A busy Brooklyn neighborhood in the 1950s. Pushcarts line the
sidewalks, and women hang laundry between tenement buildings.
Children play stickball in the street, scattering when
automobiles honk through.
ALPHONSE MARINO (40s, squat, thick mustache) arranges fruit
at his modest stand. He wears a stained apron and repeatedly
wipes sweat from his brow. Despite the summer heat, his stand
is vibrant with colorful produce and crowded with customers.
INT. MARINO APARTMENT - NIGHT
Alphonse enters his cramped two-bedroom apartment, lifts his
head, and breathes deeply.
ALPHONSE
I smell meatballs.
MARIA MARINO (38, tired eyes but warm smile) nods as she
serves pasta to their THREE CHILDREN (ages 6, 9, and 12) at a
small table.
When Alphonse takes his seat, she brings him a large plate of
pasta with two meatballs on the side, sprinkled with cheese.
Alphonse smiles, and stares at Maria, his mouth agape.
ALPHONSE (CONT’D)
Dove hai preso i bucatini? (where
did you get the bucatini?)
Maria’s smile spreads her chubby cheeks wide.
MARIA
Concetta find a new shop in the
Bronx. She goes there once a week.
She buy this for us.
(a beat)
And speak English so kids learn.
Alphonse takes a few bites, then looks at Maria.
ALPHONSE
Tell Concetta she getta free fruit.
TONY (12, thin, dark hair, intelligent) smiles.
TONY
That’s ‘gets’ Papà, not ‘getta.’
Alphonse’s smile is beaming. He rubs Tony’s head.
ALPHONSE
At’s-a my boy. You teach Papà good.
I like.
Shouting is heard from the apartment next to them. The walls
are thin, and if the neighbors argue, they’re heard. And the
neighbors always argue.
Maria walks over and bangs on the wall.
MARIA
Basta! (enough.) I no want my kids
to hear that trash.
Tony and his sister clear the table and wash the dishes, then
they sit back down and bring out the scopa cards. Tony
shuffles them.
TONY
Prepare to lose, Papà.
Maria walks over and kisses each of them on the cheek. When
she gets to Tony, she whispers to him.
MARIA
Sil gentile, Antonio. (Be nice.)
Your brother and sister need to win
too.
MARINO APARTMENT — KIDS BEDROOM — NIGHT
After the games are over, Maria takes the kids to their
bedroom and makes sure they are tucked in, then she returns
to the kitchen.
KITCHEN — CONTINUOUS
Maria brings a handful of papers and sets them in front of
Alphonse.
ALPHONSE
So many?
Alphonse goes through the bills, his face growing more
concerned with each one he sets aside. Maria sits across from
him, lines of worry etched on her face.
MARIA
How bad?
Alphonse sets his pencil down and covers his face with his
hands. He doesn’t look up as Maria walks over. She puts her
hand on his shoulder.
MARIA (CONT’D)
I know is bad, but the kids need
shoes. I can patch mine, but ...
Alphonse shakes his head.
ALPHONSE
Maybe I get money and make bigger
stand, then I sell more things —
more than fruit.
Maria smiles, and rubs the back of his neck, then rests her
head on his shoulder.
MARIA
I go to bed, Alphonse.
She walks to the bedroom, but stands in the doorway and
watches.
Alphonse empties his pockets and counts coins, then he opens
the small can they keep change in.
Maria holds back tears, but after a moment she goes to bed.
As she covers herself, she makes the sign of the cross.
MARIA (CONT’D)
Dio mio, abbiamo bisogno del tuo
aiuto. Il mio Alphonse, lavora così
duramente ed è un uomo buono. Ti
prego, aiutaci. (Dear, God. We need
your help. My Alphonse, he works so
hard, and he is a good man. Please
help.)
Genres:
["Drama","Family"]
Ratings
Scene
2 -
Rejections in Brooklyn
INT. FIRST NATIONAL BANK - DAY
Alphonse sits across from a LOAN OFFICER (50s, pompous)
dressed in a suit. Alphonse looks him over: his shoes are
fancy, his tie is fancy, and he sits behind a large mahogany
desk.
The loan officer lights a cigarette and flips through the
papers quickly before sliding them back.
LOAN OFFICER
I’m sorry, but we can’t help you.
Alphonse scrunches up his eyes.
ALPHONSE
But —
The loan officer stands and shakes his head, then escorts
Alphonse out of the bank.
