogue on clip: (Close-up on Ava Gardner & Gregory Peckkissing. Length of clip is 1:25)

AVAOh, you're not going. You're staying.

GREGORYNo, I'm going.

AVAThe Shawfish?

GREGORYJust across the bay, at the fueldepot. The men wanted to try to gethome. I can't explain.

AVAThen, I suppose the time has comesay it's been nice Dwight Lionel. It's been everything. Oh, Dwight,I'm frightened.

14.

GREGORYI know, I am so sorry for so manythings. I love you, Moira. I loveyou. I love you.

INT. A TERMINAL AT KENNEDY AIRPORT - NIGHT

Many PEOPLE, most of them Italian, are lined up to board theplane. A VOICE can be heard over the P.A. system.

VOICE(over P.A. System)

International Flight Number Six-oh-four boarding for Rome and Palermoat Gate Twenty-six.

MR. JOHNNY AND LORETTA ARE SAYING GOODBYE.

LORETTACall me when you get in.

MR. JOHNNYI'll call you when I get to Mama'shouse.

LORETTAYou've made me very happy, Johnny.

He takes a piece of paper from his wallet.

MR. JOHNNYThere's one thing about this weddingI want you to do. Call this number. It's a business number. Ask forRonny. Invite him to the wedding.

LORETTAWho is he?

MR. JOHNNYHe's my younger brother.

LORETTAYou have a brother?

MR. JOHNNYWe haven't spoken in five years. There was some bad blood. I want youto call him and invite him to thewedding. Will you do it?

LORETTASure.

15.

VOICEThis is the last call forInternational Flight Number Six-oh-four boarding at Gate Twenty-six forRome and Palermo.

MR. JOHNNYI've got to go.

He clumsily kisses her. Then he quickly turns and leaves.She waves, but he doesn't look back.

EXT AIRPORT RUNWAY - NIGHT

Close shot on plane's wheels and under belly as it slowlybegins to move. Red lights are flashing.

AN OLD ITALIAN CRONE IS LOOKING OUT THE TERMINAL WINDOW

In the background we see the accordion like ramp that wasloading to the departing aircraft, slowly fold up. Lorettawalks up beside her, and looks out the window, too. Thecrone is dressed in black and has a black scarf on her head. The Crone notices Loretta.

CRONEDo you have someone on that plane?

LORETTAYeah.

(smiles)My fiance.

CRONEI have put a curse on that plane. My sister is on that plane. I haveput a curse on that plane that itshould explode. Burn on fire andfall into the sea. Fifty years agoshe stole a man from me. Today shetold me that she didn't even lovehim. She took him to feel strongwith me. Now she goes back to Sicily. I have cursed her that the greenAtlantic water should swallow herup.

LORETTAI don't believe in curses.

CRONE(smiles)

Neither do I.

16.

The plane takes off. Loretta looks after it anxiously. Allher hopes are on that plane.

INT. A PARKING GARAGE IN LITTLE ITALY - NIGHT

The LTD pulls into the entrance and Loretta gets out. AnATTENDANT appears.

ATTENDANTMr. Johnny's, right?

LORETTARight. The key's in it.

ATTENDANTGood night.

LORETTANight.

Loretta walks of into the night.

EXT. THE SWEETHEART LIQUOR STORE - NIGHT

Camera frames the window with a sweetheart in neon.

EXT. THE SWEETHEART LIQUOR STORE - NIGHT

Loretta walks up the street and enters the store.

INT. THE SWEETHEART LIQUOR STORE - NIGHT

Loretta walks in. IRV and LOTTE, the middle-aged couple whoown and run the place, are having an argument.

LOTTEI've seen how you look at her and itisn't right.

IRVHow do I look at her?

(to Loretta)Can I help you?

LORETTAA split of Moet.

LOTTE(to IRV)

Like a wolf.

IRV(getting the split)

Like a wolf, huh? You never seen awolf in your life.

17.

IRV(to Loretta)

That's seven-fifty-seven.

Loretta pays and waits for her change.

LOTTEI seen a wolf in everybody I evermet and I see a wolf in you.

IRV(giving the change)

That makes ten. Thanks. Have anice night.

LORETTAYou, too.

Loretta walks out.

IRVYou know what I see in you, Lotte?

LOTTEWhat?

IRVThe girl I married.

Lotte, caught off-guard, blushes.

EXT. THE CASTORINI HOUSE - NIGHT

It's a big, old eccentric, three-story corner house. To oneside, it's got a qated arch that leads to an inner courtyardwhere three cars could park. It's got two cast-ironbalconies. About a third of the windows in the house arelit.

From within can be HEARD the faint strains of VICKI CARRSINGING and one DOG BARKING. Loretta appears, carryingchampagne, approaches the front door, unlocks it, and goesin.

INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT

MUSIC

VICKI CARR is SINGING "IT MUST BE HIM."

The front hall is typical of big old brownstones. There's abig old oak coat rack with a built-in mirror and an umbrellastand. There are several coats hanging from it. The flooris littered with boots. There's also a side table.

18.

On the table is a large cut-glass bowl filled with a coupleof pounds of hard candy.

Loretta comes in and takes off her coat. A single MAD HOWLis HEARD, followed by a PANDEMONIUM OF BARKING. FIVE DOG5charge into the hall to greet Loretta. They are totallycockeyed, crackpot mutts. Their names are JUDAS, LUCY, LEOFATBOY, AND JONES.

LORETTAHello, boys and girls. Guess whathappened to me?

The VOICE of the OLD MAN is heard calling out from upstairs.

OLD MAN'S VOICEHow long must I wait? Quanto tempodevo aspettare?

The Five Dogs turn away from Loretta and charge up the stairstoward the voice. Loretta walks toward the living room.

INT. THE CASTORINI HOUSE - LIVING ROOM - NIGHT

This is the source of the Vicki Carr song, which ls justending. COSMO CASTORINI, Loretta's father is just turningoff the old stereo. He is a powerful man, about 65, with ahuge shock of white hair and gold wire glasses. He's wearinga big old red silk robe over blue pajamas, and royal blueslippers. The room it filled with lumpy upholsteredfurniture, once grand, now threadbare; shawls and doiliescover holes in failing fabric. There's a fireplace containinga dying fire. Cosmo's wing chair, with his newspaper on it,is beside a lit fringed lamp. Cosmo sees Loretta as shecomes in.

COSMOHi.

He sits in his chair and puts his feet up on an oldneedlepoint ottoman. He starts to read the paper.

LORETTAWhere's Ma?

COSMOBed.

LORETTAYou're not sleepy?

COSMOI can't sleep anymore. It's toomuch like death.

19.

LORETTAPop, I got news.

Cosmo puts down the paper and takes his feet off the ottoman.

COSMOAlright. Let's go in the kitchen.

Cosmo gets up and heads for the kitchen. He hums and continuesas Loretta opens champagne.

INT. THE CASTORINI HOUSE - KITCHEN - NIGHT

Loretta and Cosmo sit at the kitchen table. It's a big tintable with a black-and-white design. Loretta has put twoold- fashioned champagne glasses on the table, the split ofchampagne, a bag of sugar cubes, and a bottle of bitters.She pours the champagne, drops a little lump of sugar intoeach glass, and adds a dash of bitters. She hands one ofthe drinks to Cosmo.

LORETTAHere.

(She Toasts)Ti amo.

(Translated: I loveyou.)

COSMOTi amo.

LORETTAYou look tired.

COSMOWhat's your news?

LORETTAI'm getting married.

COSMOAgain?

LORETTAYeah.

COSMOYou did this once it didn't workout.

LORETTAThe guy died.

COSMOWhat killed him?

20.

LORETTAHe got hit by a bus.

COSMONo! Bad luck! Your Ma and I beenmarried fifty-two years an nobodydied. You were married, what, twoyears, and somebody is dead. Don'tget married again, Loretta. It don'twork. out for you. Who's the man?

LORETTAJohnny Cammareri.

COSMOHim? He's a big baby. Why isn't hehere with you telling me?

LORETTAHe's flying to Sicily. His mother'sdying.

COSMOMore Bad Luck! I don't like hisface, Loretta. I don't like hislips. When he smiles I can't seehis teeth. When will you do it?

LORETTAIn a month.

COSMOI won't come.

LORETTAYou've got to come. You've got togive me away.

COSMOI didn't give you away the firsttime.

LORETTAAnd maybe that's why I had the BadLuck. Maybe if you gave me away,and I got married in a church, in awedding dress, instead of at theCity Hall with strangers standingoutside the door, maybe then Iwouldn't had the bad Luck I had.

COSMOMaybe.

21.

LORETTAI didn't have no wedding cake, noreception or nothing. Johnny gotdown on his knees and proposed to meat The Grand Ticino.

COSMOHe did?

LORETTAYeah.

COSMOThat don't sound like Johnny. Where'sthe ring?

Loretta shows it.

Cosmo examines it.

LORETTAHere.

COSMOIt looks stupid. It's a pinky ring. It's a man's ring.

LORETTAIt's temporary.

COSMOEverything is temporary. That don'texcuse nothing.

LORETTASo you'll come to the wedding, right?

COSMOLet's go tell your Mother.

She smiles. He doesn't. They rise from the table.

THE CASTORINI HOUSE - DARKENED MASTER BEDROOM - NIGHT

The door to the hall opens, and the light from without dimlyilluminates a massive four-poster bed. Cosmo enters, followedby Loretta. He speaks into the dark a calm and measuredsummons.

COSMORose. Rose. Rose. Rose.

A lamp is switched on by the bed. By ROSE. Rose is in her60'S, and is very, very beautiful. Her abundant white tressesframe a face of porcelain delicacy.

22.

She's wearing an old and richly beautiful white nightgown.

ROSEWho's dead?

COSMONobody. Loretta is getting married.

ROSEAgain? Johnny Cammareri.

Cosmo goes and sits on the bed.

COSMOI don't like him.

ROSEYou're not gonna marry him, Cosmo. Do you love him, Loretta?

LORETTANo.

ROSEGood. When you love them they driveyou crazy cause they know they can. But you like him?

LORETTAOh yeah. He's a sweet man. I wannahave a big church wedding, Ma. Anda reception.

ROSEAnd who's gonna pay for that?

LORETTAPop.

COSMOWHAT?

Rose starts laughing.

LORETTAFather of the bride pays.

Cosmo walks out.

COSMOI have no money!

ROSEYou're rich as Roosevelt. You'rejust cheap, Cosmo.

23.

Cosmo shouts from the stairs.

COSMOI won't pay for nothing.

ROSEHe didn't used to be cheap. He thinksif he holds on to his money, he willnever die.

LORETTAIt's his duty as a father to pay formy wedding, Ma ...

MUSIC

VICKI CARR, SINGING "IT MUST BE HIM", starts playing. Roselooks weary.

ROSENow he's gonna play that damn VickiCarr record. And then when he comesto bed, he won't touch me.

EXT. THE CASTORINI HOUSE - MORNING

The first golden rays of sunlight touch the great old house. The front door opens. Close shot of dogs coming into cameraas door opens. The OLD MAN comes out. The Old Man, who isCosmo's father, is 83 years old. He is taking the Five Dogsout for their morning walk. He has their five leashes bundledin one hand. In the other hand, even though it is a cloudlessNovember morning, he open black umbrella. He walks off downthe block with the dogs.

EXT. A SMALL CITY PARK SURROUNDED BY HURRICANE FENCE - DAY

The Old Man and the Five Dogs appear and enter the park. Heapproaches a park bench where FELIX and LUCY are alreadysitting. Felix and Lucy are about the same age as the OldMan. They each have a well-behaved DOG. when the Old Mansits down, he lets the Five Dogs go. The Dogs run off,BARKING like mad.

FELIXIt's wrong to just let them go.

OLD MAN(ignoring Felix)

Good morning, Lucy.

LUCYGood morning.

24.

FELIXThey run around, they mess up thewhole park.

OLD MANWhat do you want me to do? Pick upafter five dogs? I'm eighty- threeyears old. God in his heavenunderstands that I cannot pick upafter five dogs.

FELIXYou have too many dogs.

The dogs can be HEARD in the distance. It sounds like they'rekilling each other.

OLD MAN(goes back to ignoring

Felix)Lucy. There Are big things going onin my house. My granddaughterLoretta, the only daughter of my sonCosmo, has engaged herself to bemarried a second time.

LUCYI have heard that Johnny Cammarerigot down on his knees in The GrandTicino and proposed to her.

OLD MANMy son does not like this JohnnyCammareri. He says he is a big baby.

FELIXYou should have one dog. Like Lucy. Like me. I wish I hadda gun. If Ihadda gun, I would shoot four ofyour dogs.

The Old Man makes a low, threatening noise.

LUCYDon't fight.

OLD MANMy granddaughter wants my son to payfor the wedding. But he does notwant to pay.

