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.
Latest Draft 10/23/25
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
BLACK SCREEN - A CLICK, WHIR & WHITE LIGHT FROM A LAPTOP
TITLE: Dobbs Ferry, NY. Wednesday, Nov 27, 2019 - 6:13PM
Title dissolves. Typing across screen begins.
THE KING OF AQUEDUCT AVENUE
By Francis X. Kinsella
V.O. Typing continues.
FRANKIE (V.O.)
The Bronx. A lifetime ago. In the
seemingly borderless Magic Realm of
this 10-year-old boy, there was
only one King.
CUT TO:
Genres:
["Romantic Comedy","Drama"]
Ratings
Scene
2 -
Nostalgia Interrupted
INT. OFFICE - FRANKIE’S HOME - NIGHT
Laptop screen illuminates FRANKIE KINSELLA, tall, burly, mid
60s, ruddy-faced, wearing wire-rim glasses, white hair poking
out from beneath an ancient YANKEES CAP. His 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. All the
girls were crazy for him, we were
in awe.
Phone vibrates again as he reclines away from the keyboard,
plucks a scuffed BASEBALL from the desk, tosses it up and
down, then places it back on the desk. He 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!
He quickly finishes the paragraph.
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.
CUT TO:
BLACK SCREEN. ROLLING THUNDER. LIGHTNING FLASH ILLUMINATES...
Genres:
["Drama","Nostalgia"]
Ratings
Scene
3 -
Thanksgiving Reflections
EXT. SILHOUETTE OF BRONX SKYLINE - DAYBREAK THE FOLLOWING DAY
A sea of apartment buildings, handful of windows lit with
Christmas lights as it begins to rain.
TITLE: BRONX, NY. THE FOLLOWING DAY - THANKSGIVING MORNING
Roar and flash as camera approaches a top floor window of a
5-story tenement decorated with a large 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
Thunder 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 yellow PRINCESS PHONE to a
blinking ANSWERING MACHINE, pressing its PLAY MESSAGE button.
VOICE
Hey, Vin, it’s Frankie. 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.
CUT TO:
BATHROOM. A harsh light flickers on as VIN MORRONE, a weary
69, faces the bad news staring back at him in the mirror -
unruly, thinning, receding hair graying at the temples, puffy
eyes, a CORNICELLO (Italian Horn) dangling from a gold chain.
He grabs the belly creeping over his boxers -
VIN
Fat bastit’.
- awkwardly flipping the toilet seat up with his bare foot.
He looks down and waits - and waits. A trickle is heard.
VIN
Ahhhh.
CUT TO:
SHOWER, as Vin croaks along with Lou Christie.
CUT TO:
Vin sliding a new blade into a vintage GILLETTE razor.
CUT TO:
Vin slapping OLD SPICE onto his freshly shaven face.
CUT TO:
BEDROOM. Vin takes a starched white shirt from the dresser,
rips off the FONG’S LAUNDRY paper band, and slips it on.
CUT TO:
Vin slipping into a pair of just-ironed BLACK LEVIS, holding
his breath as he struggles to zip up and button them, before
stepping into spit-polished FLORSHEIMS.
CUT TO
Vin staring into the DRESSER MIRROR of a room frozen in time.
The MOVIE POSTERS of MARTY, FROM RUSSIA WITH LOVE, DR. NO and
BREATHLESS reflected behind him are partially blocked by
stacks of VHS TAPES bookending a mid-80’s VCR and TV. A STEAM
IRON and half-filled SPRAY BOTTLE rest on an opened IRONING
BOARD to the side. Squirting VITALIS into his hands, his
fingers run through the remaining hair, then a comb, posing
before the mirror one last time before nodding with an
“it’ll do” approval
CUT TO:
KITCHEN. Vin finishes his FROOT LOOPS, slurping the remaining
milk from the bowl. A drop lands on his shirt.
VIN
Shit!
Grabbing a paper napkin, he dabs furiously at the drop.
CUT TO:
BEDROOM. Vin reaches under his bed, pulls out a large BOX and
removes the cover. Among COMIC BOOKS, BASEBALL CARDS and
MOVIE TICKET STUBS is a scuffed PINK SPALDEEN BALL and faded,
yellowed BLACK & WHITE PHOTO BOOTH STRIP of 18-YEAR OLD VIN
with wildly tousled hair, sitting beside a stunning 17-YEAR-
OLD GIRL dressed in black, her long, wet hair surrounding
dark, piercing eyes, in various poses. Grabbing the ball and
photo strip, he replaces the cover, slides the box back under
the bed, gets back up, then notices the HO! below the SANTA
CLAUS FACE that isn’t working. He taps it several times with
his finger. It resumes blinking along with the others.
CUT TO:
HALLWAY. Vin removes a BLACK LEATHER COAT from a CLOSET
stuffed with his parent’s old coats, and slips it on.
