3 EGG CREAMS
A RHAPSODY IN THE RAIN
A Romantic Dramedy for the Screen by
GEORGE CAMERON GRANT
adapted from his stage play of the same name.
Deeper Edit 11/7/25
WGEA Registration #I333759
Registered with Library of Congress
Featuring the music of
LOU CHRISTIE & TWYLA HERBERT
Lightning Strikes Music
Additional music
"I'M GONNA WAIT FOR YOU BABY"
Written by LOU CHRISTIE & TONY ROMEO
Lightning Strikes Music / R2m Music
"LOVE GOES ON FOREVER"
Written by LOU CHRISTIE & JIMMY CUNNINGHAM
Listen to the Soundtrack:
3EggCreams.com/soundtrack
This screenplay is dedicated to the Memory of
LUGEE ALFREDO GIOVANNI SACCO
February 19, 1943 - June 18, 2025
Contact: [email protected]
516-238-3869
GeorgeCameronGrant.com
TITLE: Dobbs Ferry, NY. Wednesday, Nov 27, 2019 - 6:13PM
The sound of a LAPTOP starting up.
FRANKIE (V.O.)
The Bronx. A lifetime ago. In the
Magic Realm of this 10-year-old
boy, there was only one King.
Genres:
["Romantic","Dramedy"]
Ratings
Scene
2 -
Nostalgia in the Dark
INT. OFFICE - FRANKIE’S OFFICE - NIGHT
Light from laptop screen reveals FRANKIE KINSELLA, tall,
burly, mid 60s, ruddy-faced, wire-rim glasses, white hair
poking out from a YANKEES CAP. CELL PHONE vibrates. He
ignores it, and continues typing.
FRANKIE (V.O.)
He was barely a teenager, but had
it all. He could hit a Spaldeen
three sewers with ease. He was
faster and funnier than any kid on
the block. When it got so hot your
sneakers sank into the asphalt, he
was the one who opened the fire
hydrant. If you were being bullied,
you went to him for help and the
bullying stopped on a dime. The
girls? They were crazy for him.
Phone vibrates again as he reclines away from the keyboard,
plucks a scuffed BASEBALL from the desk, tosses it up and
down, places it back on the desk, then resumes typing.
FRANKIE (V.O.)
His name was Vin - Vin Morrone.
Parents called him The Little
Gangster, but we called him The
King. The King of Aqueduct Avenue.
CARMEN (O.S)
Francis!
FRANKIE
Yeah!
CARMEN (O.S.)
I’ve been texting you. Dinner’s
getting cold, are you coming down,
or am I eating alone again?
FRANKIE
Damn it...(yells out)...coming!
FRANKIE (V.O.)
8am tomorrow, Thanksgiving morning,
at Abe’s Soda Shop in the West
Bronx, I have my first audience
with The King in over 50 years.
Shutting the laptop, he pockets his cell phone and leaves.
BLACK SCREEN. ROLLING THUNDER. LIGHTNING FLASH ILLUMINATES...
Genres:
["Drama","Nostalgia","Character Study"]
Ratings
Scene
3 -
Thanksgiving Reflections
EXT. SILHOUETTE OF BRONX SKYLINE - DAYBREAK THE FOLLOWING DAY
A handful of windows are lit with Christmas lights.
TITLE: BRONX, NY. THE FOLLOWING DAY - THANKSGIVING MORNING
Lightning, thunder, and falling rain begin as camera nears a
top floor window of a 5-story tenement with a vintage bulb-
lit plastic SANTA CLAUS FACE. Only two of the three HO! HO!
HO!’s blink on and off below his wide-opened mouth, which the
camera passes through, entering the dark room.
INT. OLD BRONX APARTMENT BEDROOM
Loud thunder clap stirs a bed occupant, who pulls the covers
tighter. Alarm rings. A hand reaches out, silencing the clock
reading 6:15am, passing over a dingy PRINCESS PHONE to a
beeping ANSWERING MACHINE, pressing its PLAY MESSAGE button.
VOICE
Hey, Vin, it’s Frankie, Wednesday
night just before 11. Looking
forward to our meeting at Abe’s
tomorrow morning. See you at 8.
Fingers move to a SMALL PORTABLE CASSETTE PLAYER, feeling for
and pressing the PLAY BUTTON. RHAPSODY IN THE RAIN begins...
“Baby, the raindrops play for me, our lovely rhapsody,
cause on our first date, we were makin’ out in the rain... ”
Covers are flung aside in the darkness, as a SILHOUETTED
SHAPE struggles from the bed and wobbles toward a hallway.
BATHROOM. Light flickers on. VIN MORRONE, 69, stares at the
bad news in the mirror - graying, unruly, receding hair,
puffy eyes, a CORNICELLO (Italian Horn) dangling from a gold
chain. He grabs the belly creeping over his boxers -
VIN
Fat bastit’.
- flips the toilet seat up with his bare foot and waits for
the trickle.
VIN
Ahhhh.
SHOWER, as Vin croaks along with Lou Christie.
SINK. Vin finishes a shave, slaps OLD SPICE onto his face.
BEDROOM. (A time capsule. MOVIE POSTERS of MARTY, FROM RUSSIA
WITH LOVE, DR. NO and BREATHLESS are partially blocked by
stacks of VHS TAPES, mid-80’s VCR and TV. A STEAM IRON sits
on an IRONING BOARD.) Taking a starched white shirt from the
dresser, Vin rips off the FONG’S LAUNDRY paper band, puts it
on. He slips into a pair of ironed BLACK LEVIS, struggles to
zip and button them, then slides into polished FLORSHEIMS.
Squirting VITALIS into his hands, he runs his fingers through
the remaining hair, combs it, then poses before the mirror
one last time before giving “it’ll do” approval
KITCHEN. Finishing his FROOT LOOPS, Vin slurps the remaining
milk from the bowl. A drop lands on his shirt.
VIN
Shit!
Grabbing a paper napkin, he dabs furiously at the drop.
BEDROOM. Vin pulls out a large BOX from under the bed and
removes the cover. Among COMIC BOOKS, BASEBALL CARDS and
MOVIE TICKET STUBS is a scuffed PINK SPALDEEN BALL and B&W
PHOTO BOOTH STRIP of 18-YEAR OLD VIN with tousled hair,
sitting beside a 7-YEAR-OLD ANGELA dressed in black, her
long, wet hair surrounding piercing eyes, in various poses.
Grabbing the ball and photo strip, he replaces the cover,
slides the box under the bed, stands, notices the “HO!” below
the SANTA CLAUS FACE isn’t working, then taps it with his
finger. It resumes blinking along with the others.
HALLWAY. Vin removes a BLACK LEATHER COAT from a CLOSET.
FRONT DOOR. Vin lifts a stuffed SMALL BLACK CANVAS SACK off
the floor. Grabbing KEYS and a FOLDED LETTER from a hall
table, he poses one last time before the hall mirror.
OUTSIDE HALLWAY. Vin descends the staircase to the echoes of
the jingling sack and pouring rain. Reaching the lobby, he
pulls the coat over his head, pushing through the front door.
“...rhapsody in the rain, rhapsody in the rain...”
MUSIC FADES.
Genres:
["Drama","Nostalgia","Character Study"]
Ratings
Scene
4 -
Thanksgiving Reflections
EXT. AQUEDUCT AVENUE - COURTYARD OF VIN’S APARTMENT BUILDING
Vin races across the wet courtyard toward a waiting double-
parked BLACK SUV, dark-tinted window sliding down to reveal a
grinning PAULIE PERILLO, ultra-groomed, tanned, 80-year old,
sharp black leather coat covering a perfectly starched opened
dress shirt, CORNICELLO and CRUCIFIX dangling from his neck.
PAULIE
Yo, Vinny!
VIN
Happy Thanksgivin’ Paulie.
PAULIE
Back atcha’, kiddo - get in.
INT. PAULIE’S CADDIE SUV
Sliding into the passenger seat, Vin shuts the door.
VIN
Why the new wheels? Where’s the
‘63?
PAULIE
Gettin’ touched up, some mutt keyed
her over the weekend. From now on,
I keep her in dry dock - air her
out on special occasions.
VIN
Freakin’ shame.
PAULIE
Just the way things are. Speakin’
of cars, I got one ya’ can have
anytime - nothin’ fancy, but it
runs, and it’ll make ya’ life - and
mine - a lot easier. Neither of us
are gettin’ any younger.
VIN
You know I don’t have a license.
PAULIE
I can put one in your hands by
tomorrow mornin’.
VIN
But I like walkin’, helps keeps the
weight down.
PAULIE
(Patting his stomach)
Could use some walkin’ myself. You
eatin’ in today?
VIN
I’ll cook up somethin’. You?
PAULIE
Usual circus. Someone’ll wind up
screamin’ at somebody, but it’s
Annette and the grandkids - long as
it doesn’t end in a food fight,
I’m happy. (CELL PHONE rings. He
takes it out) Believe this? Gone
ten minutes...(puts phone to his
ear)...Yeah...course I’ll remember
...a dozen...got it...ciao ...(he
hangs up)...just like her mother,
(blesses himself) God rest her
soul, always up my ass. Don’t
forget this, don’t forget that -
and lemme’ tell ya’, this family
eats sfogliatelle like elephants
eat peanuts. So how’d we do?
He hands the sack to Paulie, who unzips it, then runs his
fingers through the change and small bills inside.
VIN
Wish there was more. Seems like
every week there’s less and less.
PAULIE
Hey, what we don’t make in the
jukes and vending machines, we more
than make up for on the internet -
you wouldn’t believe how much.
VIN
But I got nothin’ to do with any of
that computer stuff, Paulie, been
forever since I pulled my weight.
PAULIE
You just keep the ancient machines
runnin’ and the old timers happy,
capisce?
VIN
Capisce.
PAULIE
Would help if ya’ had a cell phone.
VIN
You know how I hate those things.
Paulie grabs Vin’s chin.
PAULIE
Stubborn as a mule, just like your
old man.
VIN
That mule loved you, Paulie.
PAULIE
Closest I ever got to a brother.
One stand up guy, your pop.
Paulie zips up the sack, tosses it onto the back seat, then
reaches over to the GLOVE COMPARTMENT, snapping it open to
reveal a REVOLVER covering TWO STUFFED ENVELOPES beneath.
He pulls out the envelopes and hands one marked Abe to Vin.
PAULIE
Headin’ over to Abe’s later, right?
VIN
My first stop.
PAULIE
Hand this to him.
VIN
Sure. What’s gives?
PAULIE
Between you and me, he’s in a jam -
medical bills. Helpin’ him out a
bit, is all.
VIN
That’s nice, Paulie.
PAULIE
Lotta’ great memories in that
joint. Ann Marie loved Abe’s egg
creams. We’d always stop there on
the way back from the movies.
She’d get an egg cream mustache on
her upper lip, then make me kiss it
off. (Chokes up) God, I miss her.
VIN
She was always good to me.
PAULIE
She liked you a lot - and how ‘bout
her Sunday sauce, huh?
VIN
The best.
Paulie sighs, dabs an eye, hands Vin the second envelope.
PAULIE
Here. This one’s for you.
VIN
You don’t hafta’ do this.
PAULIE
I’m an old fuck, Vin. Made a lotta’
mistakes, got a lotta’ regrets,
but I’ve had a great life with a
great wife, and if I can’t do some
good with what I got with the time
I got left, then what good is what
I got? Ann Marie woulda’ wanted ya’
to have this - g’ahead, take it.
VIN
Thanks, Paulie.
Vin pockets both envelopes.
PAULIE
Besides, you’re still the only guy
I never lose sleep over, so go out
and get a load on - and throw back
a few for me, Annette’s got me off
the sauce for the holidays - says
Grandpa’s settin’ a bad example for
her kids.
VIN
Lousy timin’.
PAULIE
Tell me about it. Now get outta’
the car, I’m late for mass.
Vin begins sliding out. Paulie grabs his arm.
PAULIE
Hey, if ya’ got nowhere to go
later, and wanna’ come by for
Thanksgivin’ dinner -
VIN
That’s okay, I’m fine - really -
but thanks anyway.
PAULIE
Come here, ya’ chooch...(grabs
VIN’s neck, kisses his cheek)...
watch yer’ ass out there.
VIN
Will do.
Vin gets out, closes the SUV door, and walks back to the
driver’s side, where Paulie looks out of the open window.
PAULIE
And stay outta’ the rain, you’ll
catch ya’ death.
VIN
Gonna’ catch it sooner or later.
PAULIE
Don’t catch it while I’m alive.
Ciao!
VIN
Ciao! Oh, and thanks again for the -
Window whirs closed as the Caddie peels out.
VIN
- gift.
He takes out both envelopes. Opening his, he sees a wad of
large bills, removes them, opens the envelope marked Abe,
puts his bills into Abe’s, then re-seals and re-pockets it.
He balls up, and free-throws his empty envelope into a not so
nearby trash can.
Genres:
["Drama","Crime","Nostalgia"]
Ratings
Scene
5 -
Nostalgia and Revelations at Abe's Soda Shop
EXT. FORDHAM ROAD and UNIVERSITY AVENUE - SOON AFTER
Vin passes St. Nicholas of Tolentine church, puddle-jumps the
intersection already decorated for Christmas, and heads for a
storefront with the rusting sign ABE’S SODAS-SHAKES-ICE CREAM-
CANDY-NEWSPAPERS above. Reaching the door, he yanks it open,
the attached U-BET CHOCOLATE SYRUP SIGN rattling loudly.
TITLE: FIRST EGG CREAM
INT. ABE’S SODA SHOP
(Only prices have changed inside this 100-year old shop since
ABE ZIMMERMAN bought it in the early 60s, reflecting a
serious past Bronx decline that hasn’t caught on to recent
signs of resurgence. Folks still buy their papers or gum on
the run at an outside window, but not as many, and lessening
every year. An empty soda fountain counter, half-filled
magazine rack, tables and chairs toward the back, leading to
a spotless Rock-Ola Rhapsody 160 jukebox, a glowing, iconic
shrine, Lou Christie 45rpm record covers in its display
windows.) Vin closes the rattling front door behind him.
VIN
Yo, Abe, what the hell you doin’?
ABE, in his 80s, shocks of white hair surround a face with an
etched-in scowl, apron covering a white shirt and baggy black
pants, he carries a tied stack of newspapers in each hand.
ABE
What’s it look like I’m doing?
Vin grabs the stacks.
VIN
Told you I’d take care of this.
ABE
You were late.
VIN
Two minutes is late?
ABE
My father always said “Abie, early
is on time, on time is late, and -
VIN
(and) late is you’re fired.” Yeah,
I know, but I don’t work for you.
ABE
If you did, I’d fire you.
VIN
Happy Thanksgivin’ to you too.
ABE
You get four hours of sleep, then
tell me how happy it is.
VIN
I’ll set ‘em up for you.
ABE
Inside the door, not expecting much
business in this monsoon.
VIN
Who knows, you might be surprised.
ABE
At this age, the only surprise is
waking up.
He hands Abe an envelope.
VIN
Here, this is from Paulie.
Abe accepts the envelope with a hand that has a tattooed
number on the forearm above it. Clearly embarrassed, he
retreats behind the counter. Vin begins making small, neat
piles of newspapers on a metal bench near the front door.
VIN
How’s Helen?
ABE
She won’t be in today. Your egg
cream’s on the table - head’s
probably long gone by now.
VIN
I deserve it for bein’ late.
ABE
You said it - and easy with the
jukebox this morning, I have a
migraine you wouldn’t believe.
VIN
Say, Abe, no one’s come around
lookin’ for me, have they? I’m
expectin’ a friend to drop in.
ABE
Oh, so maybe we finally get a lady
in the picture?
VIN
Nah, childhood buddy.
ABE
Should’ve known.
VIN
What’s that mean?
ABE
It means you’re a sad sack.
VIN
What’s that make you?
ABE
Older by a baker’s dozen, I’m
entitled.
VIN
Guess that means nobody came in.
ABE
Only a few regulars, that’s all -
oh, Molly Shapiro dropped dead.
VIN
That stinks - she was nice.
ABE
A yenta, may she rest in peace, but
a loyal customer. Not many left.
VIN
Thanks for the egg cream, head or
no head.
ABE
You’re welcome.
Vin heads to his table at the rear of the store, grabs the
almost headless egg cream, raises it to his lips, and drinks.
Wiping off an egg cream mustache, he sees the jukebox, places
the glass down, and whips out a perfectly ironed handkerchief
from the back pocket of his jeans.
VIN
Why do they always hafta’ put their
fingers on the glass? No respect.
Breathing on the display glass, he rubs out the smudges,
stuffs the handkerchief back into his jeans, takes out a
quarter and makes his selection. POT OF GOLD begins to play.
“It’s raining for you, follow it through
Just around the bend we’ll find the rainbow’s end...”
Front door rattles open. Vin sees Frankie enter, wearing the
YANKEES CAP, a WET RAINCOAT, and holding a MANILA ENVELOPE.
VIN (O.S.)
Yo, Frankie, back here!
Frankie walks to Vin, who stops short of his dripping coat,
offering an extended hand instead of a hug.
VIN
How you been, Frankie?
FRANKIE
Good, Vin, real good. Man, you’re
looking great.
VIN
And you’re a lot bigger than the
string bean I remember.
FRANKIE
Courtesy of a Mexican wife and
sitting behind a keyboard all day.
VIN
Mexican wife?
FRANKIE
Her name’s Carmen. Met her at the
Blue House in Mexico City.
VIN
What’s a Blue House?
FRANKIE
Where Frida Kahlo lived.
VIN
Frida who?
FRANKIE
Famous artist. I was doing research
there and Carmen was a tour guide.
Came back with a story and a wife.
VIN
And a good cook, from what I see.
Vin pats Frankie’s stomach.
FRANKIE
Guess you could say it’s her art.
VIN
Musta’ been hard gettin’ away so
early Thanksgivin’ mornin’.
FRANKIE
After 35 years of crazy hours and
assignments, she’s used to it -
hey, thanks for getting back to me,
sure wasn’t easy tracking you down.
VIN
I like it that way.
FRANKIE
You may be the only human alive who
doesn’t own a cell phone, and that
answering machine with the robot
voice? Hard to trust that.
Vin pulls out a chair.
VIN
Come on, get outta’ that wet rag
and take a load off your feet.
FRANKIE
Thanks.
Frankie takes off the coat, drapes it over a chair, and sits.
VIN
Yo, Abe, egg cream for my friend!
ABE (O.S.)
Coming right up!
Vin sits before his egg cream.
VIN
Still get one first thing every
mornin’, just like the old days.
Walk in same time every day, rain
or shine, and my egg cream’s
sittin’ here on the table waitin’
for me - big head, no straw.
FRANKIE
Where’s the head?
VIN
I was late today.
Frankie laughs, takes off his cap, and places it atop the
coat, revealing a thick head of bright orange hair, bracketed
by shocks of white either side and back.
VIN
Speakin’ of heads, yours looks like
a freakin’ creamsicle - white hair
kinda’ creepin’ up on you, huh?