LUCYHe should pay.

25.

OLD MANI don't know.

LUCYHe owes her a wedding from the firsttime when there was none.

OLD MANMaybe. I don't know. He has notasked my advice. If he asks myadvice, I don't know what I willsay.

The SOUND of the DOGS Hadean becomes intense again.

FELIXI won't have to shoot those dogs. They will kill each other.

OLD MANYou think so, huh, Stupid? Thosedogs love each other.

EXT. THE CASTORINI HOUSE - DAY

The gates in the big archway are opened from the inside. It's Cosmo. He's wearing a good but old-fashioned suit, anovercoat, and a homburg. He's pulled his car, a 1965 blackBuick, up to the gate. Now that he has the gates open, hegets in the car and drives out to the curb. He gets out andgoes back to lock the gates. As he does this, the Old Manapproaches the house with the Five dogs and the open umbrella. The Old Man and the Dogs go to the front door of the house. Cosmo goes to the door of his car. The two men, father andson, see each other at the moment they grab their respectivedoor handles. They each raise a hand in greeting; it is thesame gesture for both men, an eccentric chopping motion. Then they open their respective doors. The Old Man disappearswithin the house. Cosmo drives slowly away in his car.

INT. THE CASTORINI HOUSE - KITCHEN - DAY

A RED-HOT, WELL-SEASONED CAST IRON FRYING PAN

Receives a big lump of butter with a hissing gasp ofsatisfaction. A wooden spoon pushes the sinking lump arounduntil the pan is coated. Two square slices of yellow breadwith round holes punched in their middles land in the pan. Two circles of green pepper land next to the bread. A spatulaflips over the bread which has become glistening gold on thecooked side.

Two eggs are broken and dropped sunnyside into the holes inthe bread.

26.

The circles of green pepper are pushed around by the spatula,scooped up deftly, and each is made to frame one of the eggs. A WOMAN'S HAND garnishes each bright yellow yolk with a slashof red pimento. The spatula reappears and lifts the resultsfrom the pan, and slides them onto two small dark blue plates.

Now WE SEE that Loretta is just finishing setting the tintable for two. In the b.g., Rose is turning away from thebig, old- fashioned six range gas stove where an old speckledcoffee pot is steaming up a sun-drenched window. Rose comestoward the table with the laden blue plates. She's wearinga nice old apron over a blue housedress. She's thoughtful. As Rose comes to the table, Loretta in a blue denim workshirt and pants, goes to the stove and gets the coffee. AsRose puts breakfast on the table, she speaks to Loretta,who's at the stove.

ROSEWill you live here?

LORETTANo.

ROSEWhy not?

LORETTAPop don't like Johnny.

Loretta returns with the coffeepot to the table, and pours. Then she takes the pot back to the stove.

ROSESo we'll sell the house.

LORETTAI got married before, you didn'tsell.

Loretta comes to the table. They sit down to breakfast.

ROSEGrandma was still alive. Chiro wasstill home going to school. Nowhe's married and gone to Florida. If you and Johnny moved in, had a baby...

LORETTAI'm thirty-seven years old.

ROSEWhat's thirty-seven? I had Chiroafter I was thirty-seven. It ain'tover till it's over.

27.

LORETTAJohnny has a big apartment. We'lllive there.

ROSEAnd we'll sell the house.

LORETTAI'd like to stay, Ma. I love thehouse. But Pop don't like Johnny.

ROSENo. He don't.

The WALL PHONE in the kitchen RINGS. Loretta goes and answersit.

LORETTAHello? Yea, this is Loretta Castorini -yeah. Is that you Johnny?

INT. A DARKENED BEDROOM IN PALERMO - DAY

Mr. Johnny is calling on an old European-style phone. Inthe b.g. is the sickbed. In the sickbed lies VESTA, Mr.Johnny's mother, her grey hair spread out on a golden pillow. By the bed are THREE MOURNER5, old crones dressed in black. One clutches a missal, the other two clutch rosaries. Allthree are grieving in a steady low wordless whine. Mr. Johnnyspeaks into the phone in a confidential manner. There issome long- distance CRACKLE.

MR. JOHNNYSsh, it's me. I'm calling from thedeathbed of my mother.

LORETTA ON THE PHONE

LORETTAHow was your plane ride?

MR. JOHNNY ON THE PHONE

MR. JOHNNYThe waitresses were very nice.

(glances over at hismother)

My mother is slipping away.

LORETTA ON THE PHONE

VESTA(calling to the Heavens)

Quanto tempo devo aspettare?

28.

VESTA(now she aims more at

Johnny)How long must I wait?!

MR. JOHNNYI can't talk long.

LORETTAHave you told her we're gettingmarried?

MR. JOHNNY ON THE PHONE

MR. JOHNNYNot yet. I'm waiting till a momentwhen she's peaceful.

We HEAR Loretta's VOICE over his receiver.

LORETTA'S VOICEJust don't wait until she's dead.

MR. JOHNNYHave you called my brother?

LORETTA'S VOICENot yet.

MR. JOHNNYWill you do it today? Call him,make him come to the wedding. Fiveyears is too long for bad bloodbetween brothers. Nothing can replaceyour family. I see that now.

LORETTA ON THE PHONE

LORETTAAlright. I'll call him. Today. Listen, Johnny. Call me after youtell your mother. Alright? Alright. And don't stand directly under thesun. You've got your hat, use yourhat. Alright. Bye- bye.

Loretta hangs up the phone. She thinks. Rose speaks fromthe table, where she's still sitting.

ROSEHow's the mother?

LORETTAShe's dying. But I could still hearher big mouth.

29.

ROSEDid he tell her?

LORETTANot yet. That old lady makes himsweat.

(to herself)Where's that card?

Rose gets up and takes the dishes to the sink, Loretta fishesin her pocket and comes out with the business card Mr. Johnnygave her. She dials the number.

ROSEWho Are you calling?

INT. CAMMARERI PASTRY SHOP - DAY (INTERCUT W/LORETTA INKITCHEN)

CHRISSY, a woman with a Queens accent, answers.

CHRISSYCammareri's Bake Shop.

LORETTAIs Ronny there?

CHRISSYHold on.

(yells into intercom) Ronny, the phone!

INT. CAMMARERI PASTRY SHOP-OVEN ROOM DAY

(INTERCUT W/LORETTA IN KITCHEN)

RONNYYeah, this is Ronny.

LORETTAI'm calling for your brother Johnny. He's getting married and he wantsyou to come.

There's a long pause. Ronny's voice returns, hoarse withemotion.

RONNYWhy didn't he call himself?

LORETTAHe's in Palermo.

30.

RONNYWhat's wrong can never be made right.

(hangs up phone)

LORETTALet me come and talk to you.

Loretta hangs up the phone. She looks at the card again,makes a decision and pockets the card.

THE TOWNHOUSE/INT. THE BUICK - DAY

As Cosmo drives away. He's in a very good mood. He'sWHISTLING. He laughs to himself.

CAMMARERI'S PASTRY SHOP - DAY

And the street in front of it. Loretta arrives. She'swearing a long, navy-blue cloth coat and a knit hat. Shelooks up at the sign and at the business card in her hand,and enters the shop.

INT. CAMMARERI'S PASTRY SHOP- DAY

It's a nice Italian bake shop. Three Italian women, CHRISSY,BARBARA, and MA wait on THREE WOMEN SHOPPERS at the counter. CHRISSY and BARBARA are in their late 20's or early 30's; MAis old, old. Loretta comes in and speaks to CHRISSY.

LORETTAIs Ronny Cammareri here?

CHRISSYHe down at the ovens. What do youwant?

LORETTAI would like to speak to him.

EXT. CAMMARERI'S PASTRY SHOP - DAY

Chrissy comes out and Loretta follows. They walk around toan outdoor staircase that descends into the sidewalk. Chrissyshouts down.

CHRISSYHey, RONNY.

EXT. AN OLD DOOR AT THE FOOT OF THE STAIRCASE - DAY

The door slides open, revealing ROCCO, a baker missing a fewteeth. He is surrounded by bread.

ROCCOWhat!

31.

CHRISSY'S VOICESomebody to see Ronny.

Rocco slides back the door all the way. Chrissy and Lorettamake their way past him. He slides the door three quartersshut behind them.

INT. THE BASEMENT OVEN ROOM - DAY

There are two coal-fired ovens, one at either end of theroom. There is a large wooden table roughly center. Andvarious pieces of baking equipment, dough-mixers, etc.,scattered willy-nilly. And everywhere there is bread. PIETRO, a baker, is working at one of the ovens with a longwooden spatula. RONNY is working at the other oven. Actually, he is just staring in the open door at the bakingbread and burning coals. He's dressed in black jeans streakedwith flour, a white restaurant shirt, white cotton gloves,and around his neck, a red handkerchief. He is black-haired,handsome and intense.

ROCCORonny!

RONNYWhat!

ROCCOSomebody here to see you.

Ronny turns and takes in Loretta.

RONNYHave you come from my brother?

LORETTAYes.

RONNYWhy?

LORETTAI'm going to marry him.

RONNYYou are going to marry my brother?

LORETTAYes. Do you want...

RONNYI have no life.

LORETTAExcuse me.

32.

RONNYI have no life. My brother Johnnytook my life from me.

LORETTAI don't understand.

Everything in the oven room has stopped and everyone iswatching.

RONNYAnd now he's getting married. Hehas his, he's getting his. And hewants me to come? What is life?

He picks up the wooden spatula and slides it into the oven.

LORETTAI didn't come here to upset you.

Ronny slides a bunch of loaves out of the oven on the spatula,turns them around, and slides them back in.

RONNYThey say bread is life. So I bakebread, bread, bread.

(He's picking up loavesof bread from one ofthe boxes on thefloor, and casuallytossing them acrossthe room.)

And the years go by! By! By! And Isweat and shovel this stinking doughin and outta this hot hole in thewall and I should be so happy, huh,sweetheart? You want me to come tothe wedding of my brother Johnny?!! Where is my wedding? Chrissy! Overby the wall! Gimme the big knife!

CHRISSYNo, Ronny!

Barbara appears in the doorway and comes down the stairsinto the room.

RONNYGimme the big knife! I'm gonna cutmy throat!

LORETTAMaybe I should come back anothertime.

33.

RONNYNo, I want you to see this! I wantyou to watch me kill myself so youcan tell my brother on his weddingday! Chrissy, gimme the big knife!

CHRISSYI tell you I won't do it!

RONNY(to Loretta)

Do you know about me?

BARBARAOh, Mr. Cammareri!

RONNYNothing is anybody's fault, but thingshappen.

(holds up his lefthand to Loretta)

Look.

He pulls off the glove. The hand is made of wood.

RONNYIt's wood. It's fake. Five yearsago I was engaged to be married. Johnny came in here, he ordered breadfrom me. I put it in the slicer andI talked with him and my hand gotcaught cause I wasn't payingattention. The slicer chewed off myhand. It's funny 'cause - when myfiance saw that I was maimed, sheleft me for another man.

LORETTAThat's the bad blood between you andJohnny?

RONNYThat's it.

LORETTABut that wasn't Johnny's fault.

RONNYI don't care! I ain't no freakinmonument to justice! I lost my hand,I lost my bride! Johnny has hishand, Johnny has his bride! Youcome in here and you want me to putaway my heartbreak and forget?

34.

He goes to the big table, which is floured and covered withbread. He sweeps everything off the tabletop during thenext.

RONNYIs it just a matter of time till aman opens his eyes and gives up hisone dream of happiness? Maybe. Maybe. All I have...Have you comehere, Stranger, Bride of my Brother,to take these last few loaves frommy table? Alright. Alright.

The table is bare. He stares at it blankly. He wandersaway, to the back room where the flour sacks are kept. Wehear a single sob escape him from that room, and then silence. Everyone in the oven room looks after him. Then Chrissyapproaches Loretta. She holds the big knife at her side.

CHRISSYThis is the most tormented man Ihave ever known. I am in love withthis man. He doesn't know that. Inever told him cause he can neverlove anybody since he lost his handand his girl.

She holds out the knife.

CHRISSYHere. Why don't you just kill him? It would be so much more kind thancoming here and inviting him to awedding like he'll never have.

Loretta considers Chrissy, decides what she's going to do,and goes to the flour room.

INT. OF THE FLOUR ROOM - DAY

Many 50 lb. bags of flour are stacked under a bare electricbulb. A rough stone staircase opposite is lit by daylightfrom above. Ronny, quietly distraught, stands leaning byhis forehead against a stack of flour. Loretta approacheshim. She feels for him.

LORETTAWhere you live?

He points to the stone staircase.

RONNYUpstairs.

She touches his shoulder.

35.

LORETTACome on.

He follows her up the stairs.

EXT. THE STAIRCASE ENTRANCE ON THE STREET

Loretta and Ronny emerge. He gestures. They enter theapartment building behind the bakery.