MONTAGE: BANKS
- ALPHONSE trudges down the busy sidewalk, moving aside to
let people pass.
- He stops at the building before the Bank of New York and
looks into the mirrored glass, straightens his tie, brushes
dirt from his clothes, then enters the bank, wearing a smile
he doesn’t feel.
- He exits the bank, his head held low, and makes his way to
Brooklyn Savings and Loan, his hopes high. As he waits, he
hears the manager whisper to loan officer: “... immigrants.”
END OF MONTAGE
EXT. BROOKLYN STREETS — DAY
Alphonse clenches his teeth and balls his fists, but he exits
the bank and heads toward home.
Outside the window, a cab drives past. Inside it, GIANNI
(50s, boisterous, expressive hands) glances up at the bank
windows, his eyes briefly GLOWING.
Genres:
["Drama"]
Ratings
Scene
3 -
Dusk Decisions
EXT. BROOKLYN STREETS - DUSK
Alphonse walks slowly, shoulders slumped. The street is
narrow, lined with brownstones and iron balconies. As he
nears his neighborhood, kids fill the street, yelling to each
other in Italian as they play stickball.
Women gather the laundry that has been drying in the fresh
air all day and chat with neighbors who do the same. At the
corner, a man argues with a fishmonger, waving a scaly bass
like it owes him money.
Up and down the street, women sweep the stoops and sidewalks,
cleaning off the dust that gathers throughout the day.
Alphonse breaks into song as a nearby radio blares Sinatra
music. He’s almost home when he sees SEVERAL FRIENDS sitting
on a stoop across the street. They look to be playing scopa,
a favorite Italian card game.
Alphonse waves and yells to them.
ALPHONSE
(grinning)
Ciao, ragazzi! Tutto bene? (hey,
guys. Everything good?)
He passes a small Italian café where Gianni sits on a stoop
drinking espresso and nibbling on a sflogiatella. He wears a
comfortable, worn suit that somehow still looks stylish. A
cigarette dangles from the left side of his lip.
GIANNI
Ciao, Alphonse, come va? (Hi,
Alphonse, how are you?)
ALPHONSE
(sighing)
Not so good.
Gianni pats the stoop beside him, and Alphonse sits down
heavily, the weight of the day causing him to land hard.
GIANNI
So, no luck at the bank?
Alphonse laughs sarcastically.
ALPHONSE
You mean banks.
He holds up three fingers.
ALPHONSE (CONT’D)
Three turned me down.
GIANNI
(sipping espresso)
Maybe you talk to Renzo.
ALPHONSE
(defensive)
Not so desperate — yet.
GIANNI
Ah! But you think about it, eh?
ALPHONSE
What's the point in dreaming if it
costs more than my business?
GIANNI
But the money — it be nice, no?
ALPHONSE
(reluctantly)
Si, Gianni. Sarebbe bello. (it
would be nice.)
GIANNI
So?
ALPHONSE
(exasperated)
I don't know. How much vig Renzo
charge?
Gianni laughs, slapping his knee.
GIANNI
For a paisan, he make special deal
— five percent vig.
Alphonse shakes his head.
ALPHONSE
Still a lot.
GIANNI
Not so much. You borrow $1,000, you
pay $50 vig each week.
ALPHONSE
(chuckling sarcastically)
And if I can’t pay?
GIANNI
You know what happens. Remember
Paulo from The Avenue?
ALPHONSE
I visit him in the hospital.
GIANNI
But Renzo take care of his familia
while he sick.
(a beat)
And the banks? They maybe don’t
break legs, but they trick you.
Gianni leans in conspiratorially, and whispers.
GIANNI (CONT’D)
They say you have five years to pay
the loan, and only charge 9%. But
miss a payment and Signor Banchiere
pay a visit.
(a beat)
He embarrass you in front of your
neighbors and family and then — he
raise your interest. Now, 9% is
24%, and then — Sei fregato.(you
are shit out of luck).
ALPHONSE
(concerned)
And what about Renzo?
Gianni shrugs, gesturing expansively.
GIANNI
Renzo is fair. He charge you a
little more — maybe twenty-five
percent, maybe more. And he also
adds vig.
Gianni points his fat finger at Alphonse.
GIANNI (CONT’D)
You get maybe a month to pay back —
if he likes you — but then you
gotta pay. If you no pay, he come
lookin' for you, just like the
banks.