FRANKIE
A journalist these days is like a
dinosaur in a dying world - not
conducive to fighting off the grey.
VIN
Now there’s a fifty dollar word.
FRANKIE
That’s why they pay me.
VIN
But why would anyone pay you to
write about me?
FRANKIE
Not sure they will.
VIN
Even if someone was crazy enough to
pay you to write about me, why
would anyone want to read about me?
FRANKIE
It’s my job to make them want to
read about you.
VIN
Thought you were a writer, not a
magician.
FRANKIE
Well, sometimes pulling a rabbit
out of a hat is part of the job.
VIN
So where’s the rabbit? The angle?
FRANKIE
Ever hear the expression “You can
never go home again”?
VIN
Wouldn’t know, I never left.
FRANKIE
Most people leave and never look
back, but some of us?
(MORE)
We long to take a trip back in
time, back to the old block, kick
that can again. Been feeling it
myself lately. Wonder if maybe you
can go home again, recapture that
innocence, even for a moment.
VIN
Or length of an article?
FRANKIE
Exactly - and I figured, who better
to write that story than me, and
what better way to take that
journey than through the eyes of
someone who never left?
VIN
Meanin’ me?
Frankie smiles, opens the manilla envelope and removes a
MARBLE COMPOSITION NOTEBOOK, pen clipped to the top of it.
VIN
Wow, haven’t seen one of those in a
long time.
FRANKIE
Ask you a question?
VIN
That’s why we’re here.
FRANKIE
Why did you get back to me?
Taking another sip of egg cream, Vin wipes his mouth, then
removes the FOLDED LETTER from inside his coat.
VIN
Wasn’t gonna’, but then I got this,
mixed in with Tuesday’s junk mail.
He unfolds, then slides it across the table toward Frankie.
FRANKIE
What’s this?
VIN
Your rabbit. Go ahead, pick it up.
Frankie picks the letter up and reads it. He turns whiter.
VIN
That’s right. I got ball cancer.
Might as well throw in dick cancer
while you’re at it. Whole three
piece set - fucked!
FRANKIE
Hold on a second, Vin -
VIN
What a dummy, knew somethin’ was
wrong - did I do anythin’ about it?
Nope. After a month of peein’ blood
I finally went to a doc. Helluva
human interest angle, am I right?
FRANKIE
Yeah, but -
VIN
Somethin’ like this gets a guy
thinkin’, lookin’ back. No point
lookin’ too far ahead.
FRANKIE
You’re jumping the gun here, Vin.
All this says is “a high index of
malignancy suspicion was found in
the testes, bladder and prostate.”
Vin grabs the letter back from Frankie.
VIN
You know what that mouthful of
mumbo jumbo means - I’m toast.
FRANKIE
You don’t know that.
Vin refolds and stuffs the letter back into his coat pocket,
removing the Spaldeen, then tossing it to Frankie.
FRANKIE
Holy cow, a spaldeen!
VIN
Dusted off a box of stuff sittin’
under my bed just before I came
here and found this baby inside.
FRANKIE
Never saw anyone smack one of these
the way you did.
VIN
Remember the time I hit that three
sewer shot through old lady
Cleary’s kitchen window?
FRANKIE
Like it was yesterday.
VIN
You saw Flanagan the cop headin’
our way, grabbed that stickball bat
outta’ my hand, and took the rap.
FRANKIE
And how many times did you save me
from getting my ass kicked before
that? I was only paying you back.
VIN
You were a stand up guy that day,
Frankie, and that’s somethin’ you
never forget. That busted window
would’ve gotten me an overnighter
at the House of Detention and a JD
card. All you got was a whack of
Flanagan’s billy club on the back
of your thick Irish noggin, a trip
to confession, and you were back in
uniform before the next little
league game.
FRANKIE
Was that guy a prick or what?
VIN
Prick or no prick, winnin’ that
league trophy meant more to him
than anything - no way was he
losin’ that arm of yours.
FRANKIE
I hated pitching for that guy.
VIN
At least you got to play. Closest
I ever got to little league was the
time I stole Tommy Ryan’s trophy
and threw it into the Harlem River.
FRANKIE
You sure pissed off a lot of people
that day.
VIN
Always thought you’d be the next
Whitey Ford, and one day I’d be in
the Stadium bleachers watchin’ you
pitch for the Yanks.
FRANKIE
Made it as far as Triple A, but a
flying bat to the head put an end
to that dream. Since then I’ve been
pitching stories. Here’s your ball.
He tosses the Spaldeen to Vin, who tosses it right back.
VIN
Consider it a long overdue thanks.
FRANKIE
Don’t know what to say.
VIN
Just don’t say anythin’ in that
story of yours that makes me look
like too much of a jerk.
FRANKIE
Got it.
VIN
Say, how ‘bout some music?
Vin goes to the Rhapsody and drops a quarter into the slot.
FRANKIE
I see the Rhapsody’s still in great
shape.
VIN
You kiddin’? Keep her in mint
condition, runs like a Swiss clock.
THE GYPSY CRIED begins to play.
“I had some trouble with my baby, so I had my fortune read
I had some trouble with my baby,
and this is what the Gypsy said.
The gypsy cried, ay-ay-yi-yi, ay-ay-yi-yi...”
Vin returns to his seat.
FRANKIE
Still a Lou Christie fan, huh?
VIN
Always will be. Hey, remember how
I used to drive Abe crazy playin’
nothin’ but Lou over and over
again? Every time his voice came
out of those speakers he’d scream -
ABE (O.S.)
Oy, again with that Christie guy -
a little Nat Cole, Dean Martin or
Eydie Gorme would kill you?
They laugh as Abe appears with two fresh egg creams.
ABE
Here you go, gents.
VIN
Hope those aren’t both for him.
ABE
Can’t bear to see a grown man drink
a flat egg cream.
Abe slides one egg cream in front of Vin, removing his
headless one before sliding the other one before Frankie.
VIN
You’re a prince, Mr. Zimmerman -
hey, remember Frankie?
ABE
Orange hair and granny glasses is
what I remember - and that he never
busted my chops, like someone else
I know. Think I called you Red.
FRANKIE
Sure did - what do I owe you, Abe?
ABE
I’ll put it on his tab.
Abe leaves, just as the FRONT DOOR rattles open as TWO MEN
dressed in black enter and sit at the counter.
FRANKIE
You actually have a tab here?
VIN
More like an arrangement. After my
route, I come back to do some of
the heavier liftin’, keep him
company when his wife Helen’s not
around, sweep up, make sundaes and
malteds when it’s real busy, play
checkers with him when it’s not,
and I get my mornin’ egg cream.
FRANKIE
Does he know about - you know?
VIN
Nah. Got his own problems. Helen’s
a little oobotz - not all there.
FRANKIE
Alzheimer’s?
VIN
They don’t know yet, but even when
she’s here, she’s not always here.
FRANKIE
That’s rough.
VIN
Abe barely scrapes by as it is, but
now he’s got Helen’s medical bills
to worry about - and then there’s
the freakin’ vultures.
FRANKIE
What vultures?
VIN
The ones always swoopin’ down with
offers to buy the place. (Motioning
Frankie closer.) See those two mugs
who just came in?
Frankie looks back over his shoulder.
FRANKIE
That’s one dark duo, who are they?
VIN
Russkys. Been here twice this week -
tryin’ to get Abe to sell.
FRANKIE
Hey, if the price is right -
VIN
But it never is. They know the
neighborhood’s startin’ to bounce
back - they also know Abe’s on the
balls of his ass with a sick wife,
so they offer him bubkis - half of
what the place is worth. One day
I followed these two back to their
latte joint on Jerome Avenue, which
I’d bet my left rotting nut is a
drug front. Shit, I’d buy this
place myself if I had the dough.
FRANKIE
Lots of work, Vin.
VIN
Not if you love somethin’. I love
this joint, every inch it, I’d do
whatever it took to keep it alive.
FRANKIE
What it takes is customers. Things
are bad for shops like this. Old
customers dying off, a lot of them
from cigarettes they used to buy.
Barely any newspapers left to sell.
Look at that rack over there, not
enough magazines and comic books
printed to fill it even halfway.
VIN
Then who’ll read my article even if
you do write it?
FRANKIE
Plenty, I hope, but not the way
they used to. Papers, magazines,
porn, anything printed on a page,
all on the internet now. You can
order a pack of gum on line and
have it delivered to your doorstep.
Vin inhales the soda shop around him, then sighs.
VIN
Last piece of our neighborhood that
hasn’t changed.
FRANKIE
Sure it has. Everything changes.
Look around you, Vin, look at us.
VIN
No thanks.
FRANKIE
Change isn’t always bad, question
is - is it for better or worse?
Vin lifts his egg cream.
VIN
Enough of that - here’s to old
friends and stand up guys. Salute!
Frankie lifts his glass and clinks Vin’s.
FRANKIE
Salute!
They take that first great sip.
VIN
Abe still makes the best egg cream
in the freakin’ Bronx, am I right?
FRANKIE
As rain. Now about that letter -
Thunder and the passing SUBWAY EL rattle the shop. Vin drifts
off, staring off into the rain, then at the Rhapsody, before
removing and sliding the PHOTO BOOTH STRIP over to Frankie.
FRANKIE
Holy shit, that’s you! You with
Benny the Bull’s daughter!
VIN
Angela Rose Bernstein, a maiden
unmatched in beauty, brains, and,
well, until I met her, untouched by
anyone. There wasn't a guy in
school who wouldn’t have killed for
a shot at Angela, but none of you
had the balls to take it.
FRANKIE
Cause we wanted to hold on to them.
VIN
Why do you think I never worked for
Benny and became Paulie P’s Jukebox
Jimmy instead?
FRANKIE
Don’t look at me, I never went near
any of those guys.
VIN
Let’s just say you lose a lot less
sleep collectin’ coins than cartin’
off bodies. I wanted nothin’ to do
with the drugs or the rough stuff,
so I steered clear of Benny and did
my route for Paulie, but I could
never steer clear of Angela.
FRANKIE
How’d you even meet her?
VIN
Didn’t exactly meet. I was headin’
home through Poe Park one night
after runnin’ a favor for Paulie -
Genres:
["Drama","Nostalgia","Character Study"]
Ratings
Scene
6 -
Fateful Encounters
TEEN FLASHBACK (B/W) - EXT. POE PARK BANDSHELL - NIGHT - 1968
18-YEAR-OLD VIN passes POE PARK BANDSHELL, where 17-YEAR-OLD
ANGELA and a group of her friends are hanging out. A full
moon lights Angela, her green eyes, long dark hair flowing
over a blousy shirt, tight pedal pushers and sneakers. She
sits on the edge of the white bandshell floor against one of
its columns as Vin walks by.
VIN (V.O.)
That Valentine Avenue crowd was
hangin’ out at the bandshell as
usual.
He looks up toward the bandshell and sees Angela.
VIN (V.O.)
And that’s when I saw her.
I JUST GOT SHOT plays.
“I just got shot (She shot him in the heart)
I just got shot (She shot him in the heart...””
She looks up, and sees him staring at her as he passes by.
VIN (V.O.)
I knew who she was, seen her plenty
of times walkin’ with Benny along
the Concourse, so when that little
voice in my head kept sayin’ “Keep
walkin’, dummy, don’t stop!”
He stops.
VIN (V.O.)
I stopped. Couldn’t take my eyes
off her Frankie, and then -
She smiles.
VIN (V.O.)
- she smiled at me.
FRANKIE (V.O.)
What did you do then?
PRESENT - INT. SODA SHOP
Vin sitting across from Frankie.
VIN
You kiddin’? I looked away and tore
ass outta’ there, but we kept
bumpin’ into each other after that.
Pizza joint, diner, bowlin’ alley,
along my route, it got crazy,
until one day we wound up on the
same checkout line at the A&P.
Genres:
["Drama","Romance"]
Ratings
Scene
7 -
A Chance Encounter
TEEN FLASHBACK (B/W) - INT. A&P - DAY - 1968
(The Bronx was in its heyday. A thriving, bustling, pulsing
borough, anything seemed possible for a kid in those days.)
SHY BOY plays over the supermarket speakers.
“Shy boy, ya, ya, ya, ya, ya...”
VIN, in his usual white shirt, black jeans and leather coat,
is at the end of a checkout line, full basket in hand,
unaware that ANGELA’s three customers ahead. Reaching PATTY,
the cashier, she places her groceries onto the counter.
PATTY
Hey, Angela.
ANGELA
Hi, Patty.
Vin’s shocked face pops into view from the back of the line.
PATTY
Going to Tommy’s tomorrow night?
ANGELA
Not sure yet.
PATTY
His parents won’t be back until
Sunday, it’s going to be a blast.
ANGELA
My dad’s on the warpath, might have
to stay home with my mom.
Angela bags her groceries as Vin gawks.
PATTY
That stinks. Two-thirteen.
Angela hands a five to Patty, who returns the change. Vin
drops his basket and bolts from the line.
PATTY
Hope to see you tomorrow night.
ANGELA
Maybe. Bye.
Angela leaves the line and heads toward the exit.
Genres:
["Drama","Romance"]
Ratings
Scene
8 -
A Chance Encounter
EXT. OUTSIDE THE A&P
Angela emerges, immediately bumping into Vin.
ANGELA
Vincent! What a surprise.
VIN
Small world, huh?
ANGELA
Are you coming or going?
VIN
I’m waitin’.
ANGELA
For who?
VIN
For you.
ANGELA
For me?
VIN
Yeah.
ANGELA
Walk with me, there’s ice cream in
the bag. Can’t let it melt.
VIN
Sure.
They begin walking down a crowded Fordham Road together.
ANGELA
How did you know I was shopping?
VIN
I was at the back of your line.
ANGELA
Where are your groceries?
VIN
Dropped my basket and left.
ANGELA
Why?
VIN
Didn’t wanna’ miss you.
ANGELA
I don’t understand.
He stops, as does she.
VIN
There’s somethin’ I hafta’ ask you.
ANGELA
Can you ask me while we’re walking?
VIN
Right, the ice cream.
They continue walking.
ANGELA
It’s for my mom, she hates when it
gets soupy. What’s your question?
VIN
Angela, would you go with me to the
movies tomorrow afternoon, I know
it’s kinda’ last minute, but -
ANGELA
Yes.
VIN
There’s a great James Bond double
bill at the Paradise, From Russia
With Love and Dr. - yes?
ANGELA
I’d love that, Vincent.
VIN
How does one o’clock sound?
ANGELA
Sounds great. My address is -
VIN
Valentine. First building around
the block from the RKO Fordham.
ANGELA
How do you know where I live?
VIN
Your dad.
ANGELA
You know him?
VIN
I know of him.
ANGELA
And you still want to see me.
VIN
I’m askin’ you out, not him.
ANGELA
Look for Bernstein on the buzzer.
VIN
Great. So I, uh, guess I’ll see you
tomorrow then, tomorrow at one.
He turns, and heads back toward the A&P.
ANGELA
Where are you going?
VIN
Gotta’ get those groceries for my
mom. Tomorrow. One o’clock.
Looking back, he smiles, then bumps into a WOMAN with a
shopping cart. Angela laughs. He waves, then hurries off.
VIN (V.O.)
God as my witness, Frankie, it was
that easy.
Genres:
["Romance","Drama"]
Ratings
Scene
9 -
A Rainy Encounter
EXT. THE AQUEDUCT LOOKING TOWARD FORDHAM ROAD - NEXT DAY.
Vin dances down the Aqueduct in the rain, coat over his head,
now wearing black dress slacks. “I’M GONNA MAKE YOU MINE”
plays in the background...
“I’ll try every trick in the book
With every step that you take, everywhere that you look
Just look and you’ll find, I’ll try to get to your soul,
I’ll try to get to your mind, I’m gonna make you mine...”
Vin passes a FLORIST with bouquets beneath an awning, back
tracks to a bucket of ROSES, grabbing the largest one, books
out of frame as the STORE OWNER emerges, shaking his fist.
Turning on Valentine Avenue, Vin reaches Angela’s building,
takes a deep breath, yanks the front door open. MUSIC FADES.
INT. APARTMENT BUILDING OUTER LOBBY
Vin scrolls down to a pen-scrawled BERNSTEIN on the buzzer,
presses it. Angela’s voice crackles over the speaker.
ANGELA
Be right down! Wait in the lobby.
Buzzer sounds. Vin opens the door, enters the lobby, and sits
on a bench between two staircases. Placing the rose on the
bench, he checks his look in the mirror, pushes back his wet
hair, picks the rose back up, and suddenly winces.
VIN
Shit!
Sucking blood from a thorn-pricked finger, Vin hears a
slamming door, then footsteps racing down stairs. Frantically
scraping thorns off the rose, the footsteps get louder with
every flight, finally stopping. He looks up. His mouth drops.
ANGELA (O.S.)
Hi.
Angela stands at the top of the stairs. Her piercing eyes
surrounded by long hair cascading over a black wool coat,
covering skin-tight black jeans, leading down to black boots.
She holds a ratty black umbrella.
ANGELA
You okay?
Vin nervously extends the rose.
VIN
A rose for a Rose.
She descends the stairs and accepts the rose.
ANGELA
Such a romantic.
VIN
That’s me.
ANGELA
Ever hear of The Prophet?
VIN
Which one?
ANGELA
It’s a book, silly.
VIN
Not much of a reader.
ANGELA
The Prophet is my favorite book,
you should read it - (she draws him
closer) - it’s also very romantic.
Their lips almost touch when BENNY’s voice suddenly echoes
throughout the building from above.
BENNY (O.S.)
Angela!
She pulls away.
ANGELA
It’s my dad!
BENNY (O.S.)
Angela, where the hell d’ya think
you’re goin’?
ANGELA
Didn’t tell him I was going out.
BENNY (O.S.)
Who ya’ down there with? Get yer’
ass back up here! Angela!
VIN
He shouldn’t talk to you like that.
ANGELA
We should go now, Vincent, please!
She hands him the umbrella. They head to the lobby door, push
it open, then jump into the rain.
Genres:
["Romance","Drama"]
Ratings
Scene
10 -
Parental Tensions
INT. BERNSTEIN APARTMENT
Street light reflects off a diamond studded INITIAL “B” PINKY
RING, as BENNY “THE BULL” BERNSTEINS’s huge sausage-sized
fingers pry open venetian blinds.
BENNY (O.S.)
Son of a -
Angela’s MOTHER comes into frame beside him. Seen only from
the neck down, a light shines off a gold necklace, connecting
to either side of an ISABELLA nameplate.
ISABELLA
Benny! Whatta’ ya’ lookin’ at?
BENNY
Our daughter trampin’ ‘round with
that schmucky jukebox kid who works
for Perillo.
ISABELLA
When ya’ gonna’ get off her back
and let her have her own life?
BENNY
The day you get offa’ mine! Go back
in and pour yourself another drink.
Genres:
["Drama","Romance"]
Ratings
Scene
11 -
A Rainy Detour
EXT. FORDHAM ROAD
Vin and Angela reach and pass the Grand Concourse, instead of
making the left to the Paradise. The rain falls even harder.