INT. THE PEACOCK CAFE — DAY

It's a dark Italian coffee and dessert house. Reproductionsof Roman statuary adorn grottos and alcoves. In the back isa glass case displaying various desserts, and behind thecase, a big burnished gold cappuccino machine. The place isalmost empty.

MUSIC

An album of "NEAPOLITAN FOLK SONGS" is PLAYING on the cafe'sSOUND SYSTEM.

The CAMERA TRAVELS along the face of an exposed brick wall,DISCOVERING busts of Romans occasionally, and then IT COMESTO the figure of COSMO. He's sitting at a table which isinset into a nook, so we cannot see who he's with.

DARK NOOK IN THE CAFE

At a little table away from prying eyes, Cosmo sits withMONA, his girlfriend. Mona is a pretty but overripe Italianwoman in her late forties. She's all done up, and she looksat Cosmo with adoration.

COSMOAnd then there is copper, which isthe only pipe I use. It costs money. But it costs money because it savesmoney.

MONAAnd what did they say?

COSMOThe man understood me. The womanwanted to be cheap, but the man sawthat I was right.

MONAYou have such a head for knowing. You know everything.

COSMOI brought you something.

36.

He takes out a small velvet box and hands it to her.

COSMOIt's a present.

She opens the box. It's a gold bracelet with a pattern ofstars and birds.

MONAOh, Cosmo!

COSMOThey are little stars and birds. Birds fly to the stars, I guess.

EXT. RONNY'S APARTMENT BUILDING - DAY

A three-story walk-up above Cammareri's Bakery.

INT. RONNY'S APARTMENT - DAY

It's a two-bedroom apartment. The decor reflects Ronny'slove of the opera. The furniture is overstuffed, fringed inthe colors of Italian passion. But it is all a bit faded,the remains of an old flamboyance. The walls are decoratedwith opera posters; and over the fireplace there is a paintingdepicting a scene from "La Boheme": Mimi is standing in thesnow. Ronny stares at the picture of Mimi in the La Bohemeposter. Loretta comes in from the kitchen and sets down acup of coffee.

LORETTAYou ready for the coffee?

Loretta moves back into the kitchen. Ronny turns and watchesas she walks down the hall.

RONNYLoretta. What's that smell?

LORETTAI'm making you a steak.

RONNYYou don't have to help me.

LORETTAI know that. I do what I want.

RONNYI like it well done.

LORETTAYou'll eat this bloody to feed yourblood.

37.

INT. RONNY'S APARTMENT -DINING ROOM - DAY

CU of Ronny's artificial hand, holding a fork stuck in asteak. With his right he is cutting his steak. He switcheshands and eats hungrily. Loretta watches.

RONNYThis is good. Uhh...

LORETTALoretta.

RONNYWhere'd Johnny find you?

LORETTAHe knew my husband who died.

RONNYHow'd he die?

LORETTABus hit him.

RONNYFast.

LORETTAInstantaneous.

RONNYWhen you get engaged?

LORETTAYesterday.

Ronny drops his knife and fork and turns away. Loretta isnot surprised and does not move.

RONNYWhy?

LORETTAWhy what?

RONNYI don't know.

LORETTA(smiles)

So. Five years ago your hand gotcut off and your woman left you foranother man. No woman since then?

38.

RONNYNo.

LORETTAStupid.

RONNYWhen your husband get hit by thebus?

LORETTASeven years ago.

RONNYHow many men since then?

LORETTAJust Johnny.

RONNYStupid yourself.

LORETTANo. Unlucky. I have not been lucky.

RONNYI don't care about Luck, youunderstand me? It ain't that.

LORETTAWhat? Do you think you're the onlyone ever shed a tear?

RONNYWhy you talking to me?

LORETTAYou got any whiskey? How 'bout givingme a glass of whiskey?

EXT. STREET NEAR BAKERY - DAY

SHOT OF COSMO & MONA IN THE BUICK

The car has just come to a stop. We see Cosmo & Mona kiss. She exits car. Cosmo glances around with a slightly guiltylook and pulls away.

LORETTA AND RONNY AT THE TABLE WITH A BOTTLE OF WHISKEY

Camera is close on Scotch being poured into two glasses. Loretta picks up her glass and swallows a healthy dose.

RONNYShe was right to leave me.

39.

LORETTAYou think so?

RONNYYes.

LORETTAYou really are stupid, you know that.

Loretta pours herself another shot.

RONNYYou don't know nothing about it.

LORETTAI was raised that a girl gets marriedyoung. I didn't get married until Iwas twenty-eight. I met a man. Iloved him. I married him. He wantedto have a baby right away. I saidno. Then he got hit by a bus. Noman. No baby. No nothing! I didnot know that man was a gift I couldnot keep. I didn't know...You tellme a story and you think you knowwhat it means, but I see what thetrue story is, and you can't.

(she pours them bothanother drink)

She didn't leave you! You can't seewhat you are. I can see everything. You are a wolf!

RONNYI'm a wolf?

LORETTAThe big part of you has no words andit's-a wolf. This woman was a trapfor you. She caught you and youcould not get away.

(She grabs his woodenhand)

So you chewed off your foot! Thatwas the price you had to pay to befree.

(throws his hand down)Johnny had nothing to do with it. You did what you had to do, betweenyou and you, and I know I'm right, Idon't care what you say. And nowyou're afraid because you found outthe big part of you is a wolf thathas the courage to bite off its ownhand to save itself from the trap of

40.

LORETTAthe wrong love. That's why therehas been no woman since that wrongwoman. You are scared to death whatthe wolf will do if you make thatmistake again!

RONNYWhat are you doing!

LORETTAI'm telling you your life!

RONNYStop it!

LORETTANo!

RONNYWhy are you marrying Johnny? He's afool!

LORETTABecause I have no Luck!

RONNY(pounding on the table)

He made me look the wrong way and Icut off my hand. He could make youlook the wrong way and you could cutoff your whole head!

LORETTAI am looking where I should to becomea bride!

RONNYA bride without a head!

LORETTAA wolf without a foot!

Ronny stiff-arms everything off the dining table and grabsLoretta. They kiss passionately. He pulls her up on thetable and over the table to him. They are in each other'sarms. They are on fire. Loretta pushes him away, gaspingfor air.

LORETTAWait a minute! Wait a minute!

She changes her mind and lunges into another kiss. Theystop again after a long moment. They really haven't breathed.

41.

They both suck in air and look at each other in wonder andfear and passion.

RONNYIt's like I'm falling! It's likeI'm in the ocean!

They kiss again. When they pull apart again, Loretta iscrying.

LORETTAI have no Luck!

He picks her up in his arms.

RONNYSon of a bitch!

LORETTAWhere are you taking me?

RONNYTo the bed.

LORETTAOh. Oh God. I don't care aboutanything. I don't care aboutanything! Take me to the bed.

He carries her away, into the bedroom.

MUSIC: "O SOAVE FANCIULLA", from "La Boheme." The MUSICCONTINUES THROUGH THE NEXT SCENE.

INT. RONNY'S APARTMENT - BEDROOM

Ronny is laying her down in the bed. He is over her. Theylook into each other's eyes.

RONNYI can't believe what is happening.

LORETTAMe neither.

RONNYI was dead.

LORETTAI was dead, too.

They kiss. When they part there is a drop of blood onLoretta's lips.

42.

RONNYYour blood.

LORETTAAll my life I have never reached aman. I knew that I would reach myhusband, but I took my time and hewas dead. Ronny.

RONNYLoretta.

LORETTAI want to cut you open and crawlinside of you. I want you to swallowme.

RONNYI've got you.

LORETTAGet all of me. Take everything.

RONNYWhat about Johnny?

LORETTAYou're mad at him, take it out onme, take your revenge on me! Takeeverything, leave nothing for him tomarry! Hollow me out so there'snothing left but the skin over mybones. Suck me dry!

RONNYAlright. Alright. There will benothing left.

Their eyes are boiling with fierce animal tears. They haveopened their souls to each other and they are coming together.

The MUSIC SWELLS to a terrible triumph.

EXT. THE CASTORINI HOUSE - NIGHT

Dog whines over exterior.

INT. THE CASTORINI HOUSE - AN UPSTAIRS BEDROOM - NIGHT

With five beds for dogs. Four of the beds are empty and onthe fifth Judas is whining. He looks around at the otherbeds. Where is everybody? He goes out the bedroom door.

43.

THE CASTORINI STAIRCASE - NIGHT

Judas is running down the stairs and into the hall. We FOLLOWHIM down the hall. The hall is only dimly lit. He findsthe four other dogs. They are crowded at a narrow doorway. From the doorway comes a golden light.

INT. THE CASTORINI HOUSE - DINING ROOM - NIGHT

THE PLEASED FACE OF COSMO THROUGH A VEIL OF STEAM

The CAMERA PULLS BACK.

We are in the Castorini dining room. Cosmo sits at the headof the table, a napkin tucked into his shirt.

Rose has just laid down a massive platter of steaming bakedfish. Already on the table is a platter of pasta, loaves ofbread, a big bowl of salad, two bottles of wine, and anappetizer plate of salami and pimento. Seated at the tableis COSMO, the Old Man, and RAYMOND and RITA CAPPOMAGGI. Raymond is rotund, moon-faced, bald, somewhere in his fifties. He has a pencil-thin mustache over his small mouth. Hiswife, Rita, looks very like him, except she has hair on herhead and none on her lip. Raymond is Rose's brother. Thereare two empty places at table, for Rose and Loretta.

COSMOWhere's Loretta? We're gonna startwithout her.

ONE OF THE ENTRANCE WAYS TO THE DINING ROOM

There is an accordion gate across it. Behind the gate, theFive Dogs stare at the people having dinner.

ROSE'S VOICEShe must be eating out.

RAYMOND'S VOICEShe don't know what she's missing.

ROSE'S VOICEIt's not like her not to call.

RITA'S VOICEWell, she's got a lot on her mind.

THE DINING TABLE - RITA IS LOADING UP HER PLATE

RITAI mean, can we talk about it, Rose? Everybody's heard. She's gettingmarried again.

44.

COSMOI don't wanna talk about it.

RAYMONDJohnny Cammareri. I think it's greatand about time. What's she gonna dowith the rest of her life she don'tget married?

COSMOI don't wanna talk about it.

The Old Man has piled his plate high with food. Now he standsup, walks over to the Dogs, and puts the plate down in theirmidst. The Dogs attack the food and each other. The OldMan walks back to the table and sits down. He looks down atthe empty place in front of him, a little sad.

COSMOMy father needs a plate.

Rose gets another plate from a sideboard and puts it in frontof the Old Man. He immediately, method-ically begins tofill his new plate. Rose goes to her place and sits down.

RAYMONDCosmo. Many years ago, when theytold me you were marrying my sister,I was happy. When I told Rose I wasmarrying Rita, she was happy.

RITAMarriage is happy news.

The Old Man laughs uproariously, subsides, goes back tofilling his plate.

COSMORose, pass the wine.

RAYMONDI never seen anybody so in love likeCosmo back then! He'd stand outsidethe house all day and look in thewindows. I never told you this causeit's not really a story. But onetime I woke up in the middle of thenight cause this bright light was inmy face. Like a flashlight. Icouldn't think a what it was. Ilooked out the window, and it wasthe moon! Big as a house! I neverseen the moon so big before or since. I was almost scared, like it wasgonna crush the house.

45.

RAYMONDAnd I looked down, and standing therein the street was Cosmo, looking upat the windows. This is the funnypart. I got mad at you, Cosmo! Ithought you brought this big moonover to my house cause you were soin love and woke me up with it. Iwas half asleep I guess and didn'tknow no better.

COSMOYou were altogether asleep. Youwere dreaming.

RAYMONDNo. You were there.

Raymond stares at Cosmo, nodding, remembering. There's alull at the table, the SOUND of SILVERWARE.

COSMOI don't wanna talk about it.

ROSE(suddenly angry)

Well, what do you wanna talk about!

COSMORita. Pass the wine.

ROSEWhy you drinking so much?

The Old Man gets up with his newly filled plate and headsfor the Dogs.

ROSEOld Man, if you give another pieceof my food to those dogs, I'm gonnakick you till you're dead!

The Old Man reverses direction and heads back to his chair. He sits down and starts to eat.

EXT. THE CASTORINI HOUSE - NIGHT

Over the house is a great big full moon.

INT. THE CASTORINI HOUSE - MASTER BEDROOM - NIGHT

The lights in the bedroom are still on. Cosmo is in bed, inhis pajamas, asleep. Rose comes in her nightgown. She looksat Cosmo. He's snoring lightly.

46.

ROSECosmo?

He doesn't stir. She goes to him and runs her hand throughhis hair.

ROSEYou drank too much and now you sleepto hard, and later you'll be up whenyou should be down.