(a beat)
But when Renzo come, he no
embarrass you. He tell your family
and neighbors he come for something
else. If you no have cash, Renzo
whispers he see you the next day,
and trust me — he will. When you
turn a corner there he is.
The streetlights flicker on, and a police car slowly drives
by, watching everything on both sides of the street. Gianni
waves, but curses them under his breath.
GIANNI (CONT’D)
La policia — only for the rich.
ALPHONSE
Where I find Renzo?
GIANNI
(smiling)
You ask for his help now?
ALPHONSE
(defensive)
Just asking.
GIANNI
Don’t worry. Renzo finds you. But
if you want, I mention something to
him. See what he says.
Genres:
["Drama","Slice of Life"]
Ratings
Scene
4 -
A Toast to Friendship
EXT. BROOKLYN HEIGHTS — NIGHT
Gianni strolls down lower Montague Street listening to the
boisterous shouts of kids playing stickball and other games,
their voices a mixture of Italian, Irish, Yiddish and more.
Steam rises from a manhole, and across the street a fruit
vendor almost sings the end-of-the-day specials.
Gianni deftly avoids a crack in the sidewalk where it has
been raised up by nearby tree roots. Then he takes in the
smells of simmering sauce, roasted peppers, and garlic.
As he moves up the street, it grows quieter, and the
storefronts are replaced by brownstones, often surrounded by
iron fences and gates.
Gianni slows his pace as he admires the splendor of the old
brownstones, many built more than one hundred years ago.
GIANNI
(to himself)
Not bad for a city built on bones.
He takes one last gulp of his espresso, tosses it into a
trash bin, then continues his walk. When he reaches RENZO’s
house (30s, muscular, scars on knuckles) he knocks on the
door and waits.
Renzo opens the door and laughs, embracing Gianni and hugging
him tightly.
RENZO
What do you want, old man?
Gianni laughs, brushes by Renzo, and takes a seat on a lush
sofa sitting against the wall.
GIANNI
It’s neck and neck who is older, my
friend. We are no longer bambinos.
(a beat)
And maybe you are growing rusty.
You didn’t sense me coming.
RENZO
Gianni, I know you for two, maybe
three hundred years. Should I
worry?
Gianni brushes his hand in the air, walks over and picks a
book from Renzo’s bookshelf.
GIANNI
Dante. Always so dramatic.
(a beat)
How many times you read this?
RENZO
Not so many.
Gianni sits, suddenly looking ancient despite his appearance.
GIANNI
(serious)
Alphonse needs money.
RENZO
Honest man. Good soul. Rare in this
age. More rare in Brooklyn.
GIANNI
You give him time if he need it?
RENZO
Sempre. Soprattutto con i tuoi
preferiti. (Always. Especially with
your favorites.)
GIANNI
That is why we been working
together for ... how long now?
RENZO
I stop counting after so long.
Renzo laughs and pours two glasses of red wine, sits, and
takes a sip. Gianni toasts him and sips his as well.
GIANNI
Tastes like Old Country.
RENZO
It is Old Country.
They clink glasses again, both briefly showing a mysterious
glow of light in their eyes.
GIANNI
Cent’anni. (may you live to be a
hundred) The scales must always
balance.
RENZO
Justitia et misericordia. (Justice
and Mercy.)
GIANNI
When you start speaking Latin?
RENZO
I grow tired of the way we speak.
Gianni finishes his wine and gets up to leave.
GIANNI
Go see Alphonse. He maybe ready.
Genres:
["Drama","Crime"]
Ratings
Scene
5 -
Struggles and Resilience
INT. MARINO APARTMENT — NIGHT
Maria sits at the table mending shoes. The heels are worn
through and the leather cracked. She winces as she pricks her
finger. Blood drops onto her dress.
MARIA
(muttering in Italian)
Che sfortuna ... (What bad luck!)
Tony enters, schoolbooks under his arm and hiding his shirt.
He runs toward the bedroom, his head hung low.
Maris looks up and raises her voice.
MARIA (CONT’D)
Torna qui, Antonio. (Come back
here.)
Tony turns and stands before his mother.
TONY
What?
Maria takes his books. There is a tear in his shirt.
MARIA
What happened?
TONY
(reluctantly)
The kids at school.
(MORE)
TONY (CONT’D)
They called us dagos and wops. And
they said we smelled like garlic.
Maria's face hardens. She pulls Tony close.
MARIA
You are Marino. Those boys, their
families were immigrants too, once.