ANGELA
Where are we going? The Paradise is
that way.
VIN
We have a little extra time -
thought maybe we could stop by my
friend’s place for a while.
ANGELA
Place? What kind of place?
VIN
Abe’s Soda shop - over on
University - that okay?
ANGELA
Oh, I’ve heard about Abe’s. They
say he makes a great egg cream.
VIN
Best in the Bronx! He’s a little
cranky, but a big softy inside.
He’s also got a jukebox you won’t -
Distracted by something, Angela stops and pulls away.
VIN
Hey, where you goin’?
EXT. FORDHAM ROAD - WOOLWORTHS
Vin stands beneath the umbrella in front of WOOLWORTHS, as
Angela, now at the revolving door, motions to Vin.
ANGELA
Well, what are you waiting for?
She pushes through the revolving door.
Genres:
["Drama","Romance"]
Ratings
Scene
12 -
Rainy Day Fun at Woolworths
INT. WOOLWORTHS
Angela enters, Vin close behind, shaking the closed umbrella.
VIN
Why are we in Woolworths?
She stops at a PHOTO BOOTH, pulling the curtain aside.
ANGELA
Voila!
VIN
But we’re all wet.
She enters and sits. Doing the same, he draws the curtain.
INT. PHOTO BOOTH
Vin sits beside Angela as she extends a hand.
ANGELA
Do you have any quarters?
He takes two out, drops them in her hand. She drops them into
the slot, then immediately messes his hair -
VIN
Hey!
- just as the camera flashes, capturing four crazy poses.
ANGELA
Let’s go.
She pushes Vin out of the booth and follows. They wait
outside for the photo strip to develop. A bell rings.
ANGELA
It’s ready!
PHOTO STRIP slides into the drop chute, the same photo strip
Vin showed Frankie at Abe’s. Angela grabs it from the chute.
ANGELA
They’re so funny!
VIN
My hair’s messed up, I look goofy.
ANGELA
You look cute...(she gives him the
STRIP)...Hold onto it. My jeans are
too tight, it’ll get wrinkled.
She takes off for the revolving door. He slips the photo
strip into his inside coat pocket, then follows her.
Genres:
["Romance","Drama","Comedy"]
Ratings
Scene
13 -
A Rainy Encounter at Abe's Soda Shop
EXT. FORDHAM AND UNIVERSITY
Vin and Angela run toward Abe’s.
INT. ABE’S SODA SHOP
(ABE’s in 1968 is beautiful, busy, and stocked to the gills.)
Door rattles. Vin and Angela enter, shaking themselves off.
VIN
Yo, Abe!
Abe, in his 30s, a fuller head of wilder, wiry brown hair,
pops up from behind the counter holding an empty syrup jug.
ABE
Glad you’re here, boychik, think
you could grab a jug of U-Bet from -
well, now, who do we have here?
Vin and Angela are on one side of the counter, Abe the other.
VIN
Abe, this is Angela Bernstein -
Angela, this is Abe, Abe Zimmerman.
ANGELA
A pleasure meeting you, Mr.
Zimmerman.
Abe wipes his hands on his apron, then shakes her hand.
ABE
The pleasure’s all mine. Please
call me Abe.
ANGELA
You have a very nice place Abe.
ABE
It’s usually packed on Saturday,
but the rain’s killing us.
ANGELA
Us?
ABE
Me and Helen - my wife - she’s home
keeping Shabbat. She’ll be here
tonight.
VIN
We’ll be at my table. Two egg
creams, extra rich, my good man.
ABE
You’ll have them in a jiff.
Vin leads Angela to a table beside the 5-year-old Rhapsody.
He removes and drapes her coat over a chair, then pulls out
another one for her. She sits.
ANGELA
A romantic and a gentleman. Your
friend Abe isn’t cranky, he’s nice.
VIN
That’s only because he likes you.
ANGELA
I noticed the number on his arm.
VIN
Helen’s got one too - they’re good
people - been through a lot.
ANGELA
Bad things happen to good people.
VIN
Say, how ‘bout a little music while
we’re waitin’ for our egg creams?
ANGELA
I’d like that...(she admires the
Rhapsody)...gorgeous jukebox.
VIN
Best jukebox ever. The Rock-Ola
Rhapsody 160. Only made this model
in ‘63. Wanna’ guess where they got
the name Rock-Ola from?
ANGELA
Rock and Roll?
VIN
Nope. It was named after the guy
who started the company in the ‘30s
- David Cullen Rockola.
ANGELA
I’m impressed.
He heads to the Rhapsody, drops a dime into the slot, makes
his selection, and returns to the table.
VIN
You’ll like this one, just put it
in yesterday.
ANGELA
What do you mean put it in?
VIN
In, as in, into the box. I’m, uh,
what you call a Jukebox Jimmy.
ANGELA
What’s that?
VIN
I take care of all the machines in
the neighborhood. Go wherever we
have a jukebox, make sure they work
okay, put records in, take ‘em out,
collect the money -
ANGELA
Collect the money for who?
VIN
My boss. His name’s Paulie, you’d
like him, he’s a stand up guy.
ANGELA
What about school?
VIN
Nah, way too busy for that.
She stares at him quizzically as RHAPSODY IN THE RAIN starts
to play. Vin begins to sing along...
“Baby, the raindrops play for me, a lovely rhapsody
‘cause on our first date we were makin’ out in the rain...”
VIN
Like it?
ANGELA
I love Tchaikovsky.
VIN
Chai what?
ANGELA
Tchaikovsky, the composer.
VIN
That’s Lou Christie, the singer.
ANGELA
But the melody’s Tchaikovsky - from
his Romeo and Juliet ballet. I can
dance to it, wanna’ see?
VIN
Sure, when?
ANGELA
Now.
VIN
Here?
ANGELA
Why not?
Angela stands, shifts tables and chairs to create an open
space, then begins a flawless ballet routine. The shop
lighting darkens, a spotlight magically remains on Angela,
now in COLOR, as music morphs into Tchaikovsky’s ROMEO AND
JULIET ballet. An awestruck Vin watches. Angela’s dance ends,
music morphs back to RHAPSODY IN THE RAIN, the scene returns
to BLACK & WHITE, and the shop’s normal lighting returns.
Abe, who’s just delivered their egg creams, applauds.
ABE
Brava! Brava!
Angela curtsies.
ANGELA
Why, thank you, Abe.
ABE
No, thank you! Hope you enjoy your
egg cream.
ANGELA
I’m sure I will.
Abe leaves. A stunned Vin remains.
VIN
Angela, that was -
ANGELA
Got another dime?
VIN
Um, uh, yeah. Sure.
He digs one out of his pocket, placing it in her palm.
ANGELA
Thanks.
Going to the Rhapsody, Angela studies the playlist, makes a
selection, then returns to the table.
ANGELA
Dance with me, Vincent.
VIN
Nah, two left feet.
ANGELA
I can fix that.
She pulls him out of the chair, positioning him in a dancing
posture just as I’M GONNA’ GET MARRIED begins to play.
“Kind of love, just a very special kind of love.
Just a very special dream I never lived before...”
Angela leads an awkward Vin, who instantly steps on her foot.
VIN
Told you.
ANGELA
You’re doing fine.
VIN
Angela, can I ask you a question?
ANGELA
Sure, Vincent, anything.
VIN
Outta’ all the songs in the
Rhapsody, why’d you pick that one?
Angela brings her lips close to Vin’s.
ANGELA
Guess I’m a romantic too.
MUSIC crescendos, the message not escaping a panicked Vin.
“...I’m gonna’ get married, I’m gonna get married,
I’m surfing down the aisle on the wings of love...”
He gulps, pulls away, then grabs her coat from the table.
VIN
On second thought, time’s gettin’
a little tight, we’d better start
headin’ over to the Paradise.
ANGELA
What about my record? My egg cream?
VIN
You can finish both next time.
ANGELA
You okay? You look kind of nervous?
VIN
Who, me? Cool as a cucumber,
just hate walkin’ in after the
movie starts.
Slipping on her coat, he turns and walks toward the front.
First taking a quick sip of her egg cream, Angela grabs the
rose, then chases after him.
VIN
Later, Abe.
ABE
Nice meeting you, Angela, you can
dance in my establishment any time.
ANGELA
Thank you, Abe - Vincent, wait!
Genres:
["Romance","Drama","Musical"]
Ratings
Scene
14 -
Missed Connections
EXT. OUTSIDE ABE’S
An umbrella-covered Vin and Angela run down Fordham Road
toward the Concourse, just as a 30-year-old PAULIE, collar of
his leather coat pulled up, enters frame, standing in front
of Abe’s, staring down the street at the couple as the rain
glistens off his red ‘63 CADDIE DeVILLE idling behind him.
PAULIE
Shit.
He walks to the shop’s outside window, where Abe waits.
ABE
Paulie, you just missed Vin.
PAULIE
So I see - pack of Luckies, Abe.
An agitated Paulie waits for his smokes, gets, and pays for
them. Pounding the pack against his palm, he stares down
Fordham Road toward a disappearing Vin and Angela.
Genres:
["Drama","Romance","Nostalgia"]
Ratings
Scene
15 -
Rainy Night at the Movies
EXT. MARQUEE OF THE LOEWS PARADISE MOVIE THEATRE
Vin and Angela beneath the barely intact umbrella as they
make it to the MARQUEE OVERHANG, Vin stuffing whatever’s left
of it into a trash can. They head toward the ticket window.
INT. LOEWS PARADISE LOBBY
Vin and Angela enter the elegant LOBBY, pass the busy
CONCESSION STAND, then stop below a glowing LOGE sign.
VIN
Let’s get our seats, I’ll come back
down for the snacks.
ANGELA
Look at those lines, you might miss
some of the movie.
VIN
No sweat, seen ‘em both already.
He climbs. After a curious pause, she follows. They enter the
LOGE, looking around in the semi-darkness, FROM RUSSIA WITH
LOVE lighting the several COUPLES scattered throughout, most
of them making out. The back row still has some empty seats.
VIN
What about here?
ANGELA
Perfect.
He guides her to the second seat from the aisle. She holds
the rose in her teeth as he removes her coat, tossing it onto
the seat next to her. She sits, placing the rose on the coat.
VIN
What can I get you?
ANGELA
Sno-Caps and a coke, please - oh,
and no ice - hurts my teeth.
VIN
You got it, be right back.
Vin books down the steps toward the shortest concession line.
VIN
Sno-Caps and a coke - no ice.
He charges back up the steps, soda and candy in hand.
Reaching their seats, he hands both to Angela.
ANGELA
Thank you, Vincent.
VIN
You’re welcome.
He sits, as she opens the Sno-Caps box and munches, totally
engrossed, as James Bond fights off the talon-tipped shoes of
arch villain Rosa Klebb.
ANGELA
I think we missed a lot.
VIN
Fill you in later.
She extends the candy box.
ANGELA
Want some? I’m full.
VIN
Already?
ANGELA
Small stomach. Can you hold it?
VIN
Sure.
Vin takes and slides the box into his coat pocket. Angela
sips the soda, offers it to him, he declines. She places the
cup on the floor. He moves his hand close to hers, first
touching, then grasping it. She looks at him, then back at
the screen. Vin yawns, as his arm slowly moves up and around
her shoulders. He peeks at Angela, then back to the screen.
Angela turns to Vin, back to the screen, then over to his
hand on her shoulder, tracing its slow descent down her arm,
his fingers, now within an inch of Angela’s breast. There’s a
sudden LOUD SNAP, then the sound of FLAPPING FILM. Crowd
groans. House lights up. Couples begin to hiss and boo.
VIN
Shit! Freakin’ film broke.
ANGELA
Vincent?
VIN
Of all the times to -
Film comes back on. House lights go off. Crowd and Vin
applaud. He places an arm around Angela. She turns to him.
ANGELA
Vincent, can we leave?
VIN
Leave?
ANGELA
I’d like to get out of here.
VIN
But -
ANGELA
Please?
A deflated Vin slowly withdraws his arm.
VIN
Sure, Angela, anything you say.
Still holding the rose, Angela grabs her coat. They get up,
soon reaching the Paradise lobby.
VIN
So, uh, whatta’ you wanna’ do now?
ANGELA
Anyone home at your place?
He stares at her, stunned.
VIN
Huh?
ANGELA
I said - anyone home at your place?
VIN
Yeah. I mean - no - I mean - guess
we could go there and find out.
ANGELA
I’d like that very much.
EXT. AQUEDUCT AVENUE
Vin and Angela run down a rainy Aqueduct Avenue, his coat
pulled up over their head.
Genres:
["Romance","Drama"]
Ratings
Scene
16 -
Cultural Clashes and Family Ties
INT. STAIRCASE OF VIN’S APARTMENT BUILDING
Vin and Angela hurriedly climb flight after flight of stairs,
reaching his APARTMENT DOOR. Taking a deep breath, he puts
the key in, opens the door, and they enter. He tiptoes down
the hallway, Angela at his side.
WOMAN’S VOICE (O.S.)
Vincenzo, is that you?
His head drops.
VIN
Yeah, ma, it’s me.
LUCIA MORRONE, Vin’s mother, appears at the living room
entrance. Appearing older and wearier than her 40s, Lucia’s
already greying hair is tied in a bun, her arms folded. The
housedress she wears and rag she holds give away the house
work that’s been interrupted. She gives Angela the once-over.
LUCIA
And who’s this?
VIN
This is my friend, ma - Angela.
Angela extends a hand toward Lucia.
ANGELA
How do you do, Mrs. Morrone?
Lucia’s arms stay folded, her face scrunching up even more as
she notices the rose. Angela withdraws her hand.
LUCIA
Does Angela have a last name?
VIN
Um, uh...(wincing)...Bernstein, ma.
Her name’s Angela - Bernstein.
The loudest and most awkward silence in history.
VIN
I just came in to get some dough,
ma, we’re goin’ to the movies.
LUCIA
In your Sunday Mass slacks?
VIN
Ma!
An embarrassed Vin heads for his room under the pretense of
getting money, leaving Angela with the stoic Lucia.
LUCIA
Hmm, you don’t look Jewish.
ANGELA
What does Jewish look like?
LUCIA
Not like you. Only other Bernstine
I know of is that gangster from the
Concourse, Benny Bernstine.
ANGELA
He’s my father, and it’s Bern-stein
LUCIA
(Shreiking)
Vincenzo! Dinner's at six, your
father doesn't like waiting, so
don’t be a dummy and show up late!
Vin returns to Angela - and Lucia’s fish eye.
VIN
I’ll be back in plenty of time, ma,
don’t worry.
LUCIA
Now why should I worry?
VIN
We’d better get goin’, Angela.
ANGELA
Nice meeting you, Mrs. Morrone.
Angela extends her hand, which once again comes back empty.
LUCIA
Goodbye, Miss - Bern-stine.
Vin leans toward Lucia, whispering in her ear.
VIN
Thanks, ma.
Vin grabs Angela’s arm. They leave. Lucia follows.
LUCIA
Don’t forget, six o’clock!
She slams the front door behind them, the echo ringing
throughout the building as they stand in the hallway outside.
Angela looks off, upset. Vin comes up beside her.
VIN
I’m such a freakin’ dummy,
that was all my fault, I shoulda’
known better.
Angela spins around, pulling him close.
ANGELA
You - are not - a dummy.
VIN
Don’t tell her that.
Pushing him away, she takes off down the stairs.
VIN
Angela, wait up! Angela!
Angela descends flight after flight, Vin now in hot pursuit,
until he reaches the lobby, where she sits on a radiator, the
rose on her lap. He sits beside her.
VIN
Angela, about what just happened -
ANGELA
Your father must be very strict.
VIN
He’s dead.
ANGELA
But your mother said -
VIN
Ten years ago on the Cross Bronx
Expressway.
ANGELA
Crash?
VIN
Heart attack behind the wheel of
his cab.
ANGELA
What a horrible way to -
VIN
But that’s not what killed him.
See, my old man had this thing
about dyin’ in a car. He was scared
stiffa’ droppin’ dead on a bridge
or highway durin’ rush hour, ‘cause
everyone drivin’ by’ would give him
the malocchio for ruinin’ their
day.
ANGELA
What’s a malocchio?
VIN
The evil eye. Sorta’ like puttin’ a
curse on someone.
(MORE)
(Pulls the CORNICELLO out of his
shirt) See this? It’s called a
cornicello - the Italian Horn.
Supposed to fight off all those
curses. It’s what I got for my
First Holy Communion instead of a
Miraculous Medal.
ANGELA
You must think it works if you
wear it.
VIN
Hey, why take any chances.
ANGELA
Was your father wearing one when -
VIN
He never took it off.
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
Fleeting Intimacy
CHILDHOOD FLASHBACK (B/W) - EXT. CROSS BRONX EXPRESSWAY - DAY
- 1959
PULL BACK from CU of a CORNICELLO embedded in the hairy chest
of GUS MORRONE, Vin’s FATHER, in his late 30s, behind the
wheel of a TAXI, gridlocked on the Expressway, amid a
cacophony of blaring horns and cursing from other drivers.
Pounding the wheel, he lets out a scream, flings the taxi
door open, and begins walking toward the Westchester Square
exit, clutching his chest just below the dangling cornicello.
VIN (V.O.)
He was so afraid of the malocchio,
even though he knew he was havin’ a
heart attack, he left his cab and
started walkin’ toward the exit.
Gus slowly staggers toward and up the exit ramp. Suddenly
hearing screeching tires, he looks up in wide-eyed terror.
ANGELA (V.O.)
Then how did he -
VIN (V.O.)
(He) got hit by a pickle truck.
A MOISHE’S PICKLES truck leans over the divider between
expressway and exit ramp, Gus’ legs twitching below it.
ANGELA (V.O.)
A pickup truck?
VIN (V.O.)
No, a pic-kle truck. Snap! Never
knew what hit him.
TEEN FLASHBACK (B/W) - LOBBY OF VIN’S BUILDING
ANGELA
Oh, my God, that’s horrible!
VIN
Not long after the accident, Paulie
took me under his wing. Brought me
along on his routes, eventually
turned the boxes over to me,
including the Rhapsody. That man
put dough in my pocket and food on
the table for me and my mom - just
like I said, a stand up guy!
Angela reaches out, gently touches his cheek, then grabs the
rose. She heads off for the staircase, climbing to the third
step before looking back.
ANGELA
Aren’t you coming?
She continues up the stairs, turns at the first landing and
vanishes. Vin heads for the staircase and begins climbing.
VIN
No, no, please don’t go back there!
He heads up toward the next landing, reaches the third floor,
passing his apartment door with a sigh of relief.
VIN
Where the hell is she goin’?
Making the turn, he climbs to the next landing, then reaches
the fourth floor, where the sound of a screaming COUPLE
throwing dishes and furniture is heard. Continuing up toward
the next landing, he finally catches a glimpse of Angela.
VIN
Angela!