She kisses his cheek. Then she turns out the lights. Whenthe electric lights go out, moonlight floods the room. Shegoes to the window and looks out through the curtains at themoon. Rose puts her face in her hands and quietly cries.

EXT. ROSE'S POV SHOT OF MOON FROM CASTORINI HOUSE - NIGHT

RESUME INT. CASTORINI HOUSE - MASTER BEDROOM - NIGHT (Rosecrying.

INT. RONNY'S APARTMENT - BEDROOM - NIGHT

The bedroom is flooded by moonlight. Loretta wakes up, alittle alarmed.

LORETTAWhat's that?

Ronny wakes up, a little alarmed.

RONNYWhat?

LORETTAThat light.

RONNYI don't know. I think it's the moon.

Loretta goes to the window wrapped in a white sheet from thebed. The window is glowing with moonlight. The moonlightstrikes her, and she is caught in its spell.

LORETTAOh.

Ronny appears behind her, pulling on a robe. They speak inlow voices, as if they were in church.

RONNYIt's so bright.

LORETTAI've never seen a moon like that.

47.

RONNYIt makes you look like an angel.

She turns and looks at him. They kiss. They break apart. Ronny looks up at the moon.

RONNYYeah. Looks like a big snowball.

EXT. THE CAPPOMAGGI HOUSE NIGHT

Shot of the house with the moon overhead.

INT. RAYMOND AND RITA CAPPOMAGGI'S BEDROOM - NIGHT

There is a big window right by the bed, and in the window isthe moon. Raymond and Rita are in their bed, asleep. Raymondwakes up, and sees the moon in the window. He's stunned andexcited, but he too speaks in this low voice of respect.

RAYMONDRita. Rita.

RITA(waking up)

What? What?

RAYMONDLook.

RITAOh.

RAYMONDIt's Cosmo's moon.

RITAWhat are you talking about, Raymond? Cosmo can't own the moon.

RAYMONDI mean it's that moon I was talkingabout at dinner.

(looks through thewindow, down intothe street)

Is he down there? No.

RITAIs who down there?

RAYMONDCosmo.

48.

RITAWhat would he be doing down there?

RAYMONDI don't know .

RITAYou know, in this light, and withthat expression on your face, youlook about twenty-five years old.

Raymond smiles at her meekly.

EXT. THE CASTORINI HOUSE - NIGHT

Over the house is still the great big full moon. The frontdoor opens and out comes the Old Man with the five Dogs. The Old Man is in a greatcoat and a felt hat, and he's smokinga cigar. He stops on the top step and lets go a huge plumeof cigar smoke. Then he starts off with the Dogs down thestreet.

EXT.. EAST RIVER - NIGHT

The moon and nothing else. Then a cigar is thrown into itand sends it shimmering. It was the moon reflected in water.

Now the CAMERA PULLS BACK and WE SEE the Old Man and theFive Dogs are standing on a ruined pier. The moon gleams upfrom the Hudson River. The Old Man speaks to the Dogs.

OLD MANAlright now. Howl. Howl.

The Dogs do not howl. So the Old Man, by way ofdemonstration, howls at the moon. He looks to the Dogs tofollow suit. They do nothing. He howls at the moon again.

The Dogs do nothing. The CAMERA CONTINUE5 TO PULL BACK untilWE CAN SEE the whole pier, with the Old Man and the Dogs onit, and the moon above them. The Old Man, frustrated now,cries out.

OLD MANHow long must I wait? Quanto tempodevo aspettare!

The Dogs start to HOWL. The Old Man, pleased as the MadHatter he is, laughs and laughs.

EXT. EAST RIVER - DAY

Transition from moon reflecting in the water to dawn.

49.

INT. RONNIE'S APARTMENT - BEDROOM. - DAY

Morning sun floods the room. Close on Loretta, she wakesup.

LORETTAOh my God.

RONNYWhat?

Loretta jumps from bed, grabs her clothes to cover herself,and backs into closet.

LORETTAWhat? What have we done?

RONNY(perturbed)

Take it easy.

LORETTA(from closet as she

hurriedly gets dressed)This time I was trying to doeverything right.

RONNY(he grabs a bathrobe,

pulls it on, puts iton and moves towardsthe closet.)

Don't just become excited.

LORETTAI thought if I stayed away from theCity Hall, I won't have that BadLuck I had again.

RONNYYou're trying to make me feel guilty.

LORETTAI'm marrying your brother!

RONNYA11 right, I'm guilty. I confess!

LORETTAYou're invited to the wedding! It'sin a few weeks. Why didn't you dolike him and be with your dying motherin Palermo?

50.

RONNYShe didn't like me.

LORETTAYou don't get along with anybody!

RONNYWhat did you do?

LORETTAWhat did I do?

RONNYYou ruined my life.

LORETTAThat's impossible! It was ruintwhen I got here! You ruint my life!

RONNYOh no I didn't!

Loretta emerges from the closet, tucking in her blouse.

LORETTAOh yes, oh yes you did! You've gotthose bad eyes like a gypsy! Whydidn't I see it yesterday! Bad Luck! Is that a11 I'm ever gonna have? Why didn't I just pick up a stoneand kill myself years and years ago? I'm gonna marry him!

RONNYWhat?

LORETTALast night never happened, you hearme? I'm gonna marry him anyway andlast night never happened, and youand I are gonna take this to ourcoffins!

RONNYI can't do that!

LORETTAWhy not?

RONNYI'm in love with you!

Loretta stares at him in alarm, slaps his face, then studieshis face to see the effect of the slap. She is dissatisfiedand slaps him again.

51.

LORETTASnap out of it!

RONNYI can't!

LORETTAAlright. Then I must never see youagain. The bad blood will have tostay there between you and Johnnyfor a11 time. You won't come to thewedding.

RONNYI'll come to the wedding.

LORETTAI'm telling you you can't.

RONNYBut he wants me to come!

LORETTABut that's cause he don't know!

RONNYAlright. I will not come. Providedone thing.

LORETTAWhat?

RONNYThat you come with me tonight. Once. To the Opera.

LORETTAWhat are you talking about?

RONNYI love two things. I love you, andI love the Opera. If I can have thetwo things that I love together forone night, I will be satisfied togive up the rest of my life.

LORETTAAlright.

RONNYAlright. Meet me at the Met.

LORETTAAlright. Where's the Met?

52.

CATHOLIC CHURCH IN LITTLE ITALY - DAY

Camera moves from stained glass windows to confessional. Loretta is next in line of THREE SINNERS waiting to go intothe confessional. A FORGIVEN WOMAN emerges from the curtainedbooth and walks off to pay her penance. Loretta goes intothe booth.

INT. CHURCH - CONFESSIONAL - DAY

Loretta kneels. The slide opens and an OLD PRIEST'S FACEcan be seen in outline through the screen.

LORETTABless me, Father, for I have sinned. It's been two months since my lastconfession.

PRIESTWhat sins have you to confess?

LORETTATwice I took the name of God in vain,once I slept with the brother of myfiance, and once I bounced a checkat the liquor store -- but that wasreally an accident.

PRIESTThen it was not a sin. But what wasthat second thing you said, Loretta?

LORETTAI... a... slept with my fiance'sbrother.

PRIESTThat's a pretty big sin.

LORETTAI know.

PRIESTYou should think about this.

LORETTAI know.

PRIESTAlright. This is your penance. Saytwo rosaries and... be careful,Loretta. Reflect on your life.

LORETTAAlright.

53.

PRIESTI absolve you in the name of theFather, and of the Son, and of theHoly Spirit, Amen.

INT. CHURCH - DAY

Loretta comes out of the confessional and enters a pew. Shecrosses herself. Then she recognizes the back of a woman'shead a few pews down. She gets up, walks down the aisle,and kneels down next to her mother, Rose.

LORETTAHi.

ROSE(looking up from her

prayers)Where you been?

LORETTAI don't wanna talk about it.

ROSEJust like your father. I lied tohim. He thinks you came home lastnight.

LORETTAThanks. What's the matter with you?

ROSECosmo's cheating on me.

LORETTAWhat! How do you know?

ROSEA wife knows.

LORETTAThen you don't know. You're justimagining it. He's too old.

Rose starts to reply, but then decides it's not worth theargument.

LORETTAI won't be home for dinner.

Loretta crosses herself quickly, gets up, and leaves. Roselooks after, and then goes back to her prayer.

54.

INT. CAMMARERI'S BAKERY - DAY

Feminine hands apply the final decorative touches of blueicing to a wedding cake. Then the hands set the plasticbride and groom on the pinnacle. The CAMERA PULLS BACK.Barbara is viewing her handiwork, a wedding cake on astainless steel wheeled cart. She's in the back part of thebakery. Barbara is pleased with her creation. We TRAVELWITH HER as she rolls the cart out to the front of the storewhere Chrissy is waiting on a huge man named HARVEY. Shehands him a tiny box, which he takes meekly.

HARVEYSee you tomorrow, Chrissy.

CHRISSYOkay, Harvey.

Harvey lumbers off as Barbara enters the front of the storewith the cake on its cart. Barbara calls Chrissy's attentionto the cake.

BARBARASo what do you think?

CHRISSYAbout what?

BARBARAThe cake!

CHRISSY(without enthusiasm)

Where's Ronny? How come he ain'tcome down?

BARBARAHow should I know?

The PHONE RINGS. Chrissy answers it.

CHRISSYHello, Cammareri's? Hi. Uh-huh. Okay.

She hangs up.

CHRISSYThat was Ronny. He don't feel good. He ain't gonna be down today.

Chrissy comes out from behind the counter. She's staring atthe cake.

55.

BARBARAWhat, is he still upset?

Without warning, Chrissy whacks the little bride and groomoff the cake and on to the floor.

CHRISSYIt's that bitch!

Barbara looks at her, shocked.

EXT. CAPPOMAGGI'S ITALIAN PROVISIONS - DAY

An Italian specialty store in Little Italy.

INT. CAPPOMAGGI'S STORE - DAY

Provolones and salamis hang from above. To the one side isa deli counter, to the other a series of tables displayingcheeses by the pound, packaged cakes, etc. In the back area few tables and a kitchen with counter. Up front, behindthe deli counter, stands Rita Cappomaggi in a blue apron. Out by the tables, Raymond unpacks some jars of olives. Inthe back, a TRUCK DRIVER can dimly be seen eating his lunch.

RAYMOND(to Rita)

I feel great I got no sleep but Ifeel like Orlando Furioso!

RITA(looks around

cautious1y, thenspeaks)

You were a tiger last night.

RAYMONDAnd you were a lamb. As soft asmilk.

RITAShut up. They'll hear you in theback.

RAYMONDSo what? The pleasure of marriageis you sleep with the woman and thenyou don't worry about nothing. Hey,how about a date tonight, Rita. Let's eat pasta and roll around.

RITA(scandalized)

Raymond, Raymond, lower your voice! What's got into you?

56.

RAYMONDI don't know! That moon! That crazymoon Cosmo sent over!

Loretta walks in.

LORETTAHi.

RAYMONDHey there

(sings)... YOU WITH THE STARS IN YOUR EYES...

LORETTA(to Rita)

What's the matter with him?

RITAYou got me.

RAYMONDYou see that moon last night?

LORETTA(suspicious and guilty)

What about the moon?

RAYMONDDid you see it?

LORETTA(she lies, nervous)

No.

RAYMONDOh.

LORETTAListen, I gotta go. I'll take thedeposit to the bank but I'll do thebooks tomorrow. I gotta go.

RAYMONDYou gotta date?

RITAWhat are you talking about, you fool? Her fiance's in Palermo.

RAYMONDOh. Right.

LORETTAI got things to do.

57.

RITASure you do. You got all that weddingstuff.

LORETTARight.

RAYMONDWell, that's romantic, too.

(SINGS). . . ISN'T IT ROMANTIC...

He is walking towards the back now. He shouts to somebodyin the kitchen.

RAYMONDHEY. Make me a bowl of minestrone.

The women are left alone.

RITAWhat's the matter? You look crazy.

LORETTAI got a lot on my mind, Aunt Rita.

INT. A CHURCH BASEMENT

It's been set up for a church bazaar. There are severalwheels of fortune, many stuffed animals, coffee urns, cakes,a game of ring toss, etc. AS THE CAMERA inventories thecontents of the various stands -- a LITTLE NUN sleeps in oneof them -- we HEAR the Old Man's VOICE.

OLD MAN'S VOICEI've got a lot on my mind. Thingsare getting bad in my house. Mydaughter-in-law is mad at my sonbecause he will not pay for thewedding.