TONY
But papà's only got a fruit stand
... Jimmy's father owns a factory.
And they have a car.
MARIA
Money no make a man.
Tony nods, unconvinced.
MARIA (CONT’D)
(resolute)
Things get better soon. Your papà
works hard.
The YOUNGER CHILDREN burst in, playing. One has a HOLE in his
shoe.
Maria looks at the shoes, the torn clothes, then at the
nearly empty pantry. Her determination wavers for just a
moment.
Genres:
["Drama"]
Ratings
Scene
6 -
A Desperate Decision
EXT. FRUIT STAND - DAY
Alphonse arranges peaches while keeping an eye on a tough-
looking man leaning against a lamp post.
Renzo smokes a cigarette, watching Alphonse from across the
street. After a long drag, he tosses the smoke to the
sidewalk and crushes it out.
MARIA approaches with lunch for Alphonse. Renzo chooses this
moment to cross over.
RENZO
(rough voice)
Bella frutta (Nice fruit).
Alphonse tenses as Maria stands beside him.
MARIA
Can I help, signore?
RENZO
(politely)
Just lookin’ what you got, signora.
Tuo marito ha un buon occhio per la
qualità. (your husband has a good
eye for quality.)
MARIA
(smiling)
Grazie. He works hard.
Maria returns to other customers, and Renzo leans in to speak
to Alphonse.
RENZO
Gianni say you need money.
ALPHONSE
(nervous)
Maybe a little.
RENZO
Talk to me tonight — at Angelo’s.
Alphonse talks to everyone he knows to see what he can find
out about Renzo. But no one seems to know anything. All they
know is Renzo shows up when people need money.
After shutting down the fruit stand, Alphonse tells Maria he
has to see another person about a loan.
She closes her eyes and sobs.
MARIA
Not worth it. It only make you feel
bad. Just stay home.
Alphonse shakes his head.
ALPHONSE
No take long. Promesso. (I
promise.)
Genres:
["Drama"]
Ratings
Scene
7 -
A Toast to Trust
INT. BACK ROOM OF Angelo’s TRATTORIA - NIGHT
Alphonse joins Renzo, sitting at a table in the back, a
bottle of grappa in front of him.
Angelo brings two espressi and after he sets them on the
table, Renzo pours a little grappa (strong Italian liquor)
into each. He then writes numbers onto a napkin.
RENZO
You need five hundred, you pay back
six hundred in four weeks.
ALPHONSE
That's twenty percent!
RENZO
(shrugging)
You good witt numbers, Alphonse.
Five percent a week. Not so much
when you think that way.
(a beat)
But I no bank. You want bank money,
go ahead. They give you nothing. My
money is same as theirs.
Alphonse hesitates, then extends his hand.
ALPHONSE
Are there papers to sign?
Renzo laughs and hits the table with the palm of his hand.
RENZO
You make me laugh, Alphonse. I like
you. Your word is all I need.
Renzo pours more grappa, then raises his glass in a toast.
Cent’anni!
Genres:
["Drama","Crime"]
Ratings
Scene
8 -
Harvest of Happiness
EXT. FRUIT STAND — DAY — ONE WEEK LATER
Alphonse helps the driver unload a truck filled with fruit,
then he arranges them on his stand.
MONTAGE:
- Alphonse uses the money to expand his stand, and buy more
produce.
- Business picks up. More customers come each day.
- Alphonse counts more money at the end of the day.
- Maria sews the kids new clothes.
- Maria looks happier. She sings and hums all day.
END OF MONTAGE.
Genres:
["Drama"]
Ratings
Scene
9 -
A Fruitful Morning
EXT. FRUIT STAND - DAY
Before Alphonse’s day begins, he runs down to see Gianni,
sitting on the stoop, smoking a cigarette.
He leans down and kisses Gianni on the cheek.
ALPHONSE
You a saint. Renzo give me the
money and now my business grows.
Gianni smiles.
GIANNI
Just make a sure you pay Renzo
back, or else ...
He imitates a man swinging a bat.
ALPHONSE
No worries. And Grazie. Grazie
mille. (And thanks. Thanks a
million.) Now I gotta open the
stand.
Genres:
["Drama"]
Ratings
Scene
10 -
A Fruitful Exchange
EXT. FRUIT STAND — DAY — THREE WEEKS LATER
Alphonse, now with a bigger stand, more inventory, even an
employee, is busy helping customers when Renzo walks up.
RENZO
Four weeks. Today.