Angela looks over the railing down at Vin, shooshing him with
a finger over her lips before vanishing. Vin finally reaches
the fifth floor, then the next landing. Taking the final turn
toward the roof, a breathless and confused Vin looks up and
suddenly stops, stunned, as a dingy bulb above has created an
angelic halo over Angela, who looks down at him from the
fourth step between the landing and the STEEL FIRE DOOR
behind her, on which he notices an ominous, rusted metal sign
reading DANGER - DO NOT OPEN bolted to it.
VIN
Okay, where to now?
Angela gently places the rose on the step beside her.
ANGELA
Last stop.
Opening her coat, she unbuttons her sweater, sliding both
behind her on the marble stairs.
ANGELA
Not scared of me, are you?
VIN
Scared?
He climbs to Angela, stopping at the step just below her.
ANGELA
Take off your coat.
He drops his coat behind him. She runs her hands through his
chest hair, fingering his cornicello, then shirt collar.
ANGELA
You must use a lot of starch.
VIN
F-F-F-Fong’s...(gulps)...Ch-Ch-
Chinese laundry.
ANGELA
It’s really stiff.
VIN
Just pulled it out of the drawer
today and -
ANGELA
Shhh!...(covering Vin’s lips)
...aren’t you going to kiss me?
VIN
If you want me to I -
ANGELA
(I’ve) been waiting so long for
you, Vincent.
VIN
You have?
ANGELA
Do you really think bumping into me
everywhere was just a coincidence?
She grabs his hand and pulls it down, out of view. Vin’s eyes
bulge as Angela bites her lower lip. He begins kissing her,
when Angela leaps up, wrapping her arms and legs around him.
He grabs the railing with one hand, while the other is still
between her legs. He pulls his face away for air.
ANGELA
Don’t stop. Why are you stopping?
VIN
My hand -
ANGELA
What’s wrong with it?
VIN
It’s - stuck.
ANGELA
So pull it out and keep kissing me.
Struggling to free his hand, Vin’s sweaty face looks down,
notices the rose on the marble step beside them, the halo
around it created by the overhead bulb, as Angela’s mouth
presses up against his ear.
ANGELA
“When love beckons to you, follow
him -
VIN
Huh?
ANGELA
- though his ways are hard and
steep.”
VIN
That from a book or somethin’?
ANGELA
It’s from The Prophet.
VIN
Oh.
ANGELA
I love you, Vincent.
He freezes, yanks his hand out, then pushes Angela back.
ANGELA
What’s wrong?
Grabbing his coat, he takes off down the stairs.
ANGELA (O.S.)
Where are you going?
He descends, flight after flight.
ANGELA (O.S.)
Vincent, please don’t leave!
He jumps the final three steps, landing onto the lobby floor.
ANGELA (O.S.)
Don’t leave me here, Vincent,
please come back! Vincent!
Pushing the lobby door open, he jumping into the rain, as
I JUST GOT SHOT begins playing in the background.
“He’s falling in love with the girl with
the golden eyes and the gypsy magic
He’s under her spell, she’s working it well,
watch out, this could be tragic...”
VIN (V.O.)
I hit the Aqueduct and ran as fast
as I could -
Genres:
["Romance","Drama"]
Ratings
Scene
18 -
Vin's Regret: A Journey Through the Bronx
EXT. COURTYARD
Vin runs onto the Aqueduct toward Fordham Road, as MUSIC
continues throughout the next montage.
EXT. MONTAGE - VIN’S ODYSSEY UP FORDHAM ROAD - DAY TO NIGHT
Reaching and running down Fordham Road, Vin runs past
familiar Bronx landmarks.
VIN (V.O.)
- past Alexanders, the Concourse,
the Zoo, the Gardens, that wall on
Pelham Parkway where all those
freakin’ hippies hung out, never
once lookin’ back, all the while
(MORE)
thinkin’ how good Angela made me
feel inside, how for the first time
in my miserable life I didn’t feel
like a dummy, and that I’d never be
with Angela or anyone like her
ever, ever again, so why the hell
was I runnin’ away?
Reaching Pelham Parkway, he stops to catch his breath.
VIN (V.O.)
‘Cause I knew somethin’ else.
I was no damn good for her. Angela
deserved the best there was, and
that sure in hell wasn’t me, not by
a long shot.
FRANKIE (V.O.)
Wasn’t that up to her to decide?
PRESENT - INT. SODA SHOP
Vin sits across from Frankie.
VIN
Come on, Frankie, she’d been
surrounded by thugs all her life,
her old man bein’ the biggest, she
didn’t need me slowin’ her down,
takin’ her on detours she might
never come back from, and what -
wind up like my mother?
Genres:
["Romance","Drama"]
Ratings
Scene
19 -
Reflections at the Grotto
EXT. MONTAGE - VIN’S ODYSSEY CONTINUES
He resumes running along Pelham Parkway.
VIN (V.O.)
So I just kept runnin’, but soon -
Vin stands before the Grotto at St. Lucy’s. WORSHIPPERS,
holding empty containers, wait in line before a life-sized
Madonna set into the stone above them. MUSIC FADES.
VIN (V.O.)
I found myself at a place I never
thought I’d ever come to on my own -
the grotto at St. Lucy’s. My mom
used to nag the old man to drive us
there when I was a kid, then after
he was gone, I’d walk with her to
the grotto whenever she wanted.
He whips the handkerchief out of his back pocket, wipes off
one of the benches, then sits facing the grotto.
VIN (V.O.)
I just sat there, watchin’ people
fill their jars with the holy water
flowin’ past the Madonna’s feet,
prayin’ for a miracle, just like my
mom did, and I asked myself “When
was the last time you believed in
anything or anyone like that?”
FRANKIE (V.O.)
Angela?
VIN (V.O.)
That’s right - who I just left
stranded on that fourth step
screamin’ my name - what a dummy.
A line from RHAPSODY IN THE RAIN echoes around him.
“Yesterday, bring back yesterday.”
VIN (V.O.)
For a split second, I thought about
turnin’ around, goin’ back to her,
but then I suddenly imagined that
perfect red rose stuffed into the
barrel of a 45 - Benny’s 45 -
pointed right between my eyes -
He pops up and leaves the grotto.
VIN (V.O.)
So I got back up and headed to the
nearest phone booth I could find -
Genres:
["Drama","Romance"]
Ratings
Scene
20 -
A Journey Home
INT. PHONE BOOTH ON CORNER OF MACE AVE. & WILLIAMSBRIDGE RD.
He enters the phone booth, shuts the door, dials, and waits.
VIN (V.O.)
- figurin’ who better to talk me
outta’ goin’ back to Angela than
Paulie, but he wasn’t home.
He slams the receiver down, opens and exits the booth, then
heads back toward Pelham Parkway.
VIN (V.O.)
So I just kept runnin’, puttin’ as
much distance between me and Angela
as I could -
I CAN’T STOP THE RAIN plays in the background.
“I can’t stop the rain
She saw through my heart like cellophane...”
Reaching the bridge to City Island, he finally stops.
VIN (V.O.)
- makin’ it all the way to the City
Island bridge.
FRANKIE (V.O.)
We’re talking miles and miles here.
VIN (V.O)
Tell me about it, couldn’t even
feel my feet, but then it hit me.
I had nowhere else to go but home.
He begins walking back as MUSIC FADES, reaching Pelham
Parkway just as a BUS pulls up to a nearby stop.
VIN (V.O.)
Halfway back, I broke down and took
the number 12 bus back.
He hops on the bus, which soon reaches Fordham Road, the
large DOLLAR SAVINGS BANK CLOCK in the distance reading 9:55.
VIN (V.O.)
Next thing I know, it’s almost 10,
and I’m starvin’, so I jump off at
Fordham University and cross the
street to White Castle.
MUSIC FADES as a RADIO BROADCAST is heard.
COUSIN BRUCIE (O.S.)
It’s your Cousin Brucie on W-A-
BEATLE-C, and I’ve got Cousin Lou
Christie closing out our Saturday
night dance party, swingin’ on that
Trapeze!
Genres:
["Romance","Drama"]
Ratings
Scene
21 -
Confrontation at White Castle
INT. WHITE CASTLE
Vin wolfs down a sack of burgers, onion rings, and a coke, as
TRAPEZE plays over the restaurant speakers.
“Trapeze, sha-la baby, you’re never gonna’ fly with me.
Trapeze, sha-la baby, you’re never gonna’ fly with me...”
A steamed Paulie suddenly slides directly across from him.
PAULIE
Where the frig you been? I’ve been
lookin’ all over the Bronx for ya’.
VIN
I was out on a date, Paulie.
PAULIE
Yeah, with Benny’s daughter.
VIN
How’d you know that?
PAULIE
Benny sees ya’ runnin’ around with
his kid, who do ya’ think he’s
callin’ first?
VIN
He saw us?
PAULIE
Damn right he saw ya’, and I saw
ya’s both leavin’ Abe’s.
VIN
Shit.
PAULIE
That’s right, a big fat steamin’
pile of shit I have to clean up so
you don’t get whacked.
VIN
Sorry, Paulie.
PAULIE
Sorrys don’t freakin’ count out
here, numbnuts, and for your
information, I stood up a sure
thing with Ann Marie Ruggiero
tonight because of you.
VIN
Ann Marie Ruggiero?
Genres:
["Drama","Crime"]
Ratings
Scene
22 -
A Moment of Awe
FLASHBACK - EXT. FORDHAM ROAD - A HOT DAY IN LATE AUGUST
WILDLIFE’S IN SEASON plays as Teenage Vin, his FRIENDS, a
crowd of MEN overlooking a BOCCE COURT at the Aqueduct, and
the boisterous and animated OLD ITALIAN MEN playing Bocce on
it, are all brought to a silent standstill at the appearance
of ANN MARIE RUGGIERO strutting by. A tall woman in her late
20s, she is Bardot, Loren, and Lollobrigida all rolled into
one, poured into a skin-tight dress, leaving absolutely zero
to the imaginations of the dumbstruck, slack-jawed males of
all ages she passes. One of the Old Men drops the bocce ball
he holds onto his foot, which he grabs in pain. MUSIC STOPS.
OLD MAN
Fangool!
VIN (O.S.)
Holy shit!
Genres:
["Drama","Romance","Coming-of-age"]
Ratings
Scene
23 -
A Dangerous Promise
INT. WHITE CASTLE
Paulie sits across from an impressed Vin.
PAULIE
That’s right, holy shit, but
instead of me bein’ in the back
seat of my DeVille neckin’ with Ann
Marie, where am I? Here in White
Castle on a Saturday night wipin’
your ass. Not for nothin’, I’ve
been watchin’ after you since you
were nine, and now you’re gonna’
piss it all away just ‘cause ya’
got the hots for some little girl?
VIN
Hey, I’m sorry about Ann Marie, but
Angela’s not just some little girl.
PAULIE
You’re right, she’s only the
daughter of the meanest prick in
the Bronx! Now you listen to me and
you listen good. I’ll go square
things with Benny, but you gotta’
swear to me you’ll never see this
chick ever again, and I mean never!
VIN
But, Paulie -
PAULIE
But nothin’! I don’t make this
right, we both wind up in that
swamp behind Co-Op City, now swear.
VIN
Alright! I swear.
PAULIE
She phones you, you hang up. She
writes you, you burn the letters.
She walks toward you on the street,
you run the other way, she turns up
at your front door, you climb down
the freakin’ firescape and call me.
VIN
I tried callin’ you, Paulie, you
weren’t home.
PAULIE
Then you walk to my apartment, sit
your ass down at the front door,
and wait ‘til I get home, capisce?
VIN
Capisce.
PAULIE
Good. Now let’s get outta’ here,
I’ll drive ya’ home to your mother.
EXT. VIN’S BUILDING ON AQUEDUCT AVENUE
Vin exits Paulie’s Caddie, and watches it screech away.
Genres:
["Drama","Crime"]
Ratings
Scene
24 -
Nostalgia and Heartbreak at Abe's
PRESENT - INT. SODA SHOP
Vin sitting across from Frankie, who’s taking notes.
VIN
I made it back up to the apartment,
snuck past my mom, who was sound
asleep on the couch with the TV
blastin’, and holed up in my room
until things blew over.
FRANKIE
You had to come out eventually, how
did you avoid Angela?
VIN
For months I steered clear of any
place I thought she might turn up -
especially here at Abe’s - I went
nine weeks without an egg cream!
FRANKIE
Wow.
VIN
Not only that, Angela knew my
jukebox route, so Paulie gave me a
new one until things blew over,
that’s how much he wanted me to
avoid Angela. I just went about my
business, pretendin’ she wasn’t
there, like she didn’t even exist.
Then one day, the phone stopped
ringin’, letters stopped arrivin’,
I could even come here for my egg
cream without lookin’ over my
shoulder, but what didn’t change
was how much I missed Angela -
Abe suddenly appears.
ABE
Get you gentlemen something else?
VIN
I’m good, how ‘bout you, Frankie?
FRANKIE
Wouldn’t happen to have a piece of
cake or pie to nosh on, would you,
Abe?
ABE
I’ll come up with something.
FRANKIE
Thanks.
ABE
Is he telling you his Angela story?
FRANKIE
As a matter of fact, he is.
ABE
I’ll cut you a big piece.
Abe leaves.
VIN
After a few months, I started
wishin’ Angela and I would bump
into each other again. I’d come
back here to hang out with Abe an
extra hour or two, give him a hand
with any deliveries, carry crates
of fountain supplies up from the
basement, each time hopin’ that
when I came back up, she’d be
standin’ next to the Rhapsody, but
she never was. So instead, I’d play
one of Lou’s songs, then another,
and then another. Somehow, hearing
his records made me feel like she
was back here with me at Abe’s.
FRANKIE
Hence, the Lou Christie thing.
VIN
Hence?
Abe returns with a piece of crumb cake on a plate.
ABE
Fresh this morning - first piece.
FRANKIE
I’m a sucker for crumb cake.
ABE
My kind of sucker. Enjoy.
Abe leaves as Frankie picks the cake up and takes a bite.
FRANKIE
Shouldn’t be doing this. So did you
ever see her again?
VIN
About a year later. I was walking
along the Concourse, right near the
Paradise -
TEENAGE FLASHBACK (B/W) - EXT. GRAND CONCOURSE - DAY
Vin passes beneath the Paradise marquee, suddenly stopping.
VIN (V.O.)
- when who do I see comin’ my way?
Angela walks with a LONG-HAIRED MAN sporting a handlebar
mustache and long fur coat, laughing as they approach. Just
as they begin passing Vin, Angela turns and glares at him,
smiles, then looks away, and they continue up the Concourse.
He turns away, crushed, failing to see the BLACK LINCOLN
slowly tailing the couple, a HUGE HAND with the INITIAL “B”
PINKY RING draping over the opened back window.
Genres:
["Drama","Romance","Crime"]
Ratings
Scene
25 -
Miracles and Memories at Abe's Soda Shop
PRESENT - INT. ABE’S SODA SHOP
Frankie finishes his cake as Vin finishes his egg cream.
VIN
She never looked back - not even
once. But you wanna’ hear somethin’
crazy? As miserable as I felt at
that moment, part of me was happy.
Angela found someone who could make
her laugh and not look back, and
let me tell you, she needed it,
cause less than a week after that,
Benny got blasted comin’ outta
Krum’s bon bon joint over on the
Concourse. Three slugs through the
heart, and they never found out who
did it.
FRANKIE
Biggest thing that ever happened to
this neighborhood - even made to
the sleazy Crime Story section of
the Daily News.
VIN
Well, not long after Benny’s
funeral, I started hangin’ around
Valentine Avenue after my route,
hopin’ to bump into Angela, but I
never did. Now, fifty years later,
after all these years of screwin’
around, bein’ screwed around on,
draggin’ my ass home alone at three
in the mornin’ after the latest
lousy date or night out with the
guys, climbin’ the same three
flights of stairs to that roach-
infested apartment I grew up in -
remember how big they were?
FRANKIE
Snap-crackle-pop!
VIN
And after all this time, not a day
goes by I don’t play Lou on that
Rhapsody, think about Angela, that
one date we had, and the moment
I realized how much I cared about -
no, how much I loved Angela. Wanna’
hear somethin’ even crazier?
I still do, and I still consider
myself one lucky son-of-a-bitch.
Hell, I’d be a dummy if I didn’t,
wanna’ know why?
FRANKIE
Why?
VIN
I had the moment. That once in a
lifetime perfect moment that makes
you feel like you can love and that
you might actually be lovable. It’s
like gettin’ struck by lightning,
man. Angela was my lightning, and I
blew it.
FRANKIE
But what if lightning struck again,
Vin? What if life gave you a second
chance, another shot? Did you ever
wonder if you’d grab it or -
VIN
Cut and run like I did with Angela?
FRANKIE
That’s one way of putting it.
VIN
Come on, Frankie, I got a better
chance of bein' struck by lightnin’
on a sunny day than havin' a moment
like that ever again.
Vin suddenly laughs.
FRANKIE
What’s so funny?
VIN
My old man gets it with a pickle
truck, I get it in the pickle.
There’s the sound of loud voices up front, as one of the Two
Men slams his fist onto the counter, leering at a defiant
Abe, who’s suddenly retrieves a Louisville Slugger from
beneath the counter, and waves it over his head.
ABE
I’ve dealt with bums half my age,
twice your size, and so rotten
they’d make you piss your pants
just looking at them, now get out!
Vin jumps up.
VIN
Everything all right up there, Abe?
ABE
Peachy. These gentlemen were just
leaving.
MAN #1
Two against one, old man.
Abe slams the bat onto the counter, staring down the Two Men,
who get up from their stools. In a flash, Vin, Frankie right
behind him, are at the counter, joining in the stare down.
VIN
Looks like you mutts can’t count.
The Men stare at Vin and Frankie, then back at Abe, slowly
backing away before leaving, slamming the door behind them.
ABE
I was handling it, boychik, they
don’t scare me.
VIN
Nothin’ wrong with a little backup.
Frankie’s cell phone rings. He sees who it is.
FRANKIE
Holy shit, look at the time!
Frankie races back to the table for his things. Vin follows.’
FRANKIE
I’d better get back home or my
head’s gonna’ be on a platter
instead of the turkey.
VIN
No Frankie, no article, right?
FRANKIE
Right. Think we can we do this
again tomorrow, same time?
VIN
Headin’ over to Montefiore tomorrow
mornin’ to see what the deal is -
if there is any deal - or if I just
pick up my chips, head home, and
wait for the whole rotten mess to
flop onto the linoleum floor.
FRANKIE
I’m telling you, Vin, times have
changed, medicine’s improved, it’s
probably nothing the docs can’t
handle, even if it is something,
which it probably isn’t. So how
about Saturday, same time?
VIN
Yeah, guess so. Sure.
A hurried Frankie puts his cap and raincoat on. He slides the
notebook back into the envelope and stuffs it under his arm.
FRANKIE
See you Saturday.
VIN
I’ll be here.
Frankie walks away. Turning toward the Rhapsody, Vin drops a
coin into the slot, makes a selection, grabs the sides of the
box, stares at the glass. LIGHTNING STRIKES begins to play.
“Listen to me baby, you gotta’ understand
You’re old enough to know the makin’s of a man
Listen to me baby, it’s hard to hard to settle down
Am I askin’ too much for you to stick around...”