A TUB OF APPLES FLOATING IN WATER

An old, gnarled hand reaches in and pulls one out, dries itwith a towel. The CAMERA PULLS BACK REVEALING that the handbelongs to Lucy, who is standing behind a table with the OldMan and Felix. She hands the apple to the Old Man, who drivesa small wooden stake into it with a little wooden hammer. Then the Old Man hands this staked apple to Felix, who dipsit into a deep metal pot. It emerges shining with red candygoo. Then Felix sets the candled apple onto a papered traywhere a dozen already sit. They repeat this process. Butthe Old Man, because his thoughts are elsewhere, takes foreverto drive the stake into the apple. This frustrates Felix.

58.

OLD MANAt dinner, my daughter-in-lawthreatened to kill me. Things arevery bad in my house.

FELIXHurry up.

LUCYDon't fight.

OLD MANIf I hit the stick too hard, theapple will split. If I am too timid,the apple will fall off the stick.

FELIXWe're supposed to do fifty apples. We only got twelve done.

OLD MANI don't know what to advise my son. I think he should pay for the wedding,but it is important that he don'tlook ridiculous.

LUCYDon't make yourself sick.

OLD MANCosmo drank five glasses of wine atdinner.

LUCYTalk to him.

OLD MANI will. But I must find the rightmoment.

LUCYDid you see the moon last night?

The Old Man's eyes light up. He looks at Lucy.

OLD MANYes!

FELIX(in despair)

Hurry up, hurry up. We open in fiveminutes.

59.

INT. CAPPOMAGGI'S STORE - DAY

EIGHT NEAT STACKS OF MONEY BEING RUBBERBANDED

By a woman's hands. The last stack is topped with a filled-out deposit slip. The banded stacks are then stuffed into anight-deposit bag. The CAMERA PULLS BACK a bit to INCLUDE aledger. A last entry is made, and the ledger is shut. TheCAMERA PULLS BACK more, and now WE SEE Loretta reaching forher coat. She puts it on, picks up the deposit bag, andsees Rita.

LORETTABye, Aunt Rita.

RITABye, bye, honey. See you tomorrow?

LORETTAYeah, I'll be in.

Loretta goes out the door, with Rita looking after,thoughtful.

EXT. THE CINDERELLA BEAUTY SHOP - DAY

Loretta walks-down the street and comes to the CINDERELLABEAUTY SHOP, fidgets a moment, looks around to see ifanybody's looking, and goes in.

WE SEE her through the window talking to MILDRED, who handlesappointments. Mildred nods, points, and Loretta goes backinto the store.

INT. CINDERELLA BEAUTY SHOP - DAY

WE DISCOVER an uneasy Loretta sitting in a beauty chair withBONNIE, her hairdresser about to start. Bonnie is a littlebored.

BONNIESo? You want the usual?

LORETTAI want you to get rid of the grey.

TRANSFORMATIONAL MUSIC STARTS HERE AND CONTINUES THROUGH THEFOLLOWING SCENES. This music should convey that Loretta isturning from a frumpy pumpkin into a sleek and beautifulcoach. Bonnie wakes up upon hearing this startling news andgets very excited.

BONNIEI've been wanting to do this forthree years!

60.

BONNIELet me show you some magazines! You've got to get a manicure! Andyour eyebrows! Sheila! I'm gonnaneed help!

SHEILA, another beautician, joins Bonnie, and they both getvery excited and start showing Loretta and each othermagazines. They argue merrily about what they should do,leaving Loretta far behind. A MANICURIST joins them, withher stuff and starts soaking Loretta's nails.

A MONTAGE FOLLOWS

They're plucking her eyebrows.

They're cutting and dying her hair.

They're painting her nails.

EXT. CINDERELLA BEAUTY SHOP-DAY

Loretta comes out. Her hair is jet black and done in a muchmore stylish way. She looks great. She looks around as ifshe has committed a crime, and walks off quickly

EXT. A DOWDY DRESS SHOP - DAY

Loretta looks in the windows, is dissatisfied, and walks on.

EXT. A BOLD DRESS SHOP - DAY

A stylish dress shop called INSINUATION. Loretta looks inthe window, is intimidated, and walks on. A moment passes. She reappears. tentatively, she enters.

INT. INSINUATION - DAY

Loretta approaches a young woman, MER, who works there. Meris about thirty, trendily dressed, and French. Mer andLoretta greet and talk. Loretta makes vague gestures tryingto convey what she wants, but the truth is she doesn't knowwhat she wants. Mer takes the situation in hand.

There follows a MONTAGE of Mer showing Loretta variousdresses, some outlandish, some beautiful, someincomprehensible. Loretta tries on several of the dressesin a big triple mirror. Some horrify her, some frighten herbecause they're so sexy, one bores her. We don't see thedress that she ultimately does buy.

EXT. INSINUATION - DUSK

Loretta walks out with a big shopping bag. She walks awaydown the street.

61.

WE FOLLOW Loretta away down the street. She comes to a BRIDALSHOP with a big bride dummy shown off in the window She stopsand looks at the bride. She walks close to the window andstares in hard. Then she slowly backs up from the bride. Two NUNS are walking by. Loretta, backing up from the dummy,bumps into the Nuns. She's flustered, makes a brief apology,and hurries away, casting a furtive last glance at the shopwindow.

END OF MUSIC

THE TRANSFORMATIONAL MUSIC COMES TO A CLOSE.

EXT. THE CASTORINI HOUSE - DUSK

Night is falling. Loretta appears and enters the house.

INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT

As Loretta enters she drops her bag and, as she takes offher coat, calls.

LORETTAMa! Grandpa! No? Okay.

A SINGLE BARK is HEARD from the top of the stairs. She looksup.

A WOODEN ACCORDION GATE SEALS OFF THE TOP OF THE STAIRS

Visible behind the gate are a couple of dogs.

INT. THE CASTORINI HOUSE - KITCHEN - NIGHT

Loretta goes through a door and into the kitchen. She opensthe refrig-erator and a cabinet, and makes her-self a scotchon the rocks. She sips it and starts to HUM in an under-stated way. She takes her drink and wanders out of thekitchen.

LORETTA WALKS INTO THE LIVING ROOM

She walks to each lamp in the room and turns it on. Thereare many table and standing lamps throughout the room.

LORETTA IS LIGHTING THE FIRE

Which was already built in the fire-place. It catches onnicely. She puts her drink down and gets a big standingantique mirror on rollers from its place against the wall. She wheels it to a central place in the room. Satisfied,she picks up her drink again, leaves the room for a moment,and then returns with her shopping bag. She throws it on achair. Then she goes to the stereo and looks through thealbums. She selects one and puts it on.

62.

MUSIC

Loretta waltzes around in front of the mirror, flirting withherself in a very serious way. She starts to unbutton herblouse.

EXT. THE CASTORINI HOUSE - NIGHT

The moon is overhead as music continues to PLAY. The CAMERASOARS UP CLOSE to the moon, until it completely FILLS THEFRAME with its magic. The moon dissolves into:

INT. THE CASTORINI LIVING ROOM - NIGHT

CLOSE-UP of LORETTA'S FACE as she puts the final touches onher make-up. Music continues to PLAY. The CAMERA PULLSBACK. WE SEE her full figure. She has changed into herevening dress and put on her heels. She's swaying to themusic. The evening dress is sensational. She leans forwardand kisses the mirror.

WE SEE THE LIPSTICK KISS ON THE MIRROR

In the mirror, all around the kiss, is reflected the fire.

EXT. EAST RIVER NIGHT

The moon is reflected in the water as WE SEE the dock of thenight before. We can SEE Jersey lit up across the river. But then something starts to replace Jersey. It's a hugewhite liner coming down the river now, all of her lightsburning, heading back out to sea. FLASHBULBS go off alongthe deck. We watch the length of the great ship pass as theMUSIC PLAYS.

END OF MUSIC

EXT. LINCOLN CENTER PLAZA -NIGHT

LINCOLN CENTER - LORETTA'S POV

CROWDS OF PEOPLE in beautiful clothes fill the plaza createdby the three great buildings. A glorious fountain filledwith lights forms the centerpiece. Behind the fountain,grand and splendidly lit, is the magical Metropolitan OperaHouse. Two huge Chagalls, one to the right and one to theleft, inhabit the face of the building, filling it withmarvelous color.

LORETTA COMES TO THE FOUNTAIN

The fountain is quiet and dark now. Loretta is puzzled. She remembers that it was going. While she looks, it lightsup. Then small jets of water begin to appear. Then largerjets.

63.

Then with a roar the central shaft of water rises high, higherinto the night sky. She follows the column of water withher eyes up into the sky. Right above the crest of the water,like a beanball on a seal's nose, is the moon.

FROM OVER LORETTA'S SHOULDER WE SEE THE RUSHING WATER

Forming an opaque wall before her. Then the fountain, forits next piece of aquatic choreography, drops away to nothingquite suddenly. And there, facing Loretta, on the oppositeside of the fountain, is Ronny.

He's looking incredibly handsome and dashing in a tuxedo andtopcoat and, of course, gloves. He smiles slightly and raisesa hand in greeting. Loretta, caught off guard, smilesbrilliantly at him. Then she remembers her situation andstarts to put on her usual serious expression. But thefountain has rushed up into the sky again, obscuring herattempt at composure from, Ronny.

Ronny COMES INTO VIEW again, walking toward Loretta aroundthe fountain's perimeter. He comes close to her.

RONNYHi.

LORETTAHi.

RONNYYou look beautiful. Your hair...

LORETTAI thought I'd try it.

(qrudgingly)You look good.

RONNYThank you.

He goes to kiss her. She takes a step back.

LORETTAI said I'd go to the opera with you.Nothing else.

Ronny immediately relents, gently takes her arm, and theywalk off in the direction of the opera house.

ONE OF THE CHAGALL'S FROM IMMEDIATELY IN FRONT OF THE MET

Ronny and Loretta looking up at it.

LORETTAWho painted that?

64.

RONNYMarc Chagall. A Russian.

LORETTAKinda gaudy.

RONNYHe was having some fun. Yeah, wellhe's dead.

(he smiles)Come on, let's go in.

Ronny and Loretta join the crowd streaming into the building.

INT. THE OPERA HOUSE - NIGHT

Ronny and Loretta enter, giving tickets to usher.

INT. OPERA HOUSE-COATCHECK-NIGHT

Ronny and Loretta checking their coats. Ronny's coat isalready off, and he's helping Loretta off with hers. Hehands her coat to the CHECKER and pockets the check. Thenhe turns and sees Loretta in her dress for the first time. He's stunned by her beauty. He's at a loss. He mumbles.

RONNYThank you!

LORETTAFor what?

RONNYI don't know. For your hair. Foryour beautiful dress. For...youknow, I feel like a man again. Youknow I love the Opera. You knowit's been a long time since I'vebeen to the Opera.

His eyes are bright with tears. Loretta is touched and startsto put her hand out to him. But she stops herself.

LORETTASo. Where are we sitting?

RONNYCome on.

He takes her arm. They pass under the great chandelier andgo into the house.

THE OPERA HOUSE - NIGHT THE CAMERA PICKS OUT A SERIES OFCOUPLES

65.

The first couple is PEGGY and CLIVE, a very distinguishedpair of silver-haired lovers dressed magnificently. Theyare in their seats, delighted to be where they are, holdinghands.

Next is the CELEBRITY COUPLE. Maybe Jackie O and her son,John. They are seated and people are looking at them.

Next is Cosmo and Mona. Cosmo is helping Mona to sit down,something she could probably handle herself. He's wearinggood but old-fashioned suit. She is in a dress that makesher look like a big piece of hard candy.

Next is Ronny and Loretta. They are sitting in the firstrow of the First Circle; in other words, very good seats. They are holding their programs. Loretta opens her program.

THE OPEN PROGRAM - LORETTA'S POV

The opera is LA BOHEME. But then the page fades away intothe dark as the house lights go down.

WE SEE RONNY AND LORETTA FROM BEHIND

Ronny leans his head toward her and whispers.

RONNYHere we go.

As the lights come up in the orchestra pit. The CONDUCTORtakes his place. The AUDIENCE APPLAUDS. He bows and turnsto the orchestra. The OVERTURE begins and PLAYS UNDER NEXT.

EXT. THE GRAND TICINO - NIGHT

The OVERTURE PLAYS THROUGH this ESTABLISHING SHOT and thenFADES AWAY at the start of the NEXT SHOT. WE SEE Rose enterthe restaurant.

INT. THE GRAND TICINO - NIGHT

The dinner crowd is in and most of the tables are occupied. The entranceway door opens and Rose enters.

She's got herself up very nice. The host, JIMMY, quicklyapproaches her. She's very dignified.

JIMMYHello, Mrs. Castorini. Who's coming?

ROSEIt's just me. I want to eat.

JIMMYOkay.

66.

JIMMYI got a table for you right now.

Jimmy leads her to a table for two against the wall.

JIMMYThis alright?

ROSEFine.

He seats her.

JIMMYEnjoy your meal.