ALPHONSE
(prepared)
I know.
He hands an envelope to Renzo, who counts it and nods.
RENZO
Sempre un piacere fare affari.
(always a pleasure doing business)
ALPHONSE
Actually ...
(a beat)
I might need a bit more.
Renzo looks him over with eyes that see everything.
RENZO
Maybe you see the bank first. You
have good business to show now.
ALPHONSE
I no think they help.
RENZO
If they no help — then, come see
me.
Renzo walks away and calls back over his shoulder.
RENZO (CONT’D)
Speriamo che non ci vediamo più.
(I hope I don’t see you again.)
Genres:
["Drama"]
Ratings
Scene
11 -
A Desperate Plea
INT. Brooklyn Savings and Loan - DAY
The same loan officer who rejected Alphonse is closing up for
the day, but Alphonse convinces the man to let him in.
ALPHONSE
I was here couple months back.
The loan officer sneers.
THIRD LOAN OFFICER
Nothing has changed.
ALPHONSE
But it has! I got lots more
business and more fruit.
The loan offers peers over the rims of his glasses, steps
close to Alphonse, and whispers.
THIRD LOAN OFFICER
All I see is an immigrant dressed
in a cheap, dirty suit.
Alphonse gets up and leaves, a downtrodden look on his face.
Genres:
["Drama"]
Ratings
Scene
12 -
A Helping Hand in Brooklyn
EXT. BROOKLYN STREETS — DAY
Gianni sits on the same stoop, smoking a cigarette when
Alphonse walks by, head hung low.
GIANNI
Ciao, Alphonse. Come va?
ALPHONSE
Not so good. I maybe need help from
Renzo again.
Gianni nods.
GIANNI
I take care of it.
EXT. BROOKLYN BANK AND SAVINGS - NIGHT
The loan officer exits, waves to the security guard, who
WHISTLES to a cabbie sitting nearby.
The CABBIE (40s, not talkative) pulls to the curb.
CABBIE
Need a ride, signor?
The cabbie is Gianni, though somehow different - his features
slightly altered, harder to recognize.
Genres:
["Drama","Crime"]
Ratings
Scene
13 -
The Reckless Ride
INT. CAB - NIGHT
The loan officer sits in the back, checking his watch. He
hands Gianni a slip of paper with an address written on it.
LOAN OFFICER
Take Fifth Avenue north. It’s
faster.
The cabbie looks in the rearview and smiles.
GIANNI/CABBIE
I no think so, Signor Banker. I
pick up two others not so long ago,
and I find a faster way.
The cab suddenly accelerates, turning down a side street
toward the waterfront.
LOAN OFFICER
(panicking)
What are you doing? Stop the damn
car! Stop it!
Gianni drives faster, smiling all the while. Just before
reaching the pier, he jumps out, rolling onto the street.
The car CRASHES through a railing and into the dark water
below, quickly sinking.
Gianni watches from the shadows as bubbles rise to the
surface. He brushes the dirt from his coat, and as he walks
off, a soft shimmer passes over him — faint but unnatural.
His features shift, changing back to his normal appearance,
then he straightens his jacket and walks away, whistling a
merry tune.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
14 -
Whispers of Justice
EXT. MARINO APARTMENT BUILDING - NEXT NIGHT
Alphonse sits on the stoop with Gianni, sharing a bottle of
wine. Gianni holds his glass out for a refill.
GIANNI
Good vino (wine), Alphonse.
ALPHONSE
You hear what happened to that
banker from Brooklyn Savings?
GIANNI
(innocently)
Bad accident. They say his car dive
right in the river.
ALPHONSE
(suspicious)
That makes three bankers in three
weeks. All accidents.
GIANNI
(shrugging)
Non c’è due senza tre. (All bad
things happen in threes.
ALPHONSE
(studying Gianni)
Who are you my friend — veramente
(really)?
GIANNI
Just a friend who believes good
people deserve good fortune.
Gianni's eyes briefly glow with an otherworldly light, but
when Alphonse blinks, Gianni appears as a normal old Italian
man again.
GIANNI (CONT’D)
Alcuni debiti vanno saldati. Alcune
giustizie vanno servite. Some debts
need paying. Some justice needs
serving.
ALPHONSE
And Renzo?
GIANNI
(smiling)
He works for me, in a way.
They clink glasses and look up to admire the Brooklyn
skyline, lit up against the night. It’s a beacon of light,
and a beacon of hope.