Vin stares into the Rhapsody glass. MUSIC continues over -
TITLE: SECOND EGG CREAM
INT: ABE’S SODA SHOP
The shop’s buzzing as Abe serves customers at the counter.
His wife HELEN stares blankly out the open window counter as
Frankie enters, waving to Abe.
FRANKIE
Morning, Abe.
ABE
He’s already here.
FRANKIE
Great.
ABE
Egg cream?
FRANKIE
Sure.
ABE
Remember my wife Helen?
FRANKIE
Of course I do.
Frankie extends a hand toward the still oblivious Helen.
ABE
Shefele. Helen!
Helen snaps into the moment, turning toward Abe.
HELEN
Yes?
ABE
This is Frankie - who I was telling
you about? Vincent’s friend.
HELEN
Oh, yes, I remember that face.
The hand that accepts Frankie’s has a noticeable shake, along
with a tattooed number on the wrinkled forearm above it.
FRANKIE
You must have a good memory.
HELEN
A blessing and a curse, but a nice
face like yours I never forget.
ABE
I called him Red when he was just
a pisher.
HELEN
Abie tells me you’re writing a
story about our Vincent.
FRANKIE
That’s right.
HELEN
Make it nice. He’s a nice man.
FRANKIE
Don’t worry, I will.
HELEN
You’re a nice boy.
ABE
I’ll bring you that egg cream.
FRANKIE
Thanks, Abe. Pleasure seeing you
again, Helen.
She nods and smiles as Frankie walks back toward Vin.
HELEN
Such a nice boy. (Looks off again)
If only I could remember his name.
Frankie approaches Vin, who’s standing over the Rhapsody, as
MUSIC BEGINS TO FADE.
“Lightning’s striking again and again and again...”
FRANKIE
Hey, Vin!
Vin turns, navy blue sports jacket covering his white shirt,
new black dress slacks, black leather coat draped over his
usual chair, a half finished egg cream on the usual table.
VIN
Yo, Frankie!
FRANKIE
Morning, Vin, how did it go at -
VIN
Couldn’t wait for you to get here,
this is important, real important.
FRANKIE
Sure sounds like it, what’s up?
VIN
How do I look? Haven’t worn a
jacket like this since my
confirmation.
FRANKIE
Different.
VIN
Good different or bad different?
FRANKIE
Good different. Dress slacks too,
huh? Pretty sharp.
VIN
Couldn’t even zip my old ones up
halfway. Let me order you an egg
cream.
FRANKIE
Already did.
Frankie removes his coat and sits across from Vin.
VIN
Abe’s makin’ it, right?
FRANKIE
Said he was.
VIN
Good. Helen’s a sweetheart, but
sometimes she forgets the seltzer,
or gives you a lime rickey instead.
FRANKIE
Hate lime rickeys.
VIN
Gotta’ ask you somethin’, and you
hafta’ promise not to laugh.
FRANKIE
Scout’s honor.
VIN
(Whispering)
Do you believe in miracles?
FRANKIE
Are you serious?
VIN
As a swollen prostate.
FRANKIE
Well, let’s just say I struggle
with the concept.
VIN
So did I, but maybe you won’t after
I tell you what happened yesterday,
why I’m wearin’ this jacket, and
why it’s so freakin’ important.
FRANKIE
I’m all ears.
Frankie opens his notebook as Abe arrives, egg cream in hand.
ABE
Here you go, Red.
FRANKIE
Thanks, Abe.
ABE
Let me know if you want anything
else.
FRANKIE
Will do.
Abe leaves, MUSIC FADES, Vin continues.
VIN
So after we left here Thanksgivin’
mornin’, I headed to my apartment -
Genres:
["Drama","Romance"]
Ratings
Scene
26 -
Thanksgiving Reflections
ADULT FLASHBACK - INT. VIN’S BEDROOM - THANKSGIVING MORNING
Still in street clothes, Vin enters and flops onto the bed.
VIN (V.O.)
Climbed back into bed and pulled
the covers up to my chin. Clothes,
coat, shoes, the works. I was so
twisted, I didn’t even watch March
of the Wooden Soldiers, which I’ve
done every Thanksgivin’ mornin’
since I knew what a TV was.
He pulls the covers up to his chin, eyes still wide open.
VIN (V.O.)
Just laid there, goin’ over all the
dumb stuff I’d done in my life, the
dumbest bein’ when I walked down
those stairs away from Angela.
10 hours is compressed into 30 seconds. Morning light moves
across the ceiling, turning into bright afternoon light, then
dusk, and finally evening. Vin pops a VIDEO into an ancient
VCR, then heads back under the covers. Lit by the TV screen,
Vin’s wide-eyed face illuminated by the TV screen, he watches
the opening credits of MARTY, the film’s music blending with
sounds of passing cars and occasional subway. Popping back
out of bed, he shuts the movie, heads back under the covers,
as his now bloodshot eyes stare up at the ceiling, sounds and
lights of passing cars and occasional subway seen and heard.
The remaining silence is broken by the faint echo of WHAT
HAPPENED TO THE NIGHT coming from the local pool hall,
filling the room as Vin’s falls into a deep sleep.
“If I had my life to live over again
You’d never get away, never get away, no way...”
MUSIC begins to reverberate and echo, distorting through...
DREAM SEQUENCE (B/W) - EXT. BRONX STREET - DAY
CLOSE-UP on REAR WINDOW of a TAXI in a downpour, terrified
9-YEAR OLD VIN’s face and hands pressed against the glass.
Genres:
["Drama","Romance"]
Ratings
Scene
27 -
Nightmare in the Bronx
INT. TAXI - REAR SEAT
9-Year-Old Vin looking out the taxi window at a screaming
8-YEAR-OLD ANGELA, who’s now looking in from the outside.
8-YEAR-OLD ANGELA
Let me in! Let me in!
She pounds on the glass. An out-of-focus SHAPE draws closer
behind her, HUGE HAND grabbing her shoulder, the INITIAL “B”
PINKY RING on it glistening from the rain and streetlights.
The taxi screeches off, leaving a screaming Angela and the
towering shape behind. 9-Year-Old Vin turns away from the
window, pounds on the partition, and screams.
9-YEAR OLD VIN
Stop! Go back! Go back!
The taxi begins rocking violently, as windshield wipers lose
the battle against the driving rain, there is NO DRIVER at
the spinning wheel as the music coming over the glowing AM
CAR RADIO skips over and over.
“Who’s lovin’ you? Oh no, no, don’t...oh no, no, don’t...”
Taxi rocks more violently, rolling over, out of control, as
9-Year-Old Vin emits a PRIMAL SCREAM.
9-YEAR OLD VIN
Ahhhhh -
ADULT FLASHBACK - INT. VIN’S BEDROOM - DAWN
MUSIC STOPS as a sweat-soaked, screaming Vin pops into frame,
still dressed in street clothes. Garbage trucks can be heard,
as Vin whips off the covers, leaves the bedroom, stomps down
the hallway and opens the front door.
VIN (V.O.)
I got up and left the apartment, no
shower, shave or breakfast - didn’t
even brush my teeth -
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
Dawn of Resignation
EXT. AQUEDUCT AVENUE - DAWN
An exhausted Vin staggers down Aqueduct Avenue.
VIN (V.O.)
- hittin’ the Aqueduct lookin’ like
death warmed over, and probably
smellin’ like it to boot. Even
skipped my mornin’ egg cream - I
mean, what’s the point? I’m off to
hear my doc tell me in person what
I already knew from that letter.
DOCTOR (V.O.)
Mr. Morrone, you are extinct, just
like the dodo.
VIN (V.O.)
Or, in my case, the dum-dum, and no
egg cream’s gonna’ make that go
away, so off I go to Montefiore.
Genres:
["Drama","Psychological"]
Ratings
Scene
29 -
Waiting for Miracles
INT. MONTEFIORE EINSTEIN HOSPITAL
Vin enters the HOSPITAL, and stops at an INFORMATION DESK.
A GUARD points down a hallway. Reaching the CANCER CLINIC, a
RECEPTIONIST guards over the packed WAITING ROOM behind her.
VIN
Yo, I’m Vin Morrone, I got an
appointment.
She hands him a clipboard.
RECEPTIONIST
Add your name to the list and have
a seat.
VIN
All this for today? Looks like half
the freakin’ Bronx is on this list.
RECEPTIONIST
The Doctor will be with you as soon
as she can, Mr. Morroni.
VIN
She? What she? My Doctor’s a he -
Dr. Michael Rizzo.
She finally looks up, clearly annoyed.
RECEPTIONIST
Dr. Rizzo was called away on an
emergency, Mr. Morroni, Dr. Erin
Dooley is covering for him today.
VIN
Shit.
RECEPTIONIST
Don’t worry, Mr. Morroni, you’ll be
in good hands.
VIN
Yeah, but not the hands I expected,
and that’s Morrone, with an “e”.
He signs the list and slaps the clipboard onto the desk.
RECEPTIONIST
Have a seat, we’ll call your name
when it’s your turn.
VIN
I’ll probably be dead by then.
Finding an empty chair, he sits, looking up toward the noise
of a reality show coming from a wall-mounted TV.
VIN
Stupid shit.
VIN (V.O.)
And that’s when it happened.
FRANKIE (V.O.)
The miracle?
VIN (V.O.)
That’s right. The miracle.
A strident voice cuts through the waiting room.
NURSE (O.S.)
Angela Rose Bernstein?
Vin’s eyes widen. His mouth drops.
NURSE (O.S.)
Is Miss Angela Rose Bernstein here?
He leaps from the chair, scans the waiting room, stopping on
a naturally beautiful OLDER WOMAN standing between a VENDING
MACHINE and WATER COOLER. Her long silver hair covers a black
wool coat, her green eyes staring directly at him.
NURSE (O.S.)
Miss Bernstein, is that you?
The Doctor can see you now. Miss
Bernstein?
Vin weaves through the crowded waiting room, frantically
fixes his hair, tucks in his shirt, adjusts his collar, blows
into his cupped hand for a breath check, and is soon standing
less than a foot away from Angela, her 68-year-old piercing
eyes still locked on his. Pale, thinner, and shorter, her
natural beauty has only seasoned with age.
ANGELA
What are you doing here?
VIN
I was gonna’ ask you the same
question, but I think you’d better
go see that nurse before you lose
your place, it’s a zoo in here.
ANGELA
What nurse?
VIN
The one callin’ your name.
The NURSE suddenly appears between them, chart in hand.
NURSE
Are you Angela Bernstein?
ANGELA
Yes.
VIN
Could you give us a minute here?
NURSE
Miss Bernstein, we’re very busy.
VIN
Miss Bernstein will be right with
you.
ANGELA
I can speak for myself! Nurse, a
minute please?
NURSE
One minute.
ANGELA
Thank you.
The Nurse steps to one side, impatiently tapping her foot.
ANGELA
I’m afraid, Vincent.
VIN
You got nothin’ to be afraid of,
Angela, they got the best doctors
here. Honest, Monte’s got a great
reputation, my mom died here and -
shit, what a dumb freakin’ thing to
say. What I meant to say was, while
she was in here alive they treated
her square, so there’s nothin’ to -
ANGELA
That’s not what I’m afraid of,
Vincent - I’m afraid of you.
VIN
You’re afraid of me?
NURSE
Miss Bernstein -
VIN
Just cool your jets, alright!
Angela, whatta’ ya’ say we talk
about this after we’re done here?
ANGELA
How do I know you’ll be here when
I come back out?
VIN
If you want me to be here, I’ll be
here.
ANGELA
And you won’t vanish on me again?
VIN
No way! Cross my heart and hope to -
I’ll be here, count on it.
ANGELA
Promise?
VIN
Promise.
She begins to shiver. Vin guides her to the waiting Nurse.
NURSE
You can let go, I’ve got her.
The Nurse takes Angela’s arm, and they walk toward the double
doors. A terrified Angela looks back at a reassuring Vin.
VIN
Don’t worry, I’ll be here.
The Nurse pushes the doors open. They disappear behind them,
as I’M GONNA WAIT FOR YOU BABY echoes in the background.
“I’m gonna wait for you, baby, even though
you think I’m out of my mind, for you, baby...”
Vin notices a large bouquet in a vase on a nearby table,
walks to it, looks around, then plucks out the least droopy
red rose. Failing to prop it up several times, he rests it
against his chest. Nurse re-appears, tapping his shoulder.
NURSE
Mr. Morroni? Mr. Vin Morroni?
He turns, again straightening the droopy rose between them.
VIN
That’s Morrone - as in gavone - and
yeah, that’s me.
NURSE
I’ve been calling you, Mr. Morrone,
the Doctor’s ready for you now.
VIN
Can’t go in yet.
NURSE
Sorry?
VIN
I’m waitin’ for my friend to come
out, and until she does -
NURSE
Oh, you must mean Miss Bernstein?
VIN
That’s right.
NURSE
She’ll be in there quite a while,
Mr. Morrone, I would suggest -
VIN
You can suggest anythin’ you want,
I’m not goin’ anywhere ‘til she
comes back out.
NURSE
If you don’t come in with me right
now, I’m crossing you off our list.
VIN
You do what you gotta’ do, I’m not
budgin’.
NURSE
Suit yourself - and please don’t
steal any more of our flowers.
She leers down at the droopy rose before turning away.
NURSE
Margie Ryan! Miss Margie Ryan!
WOMAN’S VOICE (O.S.)
Over here!
Vin watches the Nurse and MARGIE RYAN pass through the double
doors. Vin resumes his vigil, rose in hand. The doors blow
open as Angela, wearing a hospital gown, marches toward him.
He extends the droopy rose toward her. She pushes it aside.
VIN
Gee, done already?
ANGELA
No, I’m not done. The nurse told me
you’re skipping your appointment.
VIN
Promised you I’d be here when you
came out, so how could I -
ANGELA
Vincent, I want you to keep that
appointment.
VIN
But the promise -
ANGELA
We can meet tomorrow morning.
VIN
We can?
ANGELA
Yes. We’ll have time to talk then.
Where should we meet?
VIN
Abe’s, where else?
ANGELA
Still with the egg creams?
VIN
Old dog, right?
ANGELA
I can be there by nine, that okay?
VIN
More than okay.
He extends the rose.
VIN
A rose for a Rose?
Managing a hint of a conflicted smile, she accepts it -
ANGELA
Thank you, Vincent.
- then walks away, pushing back through the double doors.
Genres:
["Drama","Romance"]
Ratings
Scene
30 -
Anticipation at Abe's Soda Shop
PRESENT - INT. ABE’S SODA SHOP
Vin sits across from Frankie.
VIN
And pretty soon she’ll be walkin’
through that door and - holy shit!
FRANKIE
What’s wrong?
Vin looks through shop window as a bundled up Angela crosses
University Avenue, approaching Abe’s.
VIN
She’s early!
Vin stands at attention.
VIN
Be honest with me, Frankie, how do
I look?
FRANKIE
Pretty spiffy.
VIN
Great - I think - now get lost,
I wanna’ be alone with her.
FRANKIE
Give me a call when you’re free.
Grabbing his notebook and coat, Frankie heads out, looking
back with fingers crossed.
VIN
Go!
He leaves.
VIN
Yo, Abe! Two egg creams, and make
‘em extra rich, okay?
Vin heads for the Rhapsody, makes his selection, then grabs
both sides of the jukebox. HAVE I SINNED? begins to play.
“Have I sinned? Have I sinned? Have I told you a lie?
Before I’d hurt you I’d die...”
He nervously buttons, unbuttons, re-buttons his jacket, then
spins around, toward the front door. Straightening his hair,
he unbuttons his jacket once again, then stiffens, as the
soda shop door rattles open and MUSIC FADES.
TITLE: THIRD EGG CREAM - 4 weeks later - 4:30pm
Genres:
["Drama","Romance"]
Ratings
Scene
31 -
Echoes of the Past
EXT. FORDHAM ROAD & UNIVERSITY AVENUE
Traffic avoids mounds of melting, slushy snow, as Frankie, in
YANKEES CAP and PEA COAT, reaches Abe’s and opens the door.
INT. ABE’S SODA SHOP
Frankie enters a shop in obvious transition. Signs, pictures,
and racks are missin. Ceiling and walls are being painted.
Front window and main counter is still open for business, but
most of the tables and chairs are pushed to one corner and
tarped over, save one single table at the far end where a
SINGLE WRAPPED ROSE rests, two chairs around it. Vin leans
over the silent Rhapsody, hands gripping either side, the
SANTA CAP he wears draping over the back of his leather coat.
A subdued Abe makes two egg creams behind the counter.
ABE
There you are. Right on time.
FRANKIE
What’s going on here, Abe?
ABE
A lot since you were last here.
FRANKIE
I can see that.
ABE
For starters, I sold my store.
FRANKIE
Oh, no, not to those two creeps.
ABE
What, I look like a putz to you?
I sold to Paulie. Paulie Perillo.
FRANKIE
You’re kidding?
ABE
Not only did he give me a fair
price, he’s taking care of Helen’s
medical bills. He’s become a real
mensch, that Paulie.
FRANKIE
That’s - unbelievable. Wonderful.
ABE
But as good as things are for us,
they’re not so good for our friend.
He points toward the back.
ABE
He’s waiting. I’m making your egg
creams now.
FRANKIE
Thanks.
Frankie walks over tarps toward Vin.
FRANKIE
Hey, Vin!
Vin turns around. Beneath the Santa hat is a mess. Tousled
hair, unshaven for days, a wrinkled shirt and sports jacket
beneath his leather coat.
FRANKIE
What the -
VIN
Yo, Frankie.
FRANKIE
You look like shit.
VIN
Thanks.
They hug.
FRANKIE
Glad you called, wasn’t sure you
would.
VIN
Cop a squat, Abe’s already makin’
our egg creams.
FRANKIE
He told me.
Frankie removes his cap and coat, then sits.
FRANKIE
I also just found out he sold the
shop to Paulie.
VIN
You and me both.
FRANKIE
How’s that possible? This looks
like it’s been going on for weeks.
VIN
I’ve been gone for weeks - four to
be exact, and I musta’ been walkin’
‘round the Bronx non-stop for days.
FRANKIE
Which explains the wrinkled shirt,
crazy hair and three day growth?
I won’t mention the Santa hat and
wrapped rose.
Abe appears with two overflowing egg creams.
ABE
Here you are, gents, just what the
doctor ordered - drink up.
Abe leaves.
FRANKIE
Doctor? Is this about that letter?
VIN
Forget that, remember the Saturday
mornin’ after Thanksgiving?
FRANKIE
Remember? I’ve been waiting a month
for the payoff.
VIN
Well, just after you left -
ADULT FLASHBACK - ABE’S SODA SHOP - DAY
Angela races toward his table. HAVE I SINNED? finishes.
“...have I sinned? Have I sinned? Oh, have I sinned?”
VIN (V.O.)
Angela storms in, all piss and
vinegar.
Vin, in his navy blue jacket and slacks, standing before the
Rhapsody as Angela, in her black coat, arrives at the table.