Jimmy breezes off. There's another table-for-two againstthe wall to Rose's front. WE SEE a woman's back from Rose'sPOV, and a pretty head of hair. This woman, whose name isSHEILA, is having an argument with the man across from her. But the man's face is blocked by Sheila's back and head, andthe argument is too low to be made out. Bobo approachesRose's table.

BOBOGood evening Mrs. Castorini. Youeating alone tonight?

ROSEHello, Bobo. Yes. Let me have amartini, no ice and two olives.

BOBOVery good.

Bobo heads off for the bar. The couple at the next tablecatches Rose's attention again, and their argument becomes alittle louder.

SHEILA'S VOICEI'm trying to explain to you how Ifeel. Every time I try to explainhow I feel, you explain how you feel. I don't think that's really much ofa response.

UNSEEN MAN'S VOICEWell, its the only response I'vegot.

Bobo reappears with the martini and serves it.

BOBOYou wanna see a menu?

67.

ROSENot yet. I'll wave.

Bobo is gone. Rose is mildly intrigued with the argument atthe next table now. She tries to see past Sheila, to seethe man, but she can't without making too big a move. Theargument goes on.

SHEILA'S VOICEI really do hate it though, when youtake that tone with me. Like you'reabove it all and isn't it amusing.

MAN'S VOICEBut it is, isn't it?

SHEILA'S VOICENot to me! This is my life, no matterhow damned comical it may seem toyou. I don't need some man standingabove the struggle while I roll aroundin the mud!

MAN'S VOICEI think you like the mud and I don't. That's fair, isn't it? If I don'tcare to...

Sheila stands up abruptly and flings a glass of water in theman's face. She pulls her coat off the back of her chairand stalks off. This whole operation took about two seconds. When she stalks off, the face of the man becomes visible toRose for the first time. It's Perry, the professor in his50's, who appeared and was treated in a similar way in theearlier scene in this restaurant. His face is covered withbeads of water. He pats his face with his napkin andapologizes to CUSTOMERS at neighboring tables.

PERRYSorry about that, folks. She's avery pretty mental patient.

The Shy Waiter arrives to assist Perry in drying himself.

PERRYDon't mind about me. But could youdo me a favor and clear her placeand take away all evidence of her,and bring me a big glass of vodka?

SHY WAITERAbsolutely!

The Shy Waiter heads for the bar. For the first time, Perrynotices Rose.

68.

They are facing each other with no obstacles in the way now.

PERRYI'm sorry if we disturbed you.

ROSEI'm not disturbed. By you.

PERRYMy lady friend has a personalitydisorder.

ROSEShe was just too young for you.

The Shy Waiter serves Perry his drink.

PERRY(to the Waiter)

Thanks, comrade.

SHY WAITERIt's nothing!

The Shy Waiter goes.

PERRY(Rose's comment strikes

home)Ouch. Too young! I just got that. You know how to hurt guy. How oldare you?

ROSENone of your business.

He drops his posturing.

PERRYSorry. That was rude.

ROSEWill you join me for dinner?

PERRYAre you sure?

She nods.

PERRYThen I'd be delighted. I hate eatingalone, and it's amazing how often Iend up doing just that.

ROSE AND PERRY ARE HALFWAY THROUGH THEIR DINNER

69.

ROSEWhat do you do?

PERRYI'm a professor. I teachcommunications at N.Y.U.

ROSEThat woman was a student of yours?

PERRYSheila? Yes she was. Is. Was.

ROSEThere's old saying my mother toldme. Would you like to hear it?

PERRYYes.

ROSEDon't shit where you eat.

PERRY(taken aback, then

recovering)I'll remember that. What do you do?

ROSEI'm a housewife.

PERRYThen why are you eating alone?

ROSEI'm not eating alone. Can I ask youa question?

PERRYGo ahead.

ROSEWhy do men chase women?

PERRY(considers)

Nerves.

ROSEI think it's because they fear death.

PERRYMaybe. Listen. You wanna know whyI chase women? I find women charming.

70.

PERRYI teach these classes I've taughtfor a million years. The spontaneitywent out of it for me a long timeago. I started off, I was excitedabout something and I wanted to shareit. Now it's rote, it's themultiplication table. Exceptsometimes. Sometimes I'm droningalong and I look up, and there'sthis fresh young beautiful face, andit's all new to her and I'm thisgreat guy who's just brilliant andthinks out loud. And when thathappens, when I look out among thosechairs and look at a young woman'sface, and see me there in her eyes,Me the way I always wanted to be andmaybe once was, then I ask her outon a date. It doesn't last. It cango for a few weeks or a couple ofprecious months, but then she catcheson that I'm just a burnt out oldgasbag and that she's as fresh andbright and full of promise asmoonlight in a martini. And at thatmoment, she stands up and throws aglass of water in my face, or someaction to that effect.

ROSEWhat you don't know about women is alot.

INT. THE OPERA HOUSE-LOBBY-NIGHT

INTERMISSION. THRONGS OF PEOPLE talking, talking, talking. Piled up at the bars to get drinks.

INT. OPERA HOUSE - LOBBY/WOMEN'S BATHROOM - NIGHT

Outside the women's bathroom, with its huge line waiting toget in.

INT. OF THE WOMAN'S BATHROOM

Loretta and THREE OTHER WOMEN freshen their makeup before amirror. The woman next to Loretta leaves and is replaced byMona. Mona and Loretta stand side by side freshening theirmakeup.

71.

INT. OF THE OPERA HOUSE - LOBBY - NIGHT

MANY PEOPLE pressing to the bar to buy drinks. Cosmo andRonny achieve the bar's perimeter at the same moment, andstart to order.

INT. OPERA HOUSE - LOBBY - NIGHT

A CONCESSIONAIRE selling special glossy LA BOHEME programs.

ELSEWHERE IN THE LOBBY DURING INTERMISSION

Ronny and Loretta are standing by a column holding drinks. Loretta is looking around.

LORETTAThey get some turnout for this stuff.

RONNYIt's the best thing there is.

LORETTAI like parts of it, but I don't reallyget it.

IN ANOTHER PART OF THE LOBBY DURING lNTERMISSION Cosmo andMona are sitting on a bench.

MONAYou haven't once said you like mydress.

COSMOI like your dress.

(he thinks)It's very bright.

He looks around.

MONAWhy you looking around so much?

COSMOI don't know. I got a feeling.

MONAI'm wearing your bracelet.

He nods, still looking around.

CHIMES SOUND THROUGHOUT LOBBY

Indicating the end of intermission. The Audience starts tofile back into the theatre.

72.

EXT. THE GRAND TICINO - NIGHT

Rose and Perry emerge from the restaurant.

PERRYMay I walk with you a ways?

ROSESure.

They set off to the left.

EXT. THE CASTORINI HOUSE - NIGHT

The door opens, and the Old Man comes out, in his great coatand hat, with the Five dogs. He strikes off to the right.

EXT. STREET I - NIGHT

Rose and Perry come around a corner and pass a store. Theypause and look at the Christmas decorations in the window. They continue walking.

EXT. STREET II - NIGHT

The Old Man and the Dogs have stopped by a big tree. Whichthe dogs adore.

EXT. STREET I - NIGHT

Rose and Perry walking. They exit camera left.

EXT. STREET II - NIGHT

The Old Man drags the Dogs away from the tree and sets offcamera right.

EXT. STREET I - NIGHT

Rose and Perry walking to the left.

EXT . STREET II - NIGHT

The Old Man and the Dogs walking to the right.

EXT. STREET I - INTERSECTION

OUTSIDE LAUNDROMAT - NIGHT

Rose and Perry are walking towards camera. Rose stops short,stunned and alarmed by what she sees before them.

73.

EXT. STREET II - INTERSECTION OUTSIDE OF LAUNDROMAT - NIGHT

The Old Man pulls up the Dogs. Aghast by what he sees beforehim.

EXT. STREET III - INTERSECTION OUTSIDE LAUNDROMAT

Perry and Rose face the Old Man and the dogs.

In a silent standoff. Perry is puzzled, but has the senseto say nothing. After a long moment, the Old Man silentlysteers his dogs past them. He walks away down the darkstreet, silently disappearing into the gloom. Perry andRose never move, but follow his slow progress until hedisappears.

PERRYYou knew that man?

ROSEYes.

INT. OPERA HOUSE - NIGHT

THE STAGE - THE OPERA IS IN PROGRESS

It's the SCENE in which MIMI is standing in the falling snow. She SINGS to RUDOLPH. It is a beautiful, poignant moment. The snow is falling, falling. Mimi is SINGING herheartbreaking aria of farewell. The lighted tavern windowis behind them, glowing with a golden light.

WE SEE RONNY'S FACE

He's staring intently at the stage with shining eyes. Hewants to share this moment with Loretta, but he is timid shewill not feel as he does.

WE SEE LORETTA'S FACE

A single tear trails down her cheek. Otherwise, she is almostsucceeding in hiding that the opera is moving her. Shenotices Ronny's hand creeping towards hers, but makes nomove towards it.

THE STAGE - MIMI STILL SINGING SADLY IN THE SNOWFALL

She and Rudolph join hands.

RONNY AND LORETTAgrab each other's hand fiercely.

At last, they look at each other. She is admitting that sheis affected by the opera. He is grateful that she admitsit.

74.

INT. OPERA HOUSE-AUDIENCE—NIGHT

Audience exits.

INT. OPERA HOUSE-LOBBY - NIGHT

The lobby overflowing with the AUDIENCE coming out.

INT. OPERA HOUSE - COATCHECK - NIGHT

Ronny and Loretta at the coatcheck. Loretta dabs her eyesand blows her nose.

LORETTAThat was just so... awful!

RONNYAwful?

LORETTABeautiful. Sad. She died!

RONNY(giving the check to

the checker)Yeah.

LORETTAI couldn't believe it! I didn'tthink she was going to die. I knewshe was sick...

Ronny gets the coats and helps her on with hers.

RONNYShe had TB.

Ronny is putting on his coat.

LORETTAI know. She was coughing her brainsout. And still, she had to sing allthe time...

Loretta has stopped suddenly, transfixed by the sight beforeher.

Loretta and Ronny are standing face-to-face with Cosmo andMona. Mona's wearing a coat like a wrapper for hard candy. Cosmo is wearing his coat and has his hat in his hand. Stunned at seeing Loretta, he unconsciously puts his hat on. Then he thinks about it and takes it off again. He looks atRonny. Then he looks at Mona.

75.

LORETTAPop?

Ronny looks at Loretta. He waits to follow her lead.

COSMOWait for me by the doors, Mona.

Mona obeys after looking curiously at Loretta.

LORETTAPop? What are you doing here?

Cosmo approaches Ronny.

COSMOExcuse me.

He takes Loretta's arm and steers her a distance away for aconfidential exchange.

LORETTAMona?

COSMOWhat'd you do to your hair?

LORETTAI got it done.

COSMOWhat are you doing here?

LORETTAWhat are you doing here?

COSMOWho is this man? You're engaged!

LORETTAYou're married.

COSMOYou're my daughter. I won't haveyou acting like a tramp!

LORETTAYou're my father.

COSMOAlright. I didn't see you here.

LORETTAI don't know whether I saw you ornot.

76.

Cosmo puts on his hat again. He glares at Ronny. He looksat Loretta, but he's at a total loss. At last, he stalksoff. Loretta looks after him, angry and disturbed.

COSMO AND MONA GOING OUT THE DOORS FROM LORETTA'S POV

LORETTA LOOKING AFTER THEM, STRICKEN

Ronny appears at her side, solicitous.

RONNYLet's get outta here. I'll buy youa drink.

Loretta, still looking after, slowly shakes her head.

LORETTAThat wasn't my mother.

EXT.CASTORINI HOUSE - NIGHT

Rose and Perry stand on a sidewalk under a street light dimlyshining. About half a block away stands the Castorini house. They regard it. Over the house hangs the moon, cut throughnow with a sharp grey cloud. Rose and Perry's VOICES can beheard.

ROSE'S VOICEThat's my house.

PERRY'S VOICEYou mean the whole house?

ROSE'S VOICEYes.

PERRY'S VOICEMy God, it's a mansion!

ROSE'S VOICEIt's a house.

PERRY'S VOICEI live in a one-bedroom apartment. What exactly does your husband do7

ROSE'S VOICEHe's a plumber.

PERRY'S VOICEWell. That explains it.

The SOUND of the WIND can be heard rising up.

NOW WE SEE ROSE AND PERRY CLOSE UP

77.

The rising cold wind stirs their hair. They both shiverslightly.

PERRYTemperature's dropping.

ROSEYes.

PERRYI guess you can't invite me in?

ROSENo.

PERRYPeople home.

ROSENo. I think the house is empty. Ican't invite you in because I'mmarried and because I know who I am. You're -shaking.

PERRYI'm a little cold.

ROSEYou're a little boy and you like tobe bad.

PERRYWe could go to my apartment. Youcould see how the other half lives.