CUT TO:
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 a mirror above the
table, then leaves.
CUT TO:
OUTSIDE HALLWAY. Vin descends the staircase, sound of the
jingling sack and pouring rain outside echo throughout the
building. Reaching the lobby, he pulls the coat over his
head, then pushes through the front door.
“...rhapsody in the rain, rhapsody in the rain...”
MUSIC FADES.
CUT TO:
Genres:
["Drama","Character Study"]
Ratings
Scene
4 -
Thanksgiving Reflections
EXT. COURTYARD OF VIN’S APARTMENT BUILDING
Vin races across the wet courtyard, down the steps, and onto
AQUEDUCT AVENUE, toward a waiting double-parked BLACK
CADILLAC 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 - come in
already, I’m gettin’ wet here.
CUT TO:
INT. PAULIE’S CADDIE SUV
Sliding into the passenger seat, Vin shuts the door to the
right-off-the-truck SUV with all the bells and whistles.
VIN
What’s with the new wheels, where’s
the ‘63?
PAULIE
Gettin’ touched up, some mutt keyed
her over the weekend.
VIN
You’re kiddin’.
PAULIE
From now on, I keep her in dry dock
- air her out on special occasions.
VIN
Freakin’ shame.
PAULIE
Just the way things are, oh, and
speakin’ of wheels, I got a car ya’
can have anytime ya’ want.
VIN
Thanks, Paulie, but -
PAULIE
Nothin’ fancy, but it runs, and
it’ll make ya’ life a lot easier,
yer’ not gettin’ any younger.
VIN
You know I don’t have a license.
PAULIE
I can put one in your hands by
tomorrow.
VIN
But I like walkin’, helps keeps the
weight down.
PAULIE
Could use some walkin’ myself.
(Pats his stomach) Look at it out
there, gonna’ be a shitload of wet
kids and pissed off parents at the
parade.
VIN
At least there’s no wind - they’ll
still get to see the balloons.
PAULIE
Better them than me. You eatin’ in?
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’ll be happy. (CELL PHONE rings.
He takes it out) Believe this? Gone
ten minutes...(puts phone to his
ear)...Yeah...of course I’ll
remember...a dozen...got it...ciao
...(he hangs up)...just like her
mother, God rest her soul (blesses
himself), 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 it was more.
PAULIE
Don’t sweat it, pays for somethin’.
VIN
Seems like every week there’s less.
PAULIE
What we don’t make in the jukes and
vending machines, we 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
I got eggheads handlin’ all that
shit, you just keep the ancient
machines runnin’ and the old timers
happy, capisce?
VIN
Capisce.
PAULIE
It would help if ya’ had a cell
phone.
VIN
You know how I hate those things.
Paulie grabs Vin’s chin.
PAULIE
No car, no cell phone, stubborn as
a mule, just like your old man.
VIN
That mule loved you, Paulie.
PAULIE
Closest I ever got to havin’ 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, okay?
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 always stoped there on
the way back from the movies -
(chokes up) - she’d get one of
those egg cream mustaches on her
upper lip, then make me kiss it
off. Cornball, right?
VIN
Nah Paulie, sweet.
PAULIE
God, I miss her.
VIN
We all do, Paulie.
PAULIE
She liked you.
VIN
She was always good to me.
PAULIE
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, got a lotta’
regrets, but more to be thankful
for. 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?
Besides, Ann Marie would want 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
You got it.
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 do 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 opens his envelope, and sees a thick wad of large bills.
Removing the other envelope marked Abe, he opens it, takes
the bills out of his envelope, puts them into Abe’s, re-
seals, then re-pockets it, balling up, and free-throwing his
empty envelope into a not so nearby trash can.
CUT TO:
Genres:
["Drama","Crime","Family"]
Ratings
Scene
5 -
Thanksgiving Reflections
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
CUT TO:
INT. ABE’S SODA SHOP
(Not only the prices have changed inside this 100-year old
relic of a shop since ABE ZIMMERMAN bought it in the early
60s, it’s a reflection of serious past Bronx decline that
hasn’t yet caught on to recent signs of resurgence. Folks
still buy their papers, candy or gum on the run at an outside
window, but not nearly as many, and it dwindles more and more
every year. An empty soda fountain counter, half-filled floor-
to-ceiling magazine rack, several tables and chairs toward
the back, all lead to a spotless Rock-Ola Rhapsody 160
jukebox, pretty much a glowing shrine, Lou Christie 45rpm
record sleeves in its display windows.)
Vin closes the rattling front door behind him.
VIN
Yo, Abe!
CUT TO:
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.
VIN
What the hell you doin’?
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
now almost headless egg cream, raises it to his lips, drinks.