VIN
Angela, I -
ANGELA
Sit!
VIN
Yes, m’am.
They sit across from each other.
ANGELA
Don’t m’am me. Why did you leave
me, Vincent?
VIN
Because we made a date to meet here
and here we are, so -
ANGELA
I don’t mean at the hospital, I
mean on the staircase, why did you
leave me that way on the staircase?
VIN
That’s a long story.
ANGELA
I don’t have time for a long story,
give me the short version before
I walk right back out that door.
VIN
Please don’t do that, Abe’s makin’
our egg creams right now.
ANGELA
I didn’t come here for egg creams!
I came to find out why you ran away
from me. It was the love thing,
wasn’t it?
VIN
Come on, Angela, jailbird father,
crazy mother, small time gofer with
no future, it’s not like I was the
greatest catch.
ANGELA
Wasn’t that up to me to decide?
VIN
That’s what Frankie said.
ANGELA
Who’s Frankie?
Abe arrives with their egg creams and places them down.
ABE
Here we are, two egg creams, one
for you, and one for - say, haven’t
I seen you in here before?
ANGELA
A very long time ago.
ABE
Thought so. I’m like my Helen,
I never forget a - wait a second,
you’re the dancer. You’re Angela!
ANGELA
That’s right.
ABE
You’re a celebrity around here.
ANGELA
Is that so?
ABE
From that one day you were here,
all he ever does is talk about you
and play Lou Christie on that
jukebox - meshuga, right?
Angela glares at Vin, shaking her head.
ANGELA
Very meshuga.
ABE
Well, if there’s anything else I
can get you, just shout.
ANGELA
I don’t think I’ll be staying long,
but thanks.
Abe walks away, confused, as Vin lifts his glass.
VIN
Salute!
She remains motionless. He lowers the glass.
VIN
Don’t you wanna’ take your coat
off?
ANGELA
Didn’t you hear what I just said to
Abe?
VIN
You know, your dad did see us
together that day.
ANGELA
I should know, he beat the crap out
of me when I got home and said if I
ever saw you again, he’d make sure
you weren’t around for anyone.
VIN
Then why the phone calls? All those
letters?
ANGELA
Didn’t you read them?
VIN
Um - you’re not gonna’ like this.
ANGELA
Try me.
VIN
I was afraid to read ‘em, so -
I tossed ‘em.
ANGELA
Great. Well, if you had read them,
you’d know I didn’t want you to
think just because I couldn’t see
you, I didn’t care for you.
VIN
So you never went out lookin’ for
me, not even once?
ANGELA
The last thing I wanted was for you
to get hurt because of me.
VIN
But you got hurt because of me,
everyone got hurt because of me.
ANGELA
Who’s everyone?
VIN
Remember what I told you about my
old man, about the way he died?
ANGELA
The pickle truck, who could forget?
VIN
What I didn’t tell you was that we
were all in his cab that mornin’.
ANGELA
You mean you were there when he -
VIN
Both me and my mom - they had to
take me outta’ school early.
ANGELA
You were sick?
VIN
I cursed out a nun.
ANGELA
You what?
Genres:
["Drama","Romance"]
Ratings
Scene
32 -
Childhood Humiliation
CHILDHOOD FLASHBACK (B/W) - INT. SCHOOL CLASSROOM - DAY
9-YEAR-OLD VIN, pencil in hand, writing in a MARBLE NOTEBOOK.
Hair not quite combed, the collar and cuffs of his white
shirt are dingy and wrinkled.
VIN (V.O.)
I was in third grade.
A pointer suddenly whacks his desk.
SR. MARY DOLORITA (O.S.)
Mister Morroni!
He stops writing and looks up at SR. MARY DOLARITA leering
down at him, as CLASSMATES begin to chatter and giggle.
SR. MARY DOLORITA
You ever walk into my class with a
filthy shirt like that again, I’ll
call your parents and have them
take you home, you understand me?
9-YEAR-OLD VIN
Yes, sister.
She walks away.
9-YEAR-OLD VIN
(Under his breath)
Go to hell.
Sr. Mary Dolorita spins around, wild-eyed.
SR. MARY DOLORITA
What did you say to me, mister?
She grabs his ear, yanks him out of his chair, and drags him
out of the classroom, as students begin to chant -
STUDENTS
Morroni macaroni! Morroni macaroni!
Genres:
["Drama"]
Ratings
Scene
33 -
Tension on the Cross Bronx Expressway
INT. PRINCIPAL’S OUTER OFFICE
CU of SR. MARGARET IMMACULATA - PRINCIPAL stenciled on an old
oak door, panning to 9-year-old Vin on a bench, head down,
cupping his aching left ear. A door creaks opens. Loud voices
are heard coming down the hallway, as Gus storms toward Vin,
Lucia trailing. Reaching Vin, he shoves a finger in his face.
GUS
You’re dead meat!
Gus bursts through the Principal’s office door, Lucia right
behind. Door slams shut. Muted screams are heard. The door re-
opens. Out storms Gus, grabbing his son’s arm. Lucia follows.
GUS
Get your ass up!
Gus pulls him up, leering back at Lucia.
GUS
I’ll deal with you later.
He lifts and drags 9-year-old Vin down the hallway, his feet
barely touching the marble floor, followed by Lucia.
EXT. STREET - IN FRONT OF SCHOOL ENTRANCE
Gus opens the front passenger door of his cab, flings 9-year-
old Vin in, slams the door, and walks around to the driver’s
side, as Lucia opens the back door and climbs in. Gus slides
into the driver’s seat next to Vin, slamming the door shut.
GUS
Now we’re goin’ to Robert Hall to
get you some white goddamn shirts.
LUCIA
Gus, don’t get yourself worked up.
GUS
Don’t tell me what to do!
Gus steps on the gas. The car screeches away.
INT. GUS’ TAXI ON THE CROSS BRONX EXPRESSWAY
Gus, his taxi stuck in bumper-to-bumper traffic, begins
pounding the steering wheel, spittle flying everywhere.
GUS
Goddamn traffic! Why did they even
build this freakin’ road, it’s only
makin’ things worse!
Weird gurgling sounds come from Gus as he clutches his chest.
LUCIA
Gus, what’s wrong? Gus!
Grabbing his chest, Gus opens the car door and climbs out.
VIN (V.O.)
He opened the car door and -
Genres:
["Drama","Family"]
Ratings
Scene
34 -
Echoes of the Past
ADULT FLASHBACK - INT. ABE’S SODA SHOP
Angela listens to an emotional Vin.
VIN
You know the rest.
She stares off into the rain.
ANGELA
We’ve all got our secrets.
VIN
And I’ve got somethin’ for you.
He pulls out the photo booth strip and hands it to her.
VIN
Voila!
ANGELA
Oh, my God, thought I’d never see
this again.
VIN
You told me to keep it safe.
ANGELA
And you did - look at us.
VIN
Two crazy kids, huh?
ANGELA
May I keep this?
VIN
That’s why I brought it.
Removing a small purse from her coat, she gently places the
photo strip inside, snaps it shut, then stares at him.
VIN
Come on, at least stay a little
while and enjoy your egg cream
She sighs, shakes her head, then begins removing her coat.
VIN
Let me help you with that.
Getting up, he removes and drapes her coat over an empty
chair, then sits. She extends a hand.
ANGELA
Got a dime?
VIN
It’s a quarter now.
Taking out a quarter, he places it onto her open palm.
ANGELA
Thank you, Vincent.
CUT TO:
Angela walking to the Rhapsody. After searching through the
selections, she slips the quarter into the slot. The record
drops. CHRISTMAS IN NEW YORK begins to play.
“Christmas in New York, Christmas in the city
Dinner in Soho, we’ll catch the late show...”
She returns to the table and sits.
VIN
Gettin’ the Christmas sprit early,
huh?
ANGELA
Gave up on Christmas years ago.
VIN
Then what’s with the song?
Her face scrunches up.
ANGELA
You heard about my father, right?
VIN
Who didn’t? Rough way to go.
ANGELA
Everyone thought they knew him -
even you.
VIN
Hard not knowin’ ‘bout the only
Jewish mobster on Fordham Road,
he was a legend.
ANGELA
Legend? That legend was a monster.
A monster that destroyed everyone
around him, put his hands on every
woman he wanted, except my mom,
who became a stay-at-home Catholic
drinking Johnny Walker out of a
Snoopy jelly jar glass -
CHILDHOOD FLASHBACK (B/W) - ANGELA’S APARTMENT - DAY
Withdrawing FIREMEN clear 8-year-old Angela’s view of what’s
left of her charred living room, also revealing a disheveled,
robe-covered, very tipsy, out of focus Isabella.
ANGELA (V.O.)
Until the morning she knocked over
a votive candle, burned down the
Christmas tree, and half the living
room.
Isabella shrieks in the background.
ISABELLA
Keep your hands off her, Benny, she
didn’t do anything! Benny!
BENNY (O.S.)
Shut up, Izzy!
A huge hand with the INITIAL “B” PINKY RING grabs Angela’s
shoulder, spins her around, then shakes her teary face.
BENNY
See what your mother did? No more
Christmas trees in this apartment,
and don’t ever ask me for one
again, ya’ got that?
A terrified 8-year-old Angela nods.
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
Rekindling Christmas
PRESENT - INT. ABE’S SODA SHOP
SIDE VIEW of Vin and a trembling Angela.
ANGELA
Next morning, he threw out my mom’s
candles and statues, pulled me out
of St. Nicholas of Tolentine, stuck
me in PS 46 and forbid me and my
mom from stepping into Tolentine
Church ever again - Christmas or
any other time.
VIN
Sounds to me like you really didn’t
give up on Christmas, it was taken
away from you.
ANGELA
That’s not all he took.
VIN
What’s that supposed to -
ANGELA
After his funeral, I grabbed
whatever money he stashed in our
apartment, found a small place for
me and my mom in Yonkers, and we
were both out of the Bronx in less
than a week.
VIN
That explains why I never saw you.
ANGELA
You were looking for me?
VIN
I was hopin’ we’d bump into each
other, like we always used to.
How’s your mom doin’?
ANGELA
Buried her last fall.
VIN
Sorry to hear that.
ANGELA
A month later, I moved back to the
Bronx, a month later, before I got
sick, thank God.
VIN
That why you were at Montefiore?
She hesitates, then removes a small, folded piece of paper
from her purse. She unfolds it, then hands it to him.
VIN
This your number?
ANGELA
The number of a hospice service.
VIN
What’s that mean?
ANGELA
That means I’m dying, Vincent.
VIN
Bullshit.
ANGELA
Hospice is what takes care of you
while you’re dying and can’t take
care of yourself.
VIN
What about a husband? Kid, maybe?
Boyfriend?
ANGELA
Never married, never had any
children, gave up men for Lent
thirty years ago.
VIN
What about that guy with the
handlebar mustache and furry coat?
ANGELA
He was a big jerk, and my way of
getting back at you.
VIN
Wish I had a time machine, Angela,
wish we could both go back.
ANGELA
You don’t and we can’t.
VIN
But we do have today, and today
you’re tellin’ me you’re gonna’ let
some stranger take care of you?
I say no freakin’ way!
ANGELA
You still say freakin’ a lot, you
know that?
VIN
Sorry.
ANGELA
Don’t be, it’s almost cute. Almost.
VIN
Don’t change the subject.
ANGELA
What is the subject?
VIN
Me taking care of you.
ANGELA
You can’t even take care of
yourself!
VIN
Says who?
ANGELA
Says me. Why didn’t you see the
doctor after I went back in?
VIN
You’re gonna’ laugh.
ANGELA
Try me, I could use one.
VIN
Went out to buy a new sports jacket
and slacks. Knew the ones I had
back home were way too tight, and -
I wanted to look good for you.
ANGELA
What’s wrong with you, Vincent?
VIN
Guess I can still be kind of a
dummy sometimes, not to mention -
ANGELA
I mean what’s really wrong with
you? Why were you at the hospital?
VIN
Oh, that. Well, you see, I got a
little piece of paper of my own.
Taking the letter from his coat pocket, he opens it, then
slides it over to her. She reads it, shaking her head.
ANGELA
Some pair we are.
VIN
Beats my pair.
ANGELA
Not funny!
She slides the letter back across the table. Picking it up,
he refolds and pockets it.
VIN
I have an idea.
ANGELA
I’m listening.
VIN
What if, maybe - just maybe -
we spent the holidays together. You
could get that egg cream you missed
out on, we could catch up on a few
movies, try to create a little
Christmas spirit of our own -
ANGELA
And maybe hear the long version of
why you walked away from what would
have been our life together over
fifty years ago?
He turns away.
ANGELA
Sorry, that was mean.
VIN
I deserve it.
ANGELA
When did you lose your mother?
VIN
Tomorrow will be three years.
ANGELA
Were you living in that same
apartment on the Aqueduct with her?
VIN
Still live there. Look, I know she
was nasty to you, but she really
did have a shitty life. Right after
I was born, my old man did some
time in Rikers. He knew stuff that
coulda’ put some guys away for a
long, long time, includin’ my boss
Paulie, but he kept his mouth shut,
and took the rap.
ANGELA
Another stand up guy.
VIN
That’s right, and by the time he
got out, only job he could get was
drivin’ a cab, then after he died,
well, my mom was already too busted
up to handle anythin’.
ANGELA
Especially someone taking away the
only person she had left? I get it.
VIN
I know you do.
The door rattles open. Paulie enters.
VIN
Hey, it’s Paulie! Great, you’ll
finally get to meet him. Yo,
Paulie, back here!
Paulie waves, slides an envelope over to Abe, then after a
few moments of them talking, heads for Vin’s table.
VIN
Paulie, you won’t believe it, this
is Angela.
PAULIE
You’re right, I don’t believe it -
I finally get to meet the legend.
He extends a hand to Angela, which she accepts.
ANGELA
According to Vincent, you’re the
legend around here.
PAULIE
Let’s just say I’ve known Vin a
very long time.
ANGELA
He’s also told me how much you’ve
done for him.
PAULIE
He’s worth it, but you probably
know that already or you wouldn’t
be sittin’ here, am I right?
ANGELA
We’re working on it.
PAULIE
Then I guess I’d better leave the
both of you to it. If there’s
anythin’ ya’ want up front, just
let Abe know, it’s on me.
ANGELA
Why, thank you, Mr. -
PAULIE
Call me Paulie. Pleasure meetin’
you, Angela.
ANGELA
Likewise, Paulie.
PAULIE
Call me when you’re done, Vin,
we’ve got important business to
discuss.
VIN
Sure thing, Paulie.
Paulie walks back to the counter. Abe slides the envelope
back to him, they shake hands, then Paulie leaves the shop,
the door rattling closed behind him.
VIN
See? What’d I tell you? A real
stand up guy.
ANGELA
He’s like a father to you, isn’t
he?
VIN
Guess you could say that - but I
wanna’ get back to our important
business - me takin’ care of you.
ANGELA
Stop! You have no idea what you’d
be getting yourself into.
VIN
Sure I do.
ANGELA
No you don’t! It won’t be long
before I’ll need someone with me
every day - to cook, clean, get my
medicines, give them to me -
VIN
I can get ‘em, I can give ‘em, and
I make one mean lasagna.
ANGELA
Which I’ll eventually be too sick
to eat - oh, and how much fun will
it be having to bathe me every day?
VIN
That all depends.
ANGELA
Be serious! You’ll wind up hating
it all, then hating me.
VIN
That could never happen! I took
care of my mom for just about my
entire life, and I’m pretty sure
there’s nothin’ you could throw my
way I haven’t already handled, so -
ANGELA
(So) why would you want to go
through all that again with me?
VIN
Once you gave me the chance to be
with you, be there for you, and I
blew it.
ANGELA
You don’t owe me anything!
Angela knocks her glass over. Egg cream spills everywhere.
ANGELA
Shit.
She begins cleaning the table. Vin grabs her hands.
VIN
You’re wrong, Angela, I do owe you
somethin’.
ANGELA
The long version?
VIN
I was a dead man in that waitin’
room yesterday. And not because of
what you read in my letter, but
from all the years of foolin’
myself into believin’ I actually
did somethin’ brave runnin’ away
from you that day, that savin’ you
from the same shitty life my mother
had was the stand up guy thing to
do. But when that nurse called your
name and I saw your face, I also
came face-to-face with the truth,
which turns out not to be such a
long story after all. I was a
coward, Angela, a coward who pissed
away the best thing that ever
happened in his life, all because
of three little words.
ANGELA
The ones that scared you away.
VIN
The ones no one ever said to me -
before you, that is.
ANGELA
No one? Not even your -
VIN
No one. Ever.
ANGELA
I don’t know whether to be sad or
angry.
VIN
Angela, do you think there’s a
chance, any chance at all, one day
you might be able to forgive me?
ANGELA
I forgave you yesterday, when you
handed me that droopy rose.
VIN
You did?
She looks off into the rain.
ANGELA
But before I even consider us
spending the holidays together,
there’s something I need to know.
It’s going to sound crazy after
what I just told you.
VIN
I’m the King of Crazy, shoot!
ANGELA
Will you...get me a Christmas tree?
VIN
Will I get you a -
ANGELA
Mom and I had a tiny plug-in tree
in Yonkers, but that broke in the
move back here, and - well -
I haven’t had a real Christmas tree
since the one on Valentine Avenue
that went up in flames.
VIN
Lady, you’re gonna’ have the best
Christmas tree anyone’s ever had in
the history of Christmas trees.
We can get one right now, I know a
place on Kingsbridge and University
that’s got the biggest and fullest -
ANGELA
No - not today. I’m only good for
about an hour at a time before
I lose all my energy.
VIN
No big deal, they’ll still be there
tomorrow.
ANGELA
Tomorrow. Now there’s a word I’m
afraid of.
VIN
Better not be, there’s gonna’ be a
lot more headed our way - whatta’
you say we get outta’ here and get
this Christmas season started?
She allows a tiny, frightened smile as Vin stands, helps her
up and on with her coat. They head toward the door.
ABE
What, leaving so soon?
VIN
We’ve got things to do.
ANGELA
Thank you for the egg cream, Abe.
ABE
But you haven’t touched it.
ANGELA
I’m sure it’s delicious.
He reaches over and grabs Vin’s jacket.
ABE
(Whispering)
Boychik, there’s something
important I have to tell you.
VIN
It’ll hafta’ wait, Abe, catch you
later.
ABE
But -
They leave. The door rattles closed behind them, as an
instrumental CHRISTMAS IN NEW YORK plays in the background.
Genres:
["Drama","Romance"]
Ratings
Scene
36 -
Facing the Past
EXT. ANDREWS AVENUE - SOON AFTER
Vin and Angela reach a pre-war, three-story multi-family
building on Andrews Avenue, across from St. Nicholas of
Tolentine church, as MUSIC FADES.
ANGELA
We’re here.
Vin looks over at the church.
VIN
See you finally made it back to
Tolentine.
ANGELA
Would you believe I still haven’t
had the courage to walk in there?
VIN
Your father’s gone, Angela, there’s
no one to stop you anymore.