ROSEI'm too old for you.

PERRYI'm too old for me. That's mypredicament.

ROSEGood night.

She kisses him on the cheek.

PERRYGood night. Can I kiss you on thecheek, too?

ROSESure.

He kisses her on the cheek.

78.

PERRYI'm freezing

ROSEGood night.

She walks away, towards the house. Perry, shivering, looksafter.

INT. THE BOERUM CAFE - A BROOKLYN BAR - NIGHT

Ronny and Loretta sit at the bar. They are just finishing acouple of Old-Fashions. The barman, AL, inspects theirdrinks.

ALAnother Old-Fashion?

RONNYLoretta?

LORETTANo thanks.

RONNY(to Al)

I think that's it.

Al nods and walks off. Ronny leans forward to Loretta.

RONNYWhat do you want to do now?

LORETTAI wanna go home.

EXT. A COLD AND EMPTY MANHATTAN STREET - NIGHT

Ronny and Loretta are walking. Their breath is coming outin long plumes.

LORETTAIt's really cold.

RONNYYeah. It smells like snow.

They walk in silence for a moment, then Loretta speaks.

LORETTAMy mother guessed that my father wasseeing somebody and I told her shewas crazy. She looked like a realpiece of cheap goods. But who am Ito talk?

79.

Her eyes are full of tears.

RONNYWhat's the matter?

LORETTAHow can you ask me that?

RONNYYou're making me feel guilty again.

LORETTAYou are guilty. I'm guilty.

RONNYOf what? Only God can point thefinger, Loretta.

LORETTAI know what I know.

RONNYAnd what do you know? You tell memy life? I'll tell you yours. I'ma wolf? You run to the wolf in me,that don't make you no lamb! You'regonna marry my brother? Why youwanna sell your life short? Playingit safe is just about the mostdangerous thing a woman like youcould do. You waited for the rightman the first time, why didn't youwait for the right man again?

LORETTAHe didn't come!

RONNYI'm here!

LORETTAYou're late!

RONNYWe're here.

EXT. RONNY'S APARTMENT BUILDING - NIGHT

She looks. It's Ronny's building.

LORETTAThis is your place.

RONNYThat's right.

80.

LORETTAThis is where we're going!

RONNYYeah.

LORETTAThe deal was if I came to the Operawith you you'd leave me alone forever.

She looks for his response. He makes none.

LORETTAI went with you.

(pause, nothing)Now I'm gonna marry Johnny and you'regonna leave me alone.

(pause, nothing)Right?

(nothing)A person can see where they've messedup in their life, and they can changehow they do things, and they canchange their Luck. Maybe my naturedoes draw me to you, but I don'thaveta go with that. I can takehold of myself and say yes to somethings and no to something that'sjust gonna ruin everything! I cando that. Otherwise, what is thisstupid life that God gave us forwhat?

(pause, nothing)Ronny? Are you listening to me?

RONNYYeah.

LORETTAI'm really afraid.

RONNYWhy?

LORETTAI'm afraid of who I am.

RONNYI was.

LORETTAAnd you're not now?

He shakes his head.

81.

LORETTAWhy not?

RONNYI don't know. Everything seems likenothing now against that I want youin my bed. I don't care if I burnin hell. I don't care if you burnin hell. The Past and Future is ajoke to me now. I see that they'renothing, I see they ain't here. Theonly thing that's here is you. Andme. I want you to come upstairs. Now. I tried to take everything lastnight, like you told me, but Icouldn't. I couldn't take everythingin a hundred years. It's the way weare. We compound each other.

LORETTALet me go home.

RONNYNo.

LORETTALet me go home.

RONNYNo.

LORETTAI'm freezing to death.

RONNYCome upstairs. I don't care why youcome. No, that's not what I mean. Loretta, I love you. Not like theytold you love is and I didn't knowthis either. But love don't makethings nice, it ruins everything, itbreaks your heart, it makes things amess. We're not here to make thingsperfect. Snowflakes are perfect. The stars are perfect. Not us. Weare here to ruin ourselves and breakour hearts and love the wrong peopleand die! The storybooks are bullshit. Come upstairs with me, baby! Don'ttry to live your life out to somebodyelse's idea of sweet happiness. Don't try to live on milk and cookieswhen what you want is meat! Redmeat just like me! It's wolves runwith wolves and nothing else!

82.

RONNYYou're a wolf just like me! Comeupstairs with me and get in my bed! Come on! Come on! Come on!

Loretta follows Ronny into his building.

NOW WE SEE THE STREET

Just as the door shuts. A moment passes. Lights go on inRonny's apartment. Out of a doorway on the opposite side ofthe street steps the figure of a woman. She walks to themiddle of the deserted street and looks up at the lightedwindows.

NOW WE SEE THE WOMAN CLOSE UP -- IT'S CHRISSY FROM THE BAKERY

Her heart is about to break. She loves this man. She looksup at the lighted windows, her feelings hanging by oneslender, slender thread.

MUSIC

It's "MIMI'S ARIA"- from the snow scene in LA BOHEME.

WE SEE THE STREET WITH THE FIGURE LOOKING

At the lighted window above. "MIMI'S ARIA" PLAYS. Thistableau reminds us of the scene in the opera where MIMI standsin the snow. The MUSIC PLAYS and the WOMAN SINGS for a longmoment. Then, the lights in the apartment go out. Chrissyshudders almost imperceptibly. Her heart has broken. Shehangs her head. Then she lifts her head and slowly walksaway down the street.

EXT. KENNEDY INTERNATIONAL AIRPORT - RUNWAY - NIGHT

With a great and abrupt ROAR, a big jet is landing.

INT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT

PASSENGERS are pouring into the terminal from the plane. Most of them are Italian or Italian-Americans. Suddenly,Mr. Johnny appears out of the shifting crowd, up very CLOSEto the CAMERA. He looks alert, determined, geared up foraction.

MR. JOHNNY AT THE LUGGAGE CAROUSEL

He pulls his two suitcases off the carousel with one quickpowerful jerk.

83.

EXT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT

Mr. Johnny sticks out his hand and a cab immediately rushesto him.

INT. OF THE CAB

Mr. Johnny leans forward to the DRIVER and says in a verydefinite, determined way.

MR. JOHNNY19 Cranberry Street.

EXT. KENNEDY INTERNATIONAL AIRPORT - NIGHT

The cab rushes off into the night.

EXT. CASTORINI HOUSE - NIGHT

The cab pulling up to the Castorini house. The living roomwindows are all lit up. VICKI CARR can be made out SINGING"IT MUST BE HIM". Mr. Johnny gets out of the cab, gets hisluggage, and heads for the front door. He RINGS THE BELL.The door opens. It's Rose. MUSIC floods out around her.

MR. JOHNNYHello. I'm sorry to call so late...

Rose is a little tipsy.

ROSEMoving in?

MR. JOHNNYI came right from the airport.

ROSECome on in.

She holds the door open for him and he goes in past hercarrying his suitcases. She closes the door.

INT. CASTORINI HOUSE — THE FRONT HALL - NIGHT

MR. JOHNNYCan you wake up Loretta? I need totalk to her.

ROSEShe's not home yet. Take off yourcoat and come in the living room. I'll make you a drink. I wanna talkto you.

84.

INT. CASTORINI HOUSE - LIVING ROOM — NIGHT

Rose comes in with two scotches on the rocks. He takes one.

MR. JOHNNYThank you.

She turns off the stereo, and then sits down across from him.

ROSESo.

MR. JOHNNYWhere is she?

ROSEOut. I don't know where. I waswaiting up for my husband.

MR. JOHNNYIt's late.

ROSEYes.

There's a pause. Mr. Johnny is uncomfortable with it.

MR. JOHNNYMaybe I should go?

ROSEWhat are you doing here? You'resupposed to be in Palermo.

MR. JOHNNYThat's what I came to tell Loretta. There's been a miracle.

ROSEA miracle. Well, that's news.

MR. JOHNNYMy mother's recovered.

ROSEYou're kidding?

MR. JOHNNYThe breath had almost totally lefther body. She was as white as snow. And then she completely pulled backfrom death and stood up and put onher clothes and began to cook foreveryone in the house. The mourners.

85.

MR. JOHNNYAnd me. And herself! She ate ameal that would choke a pig!

ROSEThat's incredible.

MR. JOHNNYYes.

The front door can be HEARD SLAMMING, out of view, and thenDogs can be HEARD BARKING. Mr. Johnny and Rose look to theentranceway. The Old Man appears there, holding the FiveDogs.

ROSEHello Pop.

The Old Man looks at Rose. He is a specter. He stares, andthen he makes a long low accusing NOISE. Then he disappears.

MR. JOHNNYWho was that?

ROSEThat was my father-in-law, who has awrong idea in his head. Listen,Johnny, there's a question I want toask you. And I want you to tell methe truth if you can. Why do menchase women?

MR. JOHNNYWell. There's the Bible story. Godtook a rib from Adam and made Eve. Maybe men chase women to get the ribback. When God took the rib, heleft a hole there, place where thereused to be something. and the womenhave that. Maybe a man isn't completeas a man without a woman.

ROSEBut why would a man need more thanone woman?

MR. JOHNNYI don't know. Maybe because he fearsdeath.

Rose leaps up, very excited.

ROSEThat's it! That's the reason!

86.

MR. JOHNNYI don't know.

ROSENo, that's really it. Thank you foranswering my question.

The FRONT DOOR SLAMS again. Mr. Johnny and Rose look to theentranceway. Cosmo appears there.

COSMOHi.

(taking in Mr. Johnny)Hi.

MR. JOHNNYHello, Mr. Castorini.

ROSEWhere you been?

COSMOI don't know, Rose. I don't knowwhere I've been, and I don't knowwhere I'm going.

(to Mr. Johnny)You should have your eyes opened foryou, my friend.

MR. JOHNNYI have my eyes open.

COSMOYou do, huh? Stick around. Don't goon any long trips.

MR. JOHNNYI don't know what you mean.

COSMOI know you don't. That's the point. I'll say no more.

MR. JOHNNYYou haven't said anything.

COSMOAnd that's how much I'm saying.

ROSECosmo?

COSMOWhat?

87.

ROSEI just want you to know. No matterwhat you do. You are going to die,just like everybody else.

COSMOThank you, Rose.

ROSEYou're welcome.

COSMOI'm going to bed now.

Mr. Johnny stands up. Cosmo walks off, out of view.

MR. JOHNNYI'm going.

COSMO'S VOICE(from top of stairs)

Good!

ROSE(to Mr. Johnny)

He doesn't like you. Thank you foranswering my question.

MR. JOHNNYYou don't know where Loretta is?

ROSENo idea.

MR. JOHNNYThen tell her I'll come by in themorning. We need to talk.

ROSEOkay, I'll tell her.

EXT. THE CASTORINI HOUSE - DAWN

We watch the effect of the sun coming up on the house. Itbegins in darkness, and goes through the many graduations oflight very quickly until it's lit by the light of brightmorning.

THE FRONT DOOR OPENS AND THE OLD MAN AND THE DOGS COME OUT

He's got them on their leashes and, over his head, he carriesthe black umbrella. He walks off toward the park anddisappears.

88.

EXT. STREET - DAY - LORETTA IS WALKING

Along a sidewalk a couple of blocks away. She is a wreck. She's still in her clothes of the night before. She hasn'tslept. Her hair's a bit funny. And she's tormented by thecomplications in her life. And, at the same time, she looksgreat. She looks like she's been loved up and down. Shehas a hickey on her neck. Her eyes are dreamy and her walkis slow, utterly careless, and sexual. She's carrying,crunched in her hand, her program from La Boheme. She startsSINGING. We follow her as she SINGS and walks.

WE WATCH LORETTA WALKING FROM THE BACK NOW

She's still muttering. She come- to a tin can. She kickslt. She comes to it again. She kicks it again.

EXT. - THE CASTORINI HOUSE - DAY

Loretta appears kicking her can. She abandons the can andenters the house.

INT. THE CASTORINI HOUSE - KITCHEN - DAY

Rose is at the stove. The kitchen is filled with steam andsunlight. Rose is stirring a pot filled with oatmeal. Another range has the coffeepot heating. Loretta shufflesinto the kitchen, goes to the tin table, and sits down. There are red roses on the table. Rose sees Loretta.

ROSEWhat the hell happened to you?

LORETTAWell. I don't really know where tostart.

ROSEYour hair's different.

LORETTAEverything's different.

ROSEAre you drunk?

LORETTANo. Are you drunk?

ROSENo. But I have a hangover.

LORETTAWhere's pop?

89.

ROSEUpstairs. Johnny Cammareri showedup last night.

Loretta is suddenly electrified.

LORETTAWhat? He's in Sicily!

ROSENo more he's not.

LORETTAHe's with his dying mother!

ROSEShe recovered.

LORETTAWHAT!! She was dying!