ANGELA
Guess I’m just not ready yet.
She turns, walks to the front door, and unlocks it. He pushes
the heavy door open with a grunt.
VIN
How do you open this by yourself?
She lifts her arm and flexes a muscle. They chuckle, then
enter the vestibule. Angela takes Vin’s arm. They slowly
climb the first flight to the second floor, then walk to her
apartment door, which she opens.
Genres:
["Drama","Romance"]
Ratings
Scene
37 -
Whispers of the Past
INT. ANGELA’S APARTMENT
They enter into a LARGE STUDIO, PICTURE WINDOW with narrower,
openable windows either side, looking out on swaying leafless
trees, and the church behind them.
A COUCH and COFFEE TABLE are against the wall to the left,
PORTABLE RECORD PLAYER on a METAL STAND containing several
RECORDS to one side of the couch, STUFFED RECLINER on the
other, TV on a STAND angled before them all. On the other
side of the door is a KITCHEN AREA, with OVERHEAD CABINETS,
old OVEN, FRIDGE, and SINK. Between the KITCHEN and BATHROOM
DOOR is a small CLOTH-COVERED TABLE, CHAIR either side.
ANGELA
Home, sweet home.
Angela hangs her keys on a hook next to the sink.
VIN
Cozy, I like it.
ANGELA
It’s what I can manage.
He sees the DROOPY ROSE he gave her at the hospital is in a
water-filled JAR on the table, fallen petals all around it.
VIN
Looks like I hafta’ get you another
rose.
ANGELA
No need, poor thing still has some
life left in it. Can I get you
something to drink? Ice water,
maybe? I also have some orange
juice and ginger ale in the fridge.
VIN
I’m fine.
ANGELA
Make yourself at home.
VIN
Thanks.
He removes her coat, hangs it on a nearby coat rack, then
does the same with his coat and jacket, as she opens the
fridge and takes out a can of ginger ale.
ANGELA
Good for digestion...(she struggles
opening the can)...darn fingers,
I used to thread my mother’s sewing
needles, now I can barely read a
label, much less open a can.
VIN
Here, let me.
He pops the can open as she removes a glass from the dish
rack - her mother’s SNOOPY JELLY JAR GLASS - which she fills
with ice. He pours ginger ale over it.
VIN
I thought ice hurt your teeth.
ANGELA
Still does, but the doctor insists -
she says sucking on ice cubes helps
keep me hydrated.
He scans the apartment.
VIN
Where do you sleep?
ANGELA
That couch opens into a bed, but
these days I just lie down, pull
the blanket up to my chin, and
watch TV until I fall asleep.
VIN
You hungry?
ANGELA
Not really, but there’s some
leftover mac and cheese if you’re
hungry.
VIN
Mac and - what, no Thanksgivin’
leftovers?
ANGELA
I was invited to eat Thanksgiving
dinner with my neighbors.
VIN
That was nice of them.
ANGELA
You’re going to think I’m a bad
hostess, but would you mind if I
rested my eyes for a few minutes?
VIN
Why would I mind? Let me help you.
He helps her onto the couch, pulling a blanket over her.
VIN
There you go. Comfy?
ANGELA
Very. I get so tired sometimes.
VIN
Maybe I should leave, we can always
meet some other -
ANGELA
Please don’t. I’ll rest easier
knowing you’re here.
VIN
Then I’ll be here when you wake up.
ANGELA
Thank you, Vincent.
She closes her eyes. Tucking the blanket under her chin, Vin
goes to the kitchen table, gathers up the rose petals, walks
to the kitchen TRASH CAN, lifts the lid, and sees an empty
FROZEN TV DINNER BOX - TURKEY. Shaking his head, he drops the
rose petals onto the box and other trash, shutting the lid.
MONTAGE
Ballad version of WHAT HAPPENED TO THE NIGHT echoes
throughout the following KITCHEN sequence.
“If I had my life to live over again
You’d never get away, never get away, no way...”
Vin quietly opens cabinet after cabinet, finding a box of
spaghetti and jar of sauce. He drops the spaghetti into
boiling water. Finding a stale roll in a bowl on the counter,
he cuts it, pours some oil and garlic on each half and slides
it into the oven. He spices and heats the sauce, then pours
it over the cooked spaghetti. MONTAGE ENDS. MUSIC FADES.
Vin stirs Angela from a deep sleep.
VIN
Yo, Angela. Dinner is served.
Her eyes slowly open. She begins to stretch.
ANGELA
Mmm, smells wonderful.
Vin helps her stand, escorts her to the modest, but perfectly
set table, and pulls out a chair for her. She sits.
ANGELA
Oh, my.
VIN
Somethin’ to drink, Mademoiselle?
We’re out of champagne, but there’s
water, orange juice or ginger ale.
ANGELA
Ginger ale would be lovely - oh,
and lots of -
VIN
(Of) ice - I know. Comin’ right up.
He goes to the fridge, fills the Snoopy jelly jar glass with
ice, opens a can of ginger ale, pours it over the ice, and
serves it, as she takes in the feast before her.
ANGELA
I’m so impressed - you can cook.
VIN
Just enough to keep me alive.
ANGELA
Enough to keep both of us alive?
Her question throws him for a loop.
VIN
Um-uh, guess there’s only one way
to find out. Bon appetit!
They dig in. She hums with delight.
ANGELA
Al dente, just the way I like it,
and what did you do to that sauce?
VIN
Little this, little that -
ANGELA
And garlic bread, no less! All we
need now is a little atmosphere.
There’s a record already on the
turntable if you’d like some music.
VIN
Yeah, that’d be great.
He walks toward what is teenage Angela’s PINK PORTABLE RECORD
PLAYER. He lifts the cover, then freezes when he sees the
record on the turntable - RHAPSODY IN THE RAIN.
ANGELA (O.S.)
Well, aren’t you going to play it?
Stunned at first, he turns it on, grabs the stylus, carefully
lowering it onto the spinning record. It begins to play.
“Baby, the raindrops play for me, a lovely rhapsody
‘cause on our first date we were makin’ out in the rain...”
Vin returns to Angela at the table.
VIN
How long have you had that record?
ANGELA
I bought it at Woolworths on the
way home that afternoon.
VIN
Remember how you danced to this at
Abe’s?
ANGELA
That was a very long time ago.
VIN
Doesn’t feel like it now - may I
have this dance?
He extends a hand, guiding Angela to her feet. They dance,
awkwardly at first, then with a bit more ease, all the while
staring into each other’s eyes. She stops and steps away.
ANGELA
I need you to make me a promise.
VIN
Anything.
ANGELA
Promise me you’ll call Montefiore
and re-schedule your appointment.
VIN
Promise.
ANGELA
Like you did in the hospital?
She extends an open, curled pinkie.
VIN
Uh-oh, pinkie swear?
She nods. He pauses, then links his pinkie with hers.
ANGELA
Now I believe you.
They laugh, then resume dancing. Suddenly stopping, she walks
to the record player, lifts the stylus, shuts the cover,
returns, then takes both his hands, her mood turning dour as
she walks him to the couch.
ANGELA
Vincent, please sit. There are some
things I have to tell you.
He sits. She doesn’t, and begins to pace.
VIN
Well?
ANGELA
I know who killed my father.
VIN
Whoa.
ANGELA
That day you saw me on the
Concourse with -
VIN
The jerk with the fur coat?
ANGELA
That’s right. Well, my father was
following us, and when I got home -
TEENAGE FLASHBACK (B/W) - ANGELA’S BEDROOM - NIGHT
Angela’s being slapped by Benny’s, falling to the floor
behind the bed, where Isabella screams.
ANGELA (V.O.)
- he beat me up pretty bad.
ISABELLA (O.S.)
Benny, stop!
Benny, still only seen from the neck down, turns his rage
toward Isabella, who tries to leave the bed, only to be
dragged back onto it by Benny, who begins slapping her.
ANGELA (V.O.)
Then he went after my mom.
BENNY
This is all your fault, she’s no
damn good and neither are you!
A battered Angela jumps up from behind the bed, leaping onto
Benny’s back.
ANGELA
Bastard, get your hands off her!
He shakes her off onto the floor.
BENNY
Crazy bitches, both of you,
I’m gettin’ the hell outta’ here!
He storms out of the bedroom. Angela crawls up alongside her
sobbing mother, wrapping her arms around her.
ANGELA (V.O.)
Later that week, he was leaving
Krum’s -
EXT. GRAND CONCOURSE - SEVERAL DAYS LATER
PAN DOWN from KRUM’S CHOCOLATEERS sign to the front entrance
opening onto a busy noontime GRAND CONCOURSE sidewalk, just
as BENNY, seen only from the neck down, exits the store,
wades through PEDESTRIANS toward his Lincoln, as a SHADOW
passes between him and the CAMERA.
CU of Benny’s bulging eyes, their meanness quickly replaced
by shock, disbelief, then fear, as he stares intensely into -
A WOMAN’s piercing, bloodshot eyes, whatever fear they once
showed now filled with blind rage, scarf wrapped tightly
around her BRUISED FACE. CAMERA PANS DOWN to the NAMEPLATE
peeking through a raincoat - ISABELLA. THREE GUN SHOTS ring
out. SCREAMS are heard. Isabella covers her eyes with
sunglasses, then quickly vanishes into the escalating chaos.
Genres:
["Drama","Romance"]
Ratings
Scene
38 -
Secrets Unveiled
INT. ANGELA'S APARTMENT
Angela and Vin sit across from each other on the couch.
VIN
Holy shit.
ANGELA
We spent the next 50 years waiting
for someone to knock on our door
with the truth, wanting to take her
away, but that never happened.
It died with her.
VIN
And it’s gonna’ stay that way.
ANGELA
I believe you. (Sighing, she takes
his hand.) There’s more.
Genres:
["Drama"]
Ratings
Scene
39 -
Unspoken Traumas
PRESENT - INT. ABE’S SODA SHOP
Frankie sits across from Vin, who looks over toward Abe.
VIN
Yo, Abe, two more egg creams, okay?
ABE (O.S.)
You got it.
FRANKIE
Well? What else did she tell you?
VIN
What she’d been runnin’ from her
entire life. Things she could never
tell anyone, things no one should
ever have to tell anyone - things
I can’t even tell you. Things taken
from her that should never have
even been touched, much less -
He clenches his teeth and fists, screaming.
VIN
- things that make me wish Benny
was still alive, just so I could
wrap my hands around his fat
fuckin’ neck and -
Gradually regaining his composure, he lowers his voice.
VIN
Then - then she told me about the
hole in her heart she’s had from
the second I left her on that
staircase, a hole that could never
be filled - just like mine.
Genres:
["Drama"]
Ratings
Scene
40 -
Tender Goodbyes
ADULT FLASHBACK - INT. ANGELA’S APARTMENT
Vin tucking Angela beneath the blanket.
ANGELA
After all that, you’re still here.
VIN
Too late to get rid of me now -
no more monsters, Angela, no more
nightmares - for either of us.
Time for you to sleep.
Closing her eyes, she drifts off. Vin cleans off the table,
the dishes, then the Snoopy jelly jar glass, refilling it
with ice, then bringing it to the night stand, holding back
tears as he silently watches Angela, now in a deep sleep.
Going to the kitchen, he grabs her KEYS off the hook, and
exits. An instrumental CHRISTMAS IN NEW YORK plays.
Genres:
["Drama","Romance"]
Ratings
Scene
41 -
A Christmas Surprise
EXT. UNIVERSITY AVE. - A LATE, MISTY AFTERNOON
Vin stands at University and Kingsbridge before a line of
Christmas trees, lights strung across the lot, joining a MAN
standing around a metal drum spitting out a roaring fire.
VIN
Lookin’ for the best tree you got.
MAN
Follow me, bud, got just the one.
Moments later, Vin is struggling down Aqueduct Avenue, huge
Christmas tree on his back, metal stand in his hand.
INT. ANGELA’S APARTMENT
Front door opens. Vin peeks in, sees Angela is still asleep,
then brings in the metal stand, places it in an empty corner,
goes back out and drags in the tree, which he secures into
the stand. He quietly fluffs it out with a proud smile.
ANGELA
Vincent!
Angela sits up on the couch, wide-eyed and staring at the
tree from across the room.
ANGELA
You did it! You got me a Christmas
tree!
She joins him at the tree, embracing its branches and
inhaling their scent.
VIN
Told you I would. Biggest one they
had.
ANGELA
Best one I’ve ever had!
She wraps her arms around him, then excitedly pulls away.
ANGELA
Let’s go out and get decorations.
VIN
Whoa! Hold on there, young lady,
you need your rest.
ANGELA
I can rest later, let’s go now.
EXT. ANDREWS AVENUE - OUTSIDE ANGELA’S APARTMENT
Angela and Vin leave her building and walk toward Fordham
Road, when Angela stops and looks toward Tolentine church.
VIN
What’s wrong?
She begins crossing the street, heading for the church.
VIN
Yo, wait up!
Genres:
["Drama","Romance"]
Ratings
Scene
42 -
A Moment of Reverence
INT. ST. NICHOLAS OF TOLENTINE CHURCH
Vin, with an anxious Angela latched onto his arm, stand at
the rear of the church. The sound of Lou Christie singing
O HOLY NIGHT echoes throughout the cathedral-sized building.
“...fall on your knees, hear the Angel’s voices
O night divine...”
Angela dips her hand in the holy water font, blessing
herself. Vin sheepishly does the same, while noticing the
handful of parishioners kneeling throughout the church.
VIN
Shouldn’t we kneel or somethin’?
ANGELA
I want to light a candle for my
mother.
She takes off, he follows. Soon they stand before a statue of
the Virgin Mary. There are no wax votives, just rows of
plastic ones - some lit - a poor box at the center, pad at
the base of the statue for kneeling.
VIN
Where are the matches?
ANGELA
When was the last time you were in
a church?
VIN
Kennedy was President - I think.
She kneels, says a quiet prayer, blesses herself, presses one
of the unlit plastic candles, which lights. She begins
standing, stops, then kneels again. After anemotional sigh,
she blesses herself, then presses another candle.
VIN
Who’s the second one for?
ANGELA
My father.
VIN
Wow - any more room on that thing?
Angela slides over, he kneels, says a quiet prayer, blesses
himself, presses one candle, then another. She leans over.
ANGELA
Now we can get our decorations.
She stands, reaches for her purse, but he stops her.
VIN
No. Let me - please.
He stands, digs into his jeans pocket, pulls out a fistful of
quarters, which he drops into the box. The clang of change
hitting metal echoes throughout the church. Worshippers turn
toward them. She grabs his arm and they quietly head for the
back door. MUSIC CONTINUES through next scenes.
Genres:
["Drama","Romance"]
Ratings
Scene
43 -
A Christmas Confession
EXT. FORDHAM ROAD - VARIETY STORE ENTRANCE - EVENING
Vin and Angela leave the store, their arms filled with bags.
INT. ANGELA’S APARTMENT
Angela’s hand places a brightly decorated CHRISTMAS BALL on a
heavily adorned tree branch. PULL BACK on the most decorated
Bronx Christmas tree ever, leaning to one side. PAN UP to a
SILVER-HAIRED ANGEL topping the tree, then back down to Vin
and Angela, now lit by the tree lights. MUSIC FADES.
ANGELA
God, it’s so beautiful!
He turns and stares at Angela.
VIN
Yeah - beautiful.
She turns toward him. They both smile.
VIN
Angela, this is gonna’ sound
freakin’ - I mean - it’s gonna’
sound crazy. There’s somethin’ I’ve
said to you a million times over
the past 50 years, but never so you
could hear it - never to your face.
ANGELA
Well, here’s my face.
He takes her hands.
VIN
I love you, Angela Rose Bernstein.
ANGELA
I’ve waited a lifetime to hear you
say those words, Vincent.
He goes to kiss her, but she lifts her hand between them, as
an instrumental RHAPSODY IN THE RAIN plays in the background.
VIN
What’s wrong?
ANGELA
Are you tired?
VIN
Tired? Who me? Nah, not at all.
ANGELA
Neither am I. What do you say we
open up that couch and get - cozy.
VIN
Wait a second, whatta’ you mean,
cozy? Cozy as in cuddling cozy, or
cozy as in -
She nods, smiles, pulls his face to hers. They kiss. He
lifts, then carries her toward the couch. MUSIC FADES.
Genres:
["Romance","Drama"]
Ratings
Scene
44 -
Reflections of Pain
PRESENT - INT. ABE’S SODA SHOP
Vin sits across from Frankie, who’s writing in his notebook.
He looks up at Vin, still reeling from the re-lived memory.
VIN
And that’s the way it was for the
next 25 tomorrows, only every
mornin’ she’d wake up with less and
less energy - ate even less - but
she got all her meds, and I always
made sure her Snoopy jelly jar
glass was filled with ice.
FRANKIE
She must have been in some pain.
VIN
Pain? Sure there was pain -
Genres:
["Drama","Romance"]
Ratings
Scene
45 -
Tender Moments on Christmas Eve
ADULT FLASHBACK - INT. ANGELA’S APARTMENT - MONTAGE
Vin sitting on the couch, cradling Angela in his arms.
VIN (V.O.)
Sometimes lots of pain, so much
pain that some days she could
barely move, but let me tell you,
Angela was tough, real tough,
tougher than I could ever be.
Angela sitting up on the couch, bravely smiling as a NURSE
attends to her, Vin watching from the kitchen table.
VIN (V.O.)
The hospice nurse started coming by
once a week to check her out, give
her some of the heavier duty drugs.
Vin walking Angela from the bathroom to the opened couch. He
helps her lie down, then pulls the covers up to her chin.
VIN (V.O.)
Forget about goin’ outside, a good
day was Angela eatin’ and holdin’
down her food, gettin’ her to the
bathroom in time, givin’ her a warm
bath, tuckin’ her into bed. But ya’
know what we did get to do?
Vin and a frailer Angela sitting up on the couch, bowl of
popcorn on the blanket covering their laps, faces aglow from
the TV screen, Vin’s bulb-lit SANTA CLAUS FACE - once again
with only two of the three HO! HO! HO!’s blinking beneath it -
now decorating Angela’s picture window behind them.
VIN (V.O.)
One afternoon while the nurse was
there, I ran back to my apartment,
brought back a few clothes, some
decorations, my VCR - yeah, I still
have one - and connected it to her
TV - we cuddled up with some
popcorn and watched that James Bond
double bill we missed all those
years ago. Ah, she loved ‘em!
Angela, startled by something on the screen, sends popcorn
flying everywhere. They toss popcorn at each other, laughing
until she begins to cough. Reaching for a tissue box, he
gives it to her, then lovingly draws her close. MONTAGE ENDS.
VIN (V.O.)
Christmas Eve came.
An instrumental CHRISTMAS IN NEW YORK plays throughout the
following FLASHBACK.
Genres:
["Drama","Romance"]
Ratings
Scene
46 -
Christmas Eve Preparations
ADULT FLASHBACK - INT. FORDHAM ROAD SUPERMARKET - DAY
Vin on a checkout line.
VIN (V.O.)
I went out to pick up her
medicines, then some groceries.
CLOSE-UP on individually wrapped RED ROSE DISPLAY.
VIN (V.O.)
I noticed a display of wrapped
single red roses at the market’s
checkout counter, so -
Vin plucks the nicest one from the bunch -
VIN (V.O.)
I bought one.
- then slides it into the stuffed grocery bag.
EXT. FORDHAM ROAD - OUTSIDE LOCAL VARIETY STORE - DAY
Vin holds the groceries, the wrapped red rose peeking out
from the bag, as he enters the VARIETY STORE.
VIN (V.O.)
On the way back, I stopped off at
the store where we got those
decorations.
INT. VARIETY STORE
Vin grabs a box off a rack that reads PREMIUM SANTA COSTUME.
VIN (V.O.)
Bought a cheapo Santa suit, and
headed back to Angela’s.
Genres:
["Drama","Romance"]
Ratings
Scene
47 -
A Christmas Surprise
INT. LOBBY OF ANGELA’S BUILDING
Stuffed grocery bag at his side, SANTA BEARD dangling around
his chin, Vin awkwardly slips into the SANTA COSTUME PANTS,
as an elderly SPANISH WOMAN and LITTLE DOG appear, the dog
instantly barking at Vin.
OLDER SPANISH WOMAN
Molly! Callate pequeño!
Molly keeps barking, as Vin puts on the Santa coat.
VIN
It’s a surprise - sorpresa.
She opens the front lobby door with a watchful eye on Vin.
VIN
Amiga. Girlfriend. Upstairs.
Vin points upstairs as the Spanish Woman and Molly leave.
VIN
Feliz Navidad?
The lobby door slams behind her. Vin slipa his coat over the
Santa suit, pops the Santa hat onto his head, grabs the
groceries, then climbs upstairs.
Reaching the apartment, Vin peeks in, sees Angela still
asleep, tiptoes in. Taking the wrapped rose from the grocery
bag, he hides it under his side of the couch. Resting the
groceries on the table, he plugs the tree in, removes his
coat, slides the Santa beard into position, then stands
before the glistening tree, arms spread wide.
VIN
Ho! Ho! Ho!...(she doesn’t budge)
...ahem - HO! HO! HO!
Angela stirs, slowly rolls over, then opens her eyes to see
Vin in his Kris Kringle glory, the decorated tree behind him,
as CHRISTMAS IN NEW YORK crescendos. She doesn’t see a cheapo
Santa suit, but a perfect Santa Claus - her Santa Claus!
VIN
Merry Christmas!
She gets to her feet, walks toward Vin’s outstretched arms.
Suddenly wobbling, she stumbles forward. He catches her.
VIN
Thought I told you to lay off the
ginger ale, young lady.
She presses her smiling, teary face against his Santa coat.
Genres:
["Drama","Romance","Holiday"]
Ratings
Scene
48 -
A Sweet Moment
INT. ANGELA’S BATHROOM - SOON AFTER
Vin and Angela are at the kitchen table, a barely touched
dinner before her. Santa coat draped over his chair, he still
wears the hat and pants, beard pulled down below his chin. He
hands her several pills.
ANGELA
Could you please bring me my glass,
Vincent? I need to wash these down.
VIN
Sure thing.
He heads toward the kitchen area, taking milk, a bottle of
seltzer, and a jar of U-Bet from the refrigerator. He begins
furiously mixing something on the counter in front of him.
ANGELA
Hmm, what are you doing over there?
VIN
Don’t be so impatient - here we go -
He turns, holding the jelly jar glass, now filled with a
foamy, mini egg cream that he brings to Angela.
VIN
Surprise!
ANGELA
An egg cream, you made me an egg
cream!
VIN
You never had a chance to enjoy
your egg cream both times we were
at Abe’s, so I figured -
He hands it to her.
ANGELA
It looks so good.
VIN
What are you waitin’ for, drink up.
She does. An egg cream mustache remains on her upper lip.
ANGELA
It’s delicious.
He kisses her upper lip.
VIN
Hmm, sure is. Now take your
medicine.
Taking her pills, she washes them down with the egg cream.
Genres:
["Drama","Romance"]
Ratings
Scene
49 -
A Christmas Reunion
INT. ANGELA’S BATHROOM - SOON AFTER
Vin finishes giving Angela a bath, dries her off, slips a
long nightgown over her head, scoops her up, then exits the
bathroom, crossing the apartment to the opened couch, where
he gently lays her down, pulling the covers up to her chin.
VIN
Comfy?
ANGELA
Very. Never thought I’d ever spend
a Christmas Eve with Santa Claus.
VIN
Which reminds me.
Putting the Santa beard back in place, he reaches beneath the
opened couch for the wrapped rose, and presents it to her.
VIN
A Christmas rose for a Christmas
Rose!
ANGELA
Why, thank you, Santa.
VIN
You’re welcome.
ANGELA
And has Santa done what he pinky
swore he’d do?
VIN
Have an appointment next week at
Montefiore with Doctor Rizzo.
ANGELA
Excellent - and now - now I have
something for you.
VIN
For me? When were you able to -
She reaches beneath the other side of the opened couch and
hands him a FOIL-COVERED OBJECT wrapped in a TWINE BOW.
ANGELA
Go ahead, open it.
VIN
Right now?
She nods. Untying the bow, he carefully peels away the foil.
ANGELA
Don’t fuss, it’s aluminum foil.
He reveals a yellowed copy of THE PROPHET.
VIN
Never got a chance to read this.
ANGELA
Well, now you will. Look inside.
Opening the book, he looks up, startled, then back down at
the page entitled THE PROPHET ON LOVE, bookmarked by the
PHOTO BOOTH STRIP he gave her, and a PETRIFIED RED ROSE,
which he carefully removes.
VIN
Is this the same -
ANGELA
Yes.
VIN
I can’t believe you kept this rose
all these years.
ANGELA
It’s all I had left of you after
you ran away.
He looks down at the page, then begins reading.
VIN
When love beckons to you,
follow him -
Though his ways are hard and steep.
ANGELA
You remembered.
He notices a faded inscription on the inside cover.
VIN
Hey, you got this from your mother!
ANGELA
On my thirteenth birthday, and now
it belongs to you.
VIN
No way, I can’t accept -
Her fingers touch his lips, just as CHURCH BELLS ring.
VIN
- it’s midnight. Merry Christmas,
baby!
ANGELA
Baby. I love the way that sounds.
VIN
Why not try it on for size?
ANGELA
Merry Christmas - baby.
They move closer to kiss. Vin suddenly pulls back.
ANGELA
What’s wrong?
A wide-eyed Vin points behind her toward the picture window.
VIN
Look outside, it’s snowing!
Rolling over, she sees huge snowflakes falling outside the
window, illuminated by the streetlights. An instrumental
version of CHRISTMAS IN NEW YORK plays.
ANGELA (O.S.)
Help me up, I want to see!
Vin helps her up. She bolts toward the window. Decades melt
away with each step as she stares at the falling snow, on her
tiptoes before the window, giggling and clapping her hands.
ANGELA
Can you believe this is happening?
He joins her, noticing the unblinking HO! beneath the SANTA
FACE. He taps it several times. It resumes blinking, just as
Angela struggles to pull up one of the side windows.
ANGELA
Help me open the window, I want to
feel the snow against my skin.
EXT. OUTSIDE ANGELA’S APARTMENT WINDOW
Vin opens the window. Angela emerges, her open mouth and
extended arms welcoming the snow. The bells stop. Angela
suddenly lets out out a lifetime of repressed, unexpressed
joy, loud enough for the entire neighborhood to hear.
ANGELA
Merry freakin’ Christmas, everyone!
Genres:
["Drama","Romance","Holiday"]
Ratings
Scene
50 -
A Miracle in the Snow
INT. ANGELA’S APARTMENT
An exuberant Angela comes back in, rubs her hands over Vin’s
face. Both cry tears of joy. She begins to shake and wobble.
VIN
Hey, let’s get you dried off,
you’re shiverin’.
ANGELA
I am feeling a little chilly.
He shuts the window, carries her back to the opened couch,
grabs a towel, dabs at her face, arms and chest, then gets
her comfortable beneath the covers.
VIN
There, that’s better.
ANGELA
I’m still cold, Vincent, please lie
next to me.
He climbs under the covers, and wraps his arms around her.
They begin to spoon, both staring up at the snow.
ANGELA
It’s a miracle. The snow. That
tree. Us. (She grabs his hand
tightly) My heart is full, Vincent.
VIN
Mine too, Angela. Mine too.
ANGELA
I love you, Vincent.
His arms wrap tightly around her.
VIN
And I love you, Angela.
Her eyes widen.
ANGELA
There’s one last thing I want you
to promise me you’ll do.
VIN
I’ll do anything you want, Angela,
just name it.
She holds up a curled pinky, which he links. She inhales
deeply, then delivers a message meant to last an eternity.
ANGELA
Live!
She smiles, then closes her eyes. Vin holds her tighter, as
Lou Christie sings TWO FACES HAVE I.
“Two faces have I, one to laugh, one to cry
Look at him laugh, look at him cry.”
PULL BACK from the couple lying on the opened couch, Angela
clutching the rose to her chest, Vin’s arms embracing her.
Genres:
["Romance","Drama"]
Ratings
Scene
51 -
A Toast to Love and New Beginnings
PRESENT - INT. ABE’S SODA SHOP
Frankie stares at Vin’s misty-eyed face.
VIN
The wrapped rose I gave her was
still in her hands.
Vin picks up the wrapped rose from the table.
VIN
This rose. They handed it to me as
they took her from the apartment.
I brought it to the cemetery, but
I couldn’t throw it into that hole,
Frankie, I just couldn’t. See, I
knew where it really belonged. On
the fourth step of that fifth floor
landin’ - the one leadin’ to the
roof, where Angela placed the first
rose I gave her.
Standing, Vin grabs his coat and slips it on.
VIN
So that’s where I’m headed now -
to the spot where Angela placed
that rose. Where we had that
moment, our very first - hey,
almost forgot. Kept my promise to
Angela and went back to the doc -
my doc - Doc Rizzo. Bottom line?
You were right. My letter turned
out to be a false alarm - Doc said
it was just a warning. (He removes
a medicine bottle from his coat)
One of these babies every mornin’
with my egg cream, I should be good
to go. You know, if you hadn’t
grabbed the stickball bat outta’ my
hand that day, I might never have
met Angela. Come to think of it,
if I hadn’t gotten that letter,
I wouldn’t have bumped into her at
the hospital, so what do you call
that, huh? Luck? Fate? Little of
both? Or maybe - just maybe -
Angela was right. Maybe it was a
miracle. Maybe all if it’s a
miracle. Crazy, huh?
FRANKIE
Yeah, crazy.
VIN
Frankie, all I ever wanted in my
life was one thing that was
beautiful, someone I could love,
who’d love me back - and I got it -
but I got it too young, lost it,
then got a second chance. So, sure,
it’s crazy how fast 25 tomorrows
can become yesterdays, and maybe it
seems like not much rime after all
those years apart, but you wanna’
know somethin’? They were the best
25 days Angela and I ever had, and
we had ‘em together’, so I say -
Vin grabs and raises his half-filled glass.
VIN
Here’s to Angela - salute!
Frankie stands and lifts his glass as well.
FRANKIE
Salute!
VIN
Time to go. Got an errand to run -
He extends the rose, raps The Prophet in his coat pocket.
VIN
- a book to read - then off to bed.
Gotta’ be back here by 5am.
FRANKIE
Why 5am?
VIN
Didn’t tell ya’, did I? You’re
lookin’ at the new manager of Abe’s
Soda Shop.
FRANKIE
Wow. Are you ready for that?
VIN
I will be. Abe’s stickin’ ’round
‘til I get the hang of things, then
he‘ll hang up his apron so he can
stay home and take care of Helen.
FRANKIE
Good. That’s the way it should be.
VIN
You have enough material for that
article of yours?
FRANKIE
Enough for ten, and you’ll be the
first to read it when it’s done.
VIN
You know where I’ll be. Can I have
Abe make you another egg cream?
FRANKIE
I’d better get back. Have to get
busy writing, and besides - I’ve
got some catching up of my own to
do at home. 25 tomorrows, right?
They hug. Thunder is heard. Rain begins to fall. Vin walks to
the Rhapsody, drops a quarter into the slot, makes his
selection, then looks back at Frankie with a contented smile.
VIN
Yo, Frankie, do me a favor, huh?
FRANKIE
Sure, Vin, anything.
VIN
Make it a love story.
RHAPSODY IN THE RAIN begins to play as Vin makes his way past
the tarps toward Abe, who’s behind the counter.
ABE
See you in the morning, boychik?
VIN
I’ll be here, Abe - extra early!
ABE
Then you’ll probably need these.
Abe tosses him a set of keys, which he catches.
ABE
Little key top lock, big key bottom
lock.
VIN
Got it.
He pockets the keys, pulls his coat collar up and around his
Santa hat, then pushes the rattling door open.
Genres:
["Drama","Romance"]
Ratings
Scene
52 -
A Bittersweet Farewell
EXT. OUTSIDE ABE’S
Vin leaves Abe’s, just as a familiar face shouts out from the
open passenger window of the BLACK CADDIE idling in front.
PAULIE
Hey, Santa, give ya’ a lift?
Vin goes to the open window.
VIN
That’s okay, Paulie, I -
PAULIE
(I) know, ya’ like walkin’.
VIN
Wish there was a way I could thank
you for everythin’ - all of this.
PAULIE
Don’t have to - it’s what Ann Marie
woulda’ wanted.
VIN
I believe that.
Paulie reaches over and grabs Vin’s arm.
PAULIE
Then believe this - they may be
gone, but they’re always with us.
Always.
VIN
Thanks, Paulie.
PAULIE
Now do what ya’ gotta’ do, then get
yer’ ass home and get some sleep.
Gotta’ big day tomorrow.
VIN
Tomorrow. (He sighs deeply, smiles
slightly.) Yeah. Will do, boss.
Vin steps back as Paulie pulls away, then walks down a slushy
Fordham Road toward the Aqueduct.
Genres:
["Drama","Romance"]
Ratings
Scene
53 -
A Rose for Angela
INT. VIN’S APARTMENT BUILDING
POV from roof fire door looking down at staircase. An
instrumental RHAPSODY IN THE RAIN and FOOTSTEPS echo
throughout the hallways. Thunder is heard, flashes of
lightning are seen through skylight above, lighting the
MARBLE STAIRS below. Footsteps draw nearer until Vin appears
at the bottom of the stairs, wrapped rose held tightly in his
hand against his chest. MUSIC LOWERS, as lightning
illuminates his climb to the fourth step, where he stops,
removes his Santa hat and extends the rose.
VIN
Yo, Angela, it’s me. You forgot
your rose, so I brought it to you.
He gently places the wrapped rose onto the marble step.
VIN
You won’t believe this. Paulie
bought Abe’s, and guess who’ll be
makin’ the egg creams from now on?
He removes The Prophet from his coat pocket, sits next to the
wrapped rose, opens The Prophet, turns to the page marked by
the dried rose and photo booth strip. CAMERA closes in on the
page Vin reads -
The Prophet On Love
- then pulls back from the page, from Vin, up through the
skylight, pulling farther back to reveal the silhouette of a
rain-filled Bronx skylight speckled with twinkling Christmas
lights, as the sound of WINDSHIELD WIPERS are heard, and the
familiar first chords of RHAPSODY IN THE RAIN begin playing.
Genres:
["Drama","Romance"]
Ratings
Scene
54 -
A Rose for a Rose
INT. - FRANKIE’S CAR DASHBOARD
CLOSE-UP of text popping up on Frankie’s mounted cell phone,
as Lou Christie continues singing over his CAR RADIO.
Pick up eggs.
INT. CONVENIENCE STORE
Frankie grabs a dozen eggs, then heads to the checkout line,
where he notices a DISPLAY STAND filled with SINGLE-WRAPPED
RED ROSES. Frankie plucks out the best of the bunch.
INT. FRANKIE’S HOUSE
MUSIC FADES as front door opens and Frankie walks in, plastic
bag in one hand, wrapped rose behind his back.
FRANKIE
I’m home.
CARMEN (O.S.)
Get the eggs?
FRANKIE
Yes, m’am.
CARMEN, a stunning Mexican woman in her 60s, enters, apron
on, already reaching for the bag.
CARMEN
Can’t make churros for the kids
without it. Don’t know what I was
thinking, I knew they were coming
over and I always make them churros
- hey, take that wet coat off,
I just waxed the -
He extends the wrapped rose.
CARMEN
What’s this?
FRANKIE
A rose for a rose.
CARMEN
Baby? What’s the occasion?
FRANKIE
You’re the occasion, Carmen -
te amo.
Startled for a moment, she finally accepts the rose.
CARMEN
I love you too, Francis.
Shooting a romantic look her way, he begins to draw her
close, but she lifts the bag between them.
CARMEN
Oh, no you don’t, there are churros
to be made and grandkids expecting
them as soon as they run through
that door.
She walks away, but looks back.
CARMEN
But I will give you a rain check.
After a seductive smile, she places the rose in her teeth,
then winks. Frankie returns his own seductive smile as Carmen
turns, then disappears into the kitchen.
Genres:
["Romance","Drama"]
Ratings
Scene
55 -
Nostalgic Reflections
INT. FRANKIE'S OFFICE
Frankie begins typing, a wide grin on face. He stops, removes
the Spaldeen from his jacket, inhales the scent of the ball,
places it alongside his baseball, then resumes typing, as the
voice of Lou Christie fills the air a-capella style...
“Rhapsody in the rain, rhapsody in the rain, rhapsody.”
TITLE CARD...
3 EGG CREAMS
A Rhapsody in the Rain
Lou Christie sings LOVE GOES ON FOREVER, continuing through -
CREDITS
POSTSCRIPT SCENE pops up alongside credits.
EXT. SIDEWALK OUTSIDE OF ABE’S SODA SHOP
Frankie, holding a small stack of MAGAZINES, approaches
Abe’s, grabs and opens the rattling front door.
Genres:
["Drama","Romance"]
Ratings
Scene
56 -
Do You Believe in Miracles?
INT. A REFURBISHED ABE’S SODA SHOP
CU of magazines dropped onto the soda shop counter, a section
of the FRONT COVER reading -
Do YOU Believe in Miracles?
3 EGG CREAMS
The story of Vin & Angela,
a Bronx Love Story for the Ages!
by Francis X. Kinsella
MONTAGE. Vin’s hand grabs the top magazine. Abe and Helen in
civilian clothes, sit at the table near the Rhapsody, as he
reads the article to a smiling Helen. Frankie, who’s been
looking over at Abe and Helen, turns his attention across the
counter toward Vin, who’s wearing a chocolate-stained white
apron, looking down as he reads the article. Camera tightens
to a CU of Vin’s face, a single tear falling from his eye.
He looks up at Frankie and the AUDIENCE, smiling.
VIN
Do you believe in Miracles?
FULL SCREEN oƒ CONTINUING CREDITS &
MUSIC