ROSEIt was a miracle.

LORETTAA miracle? This is modern times! There ain't supposed to be miraclesany more!

ROSEI guess it ain't modern times inSicily. He came right from theairport. He wanted to talk to you. You got a love bite on your neck. He's coming back this morning.

With a long low MOAN, Loretta lowers her head to the table.

EXT. STREET - DAY

Ronny is walking along the same stretch of sidewalk as Lorettajust was. He looks like hell, too. His hair is wild and hehasn't slept. He's thrown on an old leather jacket and brownleather gloves. He has a love bite on his neck, too. Hestarts to SING "O SOAVE FANCIULLA". He SINGS it any oldway, occasionally getting a good attack, occasionally justmuttering his way through. SINGS as much of it as heremembers, which is a lot.

WE WATCH RONNY WALKING FROM THE BACK NOW

He's SINGING away, carelessly sauntering along. He passesan ITALIAN COUPLE of middle age. They smile as they recognizewhat he is singing. They start to SING along with him.

90.

They SING till they get to the ceiling of the aria, and toa resting place a little beyond. Then they nod to each otherappreciatively and go on their ways, Ronny turning his backto the CAMERA, and they WALKING INTO IT.

EXT. - THE CASTORINI HOUSE - DAY

Ronny appears and approaches the door. HE KNOCKS, waits,and then RINGS THE BELL. Rose answers the door and inviteshim in.

INT.-THE CASTORINI HOUSE-KITCHEN

Rose walks in with Ronny behind her. There's no one in thekitchen. Rose calls out.

ROSEIt's not Johnny.

Loretta comes out of a closet, where she was hiding. She'svery surprised to see Ronny.

LORETTARonny!

RONNYIs Johnny here?

LORETTAHe's coming.

RONNYGood! We can get this out on thetable.

(to Rose)I'm Ronny, Johnny's brother.

(Shakes her hand)

ROSENice to meet you. You've got a lovebite on your neck. Your mother'srecovered from death.

RONNYOh. Good. We're not close. I'm notreally moved.

LORETTAYou've gotta get outta here.

RONNYNo. I'm gonna wait.

91.

LORETTA(arguing with Ronny)

Ronny, please...

ROSEWould anyone like some oatmeal?

LORETTA continues arguing.

RONNY(ignores Loretta)

Yes, I would like some oatmeal.

Ronny and Loretta sit down and Rose serves them oatmeal l81. COSMO WALKS IN dressed for business. He regards the trio,puts on his hat in shock and then takes it off again.

ROSECosmo, this is Ronny, Johnny'sbrother.

COSMOHis brother.

Cosmo sits down. Rose puts a bowl of oatmeal in front ofhim. He absently begins to eat it. A silence reigns. Thenhe puls down his spoon.

COSMOYou're Johnny's brother?

RONNYYeah.

Cosmo picks up his spoon and they all eat silently once more. The SOUND OF DOGS BARKING comes up and then fades away.

THE OLD MAN WALKS IN

He looks at the assemblage. The assemblage looks at him. He points at Rose. Then his pointing drifts to Cosmo andhis hand opens in a gesture of supplication.

OLD MANI am old. The Old are not wanted. And what they say has no weight. But, my son, I must speak. You shouldpay for the wedding of your onlydaughter. You are breaking yourhouse through pride. There. I'vesaid it.

COSMOIt's okay, Pop. If she gets married,I'11 pay for the whole thing .

92.

The Old Man lets go a great noise of relief, sits down atthe table, and waits. Rose brings him a bowl of oatmeal. He is content now, and eats his oatmeal with great relish. The others eat with a more meaningful silence. Rose putsdown her spoon. She looks at the table, but she is speakingto Cosmo.

ROSEHave I been a good wife?

COSMOYes.

ROSEI want you to stop seeing her.

Everyone stops eating. A tremendous silence falls. An oldclock goes tick, tick, tick. Suddenly Cosmo smashes hisfists to the table and stands. He doesn't look at Rose duringthis. Then slowly, he sits down.

COSMOOkay.

ROSEAnd go to confession.

COSMO(still not looking at

her)A man... under stands one day...that his life is built on nothing. And that's a bad, crazy day.

ROSEYour life is not built on nothing. Ti amo.

She puts her hand across the table to him.

COSMOTi amo.

He slides his hand out and takes her hand. Slowly, he liftshis eyes. Their eyes meet. It's the first time he's beenable to hold her gaze in this whole story. The DOORBELLRINGS.

LORETTAIt's Johnny. I'll get it.

Loretta's tone is fatal.

RONNYI'll get it.

93.

Rose gets up.

ROSEI'll get it.

She goes to answer the door.

RONNY(goes for the door)

No, I'll tell him.

LORETTANo I'll tell him.

(to her father)What am I going to tell him?

COSMOTell him the truth, Loretta theyfind out anyway.

Loretta looks at her father.

LORETTAI love you Pop.

It's a private moment.

But who appears at the kitchen door is not Johnny CAPPOMAGGIS.

They have their coats on and they look very serious andconcerned and timid.

RITAHi Loretta.

LORETTAHi.

RAYMONDHi, Loretta.

LORETTAHi. Why ain't you at the store?

RITAIs there anything you want to tellus, honey?

LORETTAYou? No.

RAYMONDWe just come from the bank.

94.

LORETTAThe bank. OH MY GOD, I FORGOT TOMAKE THE DEPOSIT!

RITA(to Raymond)

She's got it.

RAYMONDI knew she had it.

Loretta runs out of the kitchen and reappears with hereveryday bag. She takes out the night deposit bag and handsit to Raymond.

RITAWe didn't know what to think. Youwere so weird yesterday, and thenthis morning, we go to the bank andno bag

RAYMOND(a sudden outburst to

Loretta)WE NEVER SUSPECTED YOU!

Raymond covers his face to hide his emotion. Rita, meanwhileis clearing the oatmeal bowls.

ROSEListen. Who wants coffee?

There is a general acknowledgment. Everybody wants coffee. Rose passes out white mugs and begins pouring steaming draftsof coffee. Raymond and Rita are standing. The rest aresitting.

RITASo what are we doing?

ROSEWe're waiting for Johnny Cammareri.

Rita nods. A silence.

RONNYI'm his brother.

TA(taking and shaking

his hand)Nice to meet you. I'm RitaCappomaggi.

95.

RAYMOND(taking and taking

his hand)I'm Raymond Cappomaggi. I'm Rose'sbrother.

RONNYNice to meet you.

Silence. Then the Old Man erupts.

OLD MANSomebody tell a joke!

The DOORBELL RINGS. And RINGS AGAIN. Everyone is frozenfor a moment, then Rita mobilizes.

RITAI'll get it.

She goes. Loretta puts down her coffee and deep breathes,preparing herself.

LORETTAI'm getting palpitations!

SHE PUSHES AWAY HER COFFEE.

RAYMONDI thought he was in Palermo.

RITA APPEARS WITH MR. JOHNNY IN TOW

Rita continues into the room, leaving Mr. Johnny in thedoorway. He is in a dark, vested suit. He is a littlebewildered by the crowd of people, but succeeds in hidingmost of his discomfort.

RITAIt's Johnny Cammareri.

LORETTAJohnny.

MR. JOHNNYLoretta...

RONNYJohnny...

MR. JOHNNYRonny! Our mother has recoveredfrom death!

96.

RONNYGood.

MR. JOHNNYHave you come to make peace with me?

RONNYWell. Yeah. You may not want to.

MR. JOHNNYOf course I want to.

LORETTAI don't know. But Johnny, how didyour mother recover? She was dying.

MR. JOHNNYWe should talk alone.

LORETTAI can't. I need my family around menow.

MR. JOHNNYWell. I told my mother that we wereto be married. And she got well. Right away.

RONNYI'm sure she did.

MR. JOHNNYIt was a miracle!

LORETTAJohnny, I have something to tellyou.

MR. JOHNNYI have something to tell you. But Imust talk to you alone.

LORETTAI have no secrets from my family.

MR. JOHNNYLoretta, I can't marry you.

LORETTAWHAT?

MR. JOHNNYIf I marry you my mother will die.

The Old Man laughs a loud sudden laugh, and then subsides.

97.

LORETTAWhat the hell are you talking about? We're engaged.

RONNYLoretta, what are you talking about?

LORETTAI'm talking about a promise. Youproposed to me!

MR. JOHNNYBecause my mother was dying! Butnow she's not.

RONNYYou're forty-two years old, Johnny,and Mama is still running your life.

MR. JOHNNYAnd you are a son who doesn't lovehis mother!

LORETTAAnd you're a big liar! I've gotyour ring here!

MR. JOHNNYI must ask for that back.

Loretta struggles and pulls off the ring.

LORETTAHere! Take your stupid pinky ring.

(she throws it atJohnny)

Who needs it? The engagement's off.

Mr. Johnny retrieves the ring.

MR. JOHNNYIn time, you will see that this isthe best thing.

LORETTAIn time, you will drop dead, and Iwill come to your funeral in a reddress.

RONNYLoretta?

LORETTAWhat!

98.

RONNYWill you marry me.

MR. JOHNNYWhat?

LORETTAWhere's the ring?

Ronny looks to Mr. Johnny a little sheepishly.

RONNYCould I a ...borrow that ring.

Mr. Johnny, in shock, hands it over to Ronny.

RONNYThanks.

He kneels down before Loretta. He presents the ring to her.

RONNYWill you marry me, Loretta CastoriniClark?

LORETTABefore a11 these people, yes, I willmarry you, Ronny Cammareri!

She takes the ring. Ronny and Loretta kiss.

ROSEDo you love him, Loretta?

LORETTAYeah, Ma, I love him awful.

ROSEOh God, that's too bad.

Ronny and Loretta enter into a long kiss. The Old Man startsto cry. Cosmo leans forward to the Old Man solicitously.

COSMOWhat's the matter, Pop?

OLD MAN(Lifts his head and

cries out)I'M CONFUSED !

Loretta pushes Ronny away, breaking the kiss. They haveboth neglected to breathe the whole time they were kissing. They are both gasping for air, especially Loretta.

99.

LORETTAWait a minute! Wait a minute!

But then she looks at Ronny, and lunges back to him, divinginto another kiss like a mermaid diving into the bluest ocean.

MUSIC

"O SOAVE FANCIULLA" from "La Boheme," COMES UP and engulfsthe lovers, the family, the world.

WE SEE the faces of the lovers swirl away into a golden anddiamond light, and

DISSOLVE INTO:

EIGHT FULL CHAMPAGNE GLASSES

Glistening in sunlight on the white tabletop. Into each isdropped a lump of sugar. A bottle of recently employedbitters sits nearby with its cap off (like a respectfulpeasant in aristocratic company. And the roses in the center.

Now the CAMERA PULLS BACK. WE SEE the table is surrounded. Cosmo is dropping the last of the sugar cubes in the lastglass of champagne. Rose is by him. Rita and Raymond areside by side, as are Ronny and Loretta. The Old Man sits,staring at his son, intent and approving. But where is Mr.Johnny?

COSMOEverybody take a glass.

Everybody takes a glass. The Old Man takes one and gets up

OLD MAN(to Cosmo)

Wait.

The Old Man takes the glass and walks over to a corner ofthe kitchen where Mr. Johnny, deeply disturbed and somewhatcatatonic, sits on a step-ladder.

OLD MAN(continuing; to Mr.

Johnny, offering theglass)

Here.

MR. JOHNNYI don't want it.

But the Old Man, wise and merry and tough, presses the glasson Mr. Johnny, who takes it.

100.

COSMO, THE HEAD OF THE FAMILY NOW, LIFTS HIS GLASS

COSMOTo . . . the family. Right? Tiamo.

They all lift their glasses.

CLOSE-UP OF ROSE'S FACE

ROSETi amo.

CLOSE-UP OF RAYMOND AND RITA

RAYMONDThat's right.

Rita nods.

A CLOSE-UP OF RONNY AND LORETTA DRINKING THEIR CHAMPAGNE

And looking into each other's eyes.

CLOSE-UP OF THE OLD MAN

Who knocks back his drink lustily, and then with a glitteringeye looks away from the table.

MR. JOHNNY FROM THE OLD MAN'S POV

Mr. Johnny sits without moving, holding his glass. A longmoment passes. Mr. Johnny is thinking. Then he nods tohimself. He lifts his glass and murmurs for no one to hear

MR. JOHNNYTo family.

CLOSE-UP OF THE OLD MAN LOOKING AWAY FROM MR. JOHNNY

And he laughs his laugh. This laugh could kill him. TheCAMERA PULLS BACK a little. He pounds the table and knocksover the roses.

A CLOSE-UP OF THE RED ROSES ON THE WHITE TABLETOP CLOSINGBLACK CREDITS ROLL AGAINST THE WHITE BACKGROUND.

FADE OUT

THE END