Wiping off an egg cream mustache, he places the glass down,
sees the jukebox, shakes his head, then whips out a perfectly
ironed white handkerchief from the back pocket of his jeans.
VIN
Why do they always hafta’ put their
fingers on the glass? No respect.
He breathes on the display glass, 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 turns.
CUT TO:
Frankie entering, wearing the YANKEES CAP, a WET RAINCOAT,
and holding a MANILA ENVELOPE.
VIN (O.S.)
Yo, Frankie, back here!
Frankie walks toward a welcoming Vin, who stops short of his
dripping coat, offering an extended hand instead of a hug,
which Frankie firmly grabs.
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
last minute assignments, she’s
almost used to it - hey, thanks for
getting back to me, 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.
Placing the envelope on the table, Frankie takes off the
coat, drapes it over an empty 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 for some of us, once we
hit a certain age, we long to take
a trip back in time, back to the
old block, re-live childhood, kick
that can again. It’s a full circle
thing, Vin. Memories, nostalgia,
closure, internet’s loaded with it.
VIN
Wouldn’t know about that either.
FRANKIE
Been feeling it myself. Wondering
if maybe you can go home again,
recapture that innocence, even for
a day, a moment.
VIN
Or the length of an article?
FRANKIE
Exactly - and I figured, who better
to write that piece 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, Vin?
Taking another sip of egg cream, Vin wipes his mouth, then
removes the FOLDED LETTER from inside his coat, unfolding it.
VIN
Wasn’t gonna’, but then I got this,
mixed in with Tuesday’s junk mail.
He slides it across the table toward Frankie.
FRANKIE
What’s this?
VIN
Your rabbit.
FRANKIE
My what?
VIN
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, but did I do anythin’ about
it? Not me. Waited a month after I
started peein’ blood to see a doc.
Helluva human interest angle, am I
right?
FRANKIE
But you don’t know - -
VIN
Somethin’ like this gets a guy
thinkin’, lookin’ back. No point
lookin’ too far ahead.
FRANKIE
You’re jumping the gun here, 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
instead of me.
FRANKIE
And how many times did you save me
from getting my ass kicked before
that? You were my hero, Vin, 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 Flanagan 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
I always thought you’d be the next
Whitey Ford - that 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 - and no
pity party, got it?
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
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, then 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
gone a little oobotz - actually,
more than a little - you know, 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 deal with - and then there’s the
freakin’ vultures.
FRANKIE
What vultures?
VIN
The ones always swoopin’ down with
offers to buy the place.
He motions Frankie to come closer.
VIN
For example, check out the two mugs
who just came in.
Frankie looks back over his shoulder.
FRANKIE
That’s a dark duo, who are they?
VIN
Russkys. Already been here twice
this week - tryin’ to get Abe to
sell.
FRANKIE
Hey, if the price is right -
VIN
But it never is. They all know the
neighborhood’s startin’ to bounce
back, but they also know Abe’s on
the balls of his ass with a sick
wife, so they offer him 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, Frankie, every inch it,
and 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
Hopefully plenty, 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 with a sigh.
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 the 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
We didn’t exactly meet. I was
walkin’ through Poe Park one night
after my last stop.
Genres:
["Drama","Slice of Life"]
Ratings
Scene
6 -
Serendipitous Encounters
TEEN FLASHBACK (B/W) - EXT. POE PARK BANDSHELL - NIGHT - 1968
18-YEAR-OLD VIN walks past the POE PARK BANDSHELL, where 17-
YEAR-OLD ANGELA and a group of her friends are hanging out.
Angela, long hair flowing over a blousy shirt and wearing
tight jeans, sits on the white bandshell floor, leaning
against one of its columns, as Vin walks by. She’s stunning.
VIN (V.O.)
Bunch of kids were hangin’ out at
the bandshell, makin’ the usual
racket.
He looks up, immediately seeing Angela.
VIN (V.O.)
And then I saw her.
She looks up, notices him staring at her as he passes by,
their eyes instantly locking in on each other.
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?
CUT TO:
PRESENT - INT. SODA SHOP
Vin sitting across from Frankie.
VIN
You kiddin’? I turned 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 over at the A&P.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
7 -
Unexpected Encounters in A&P
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, dressed in white shirt, black jeans and leather coat, at
the end of a checkout line, full basket in hand, unaware that
ANGELA is three customers ahead. Reaching CATHY, the cashier,
she places her groceries onto the counter.
CATHY
Hey, Angela!
ANGELA
Hi, Cathy.
Vin’s shocked face pops into view from the back of the line.
CATHY
Going to Tommy’s tomorrow night?
ANGELA
Not sure yet.
CATHY
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.
CATHY
That stinks. Three-thirteen.
Angela hands a five to Cathy, who returns the change. Vin
drops his basket and bolts from the line.
CATHY
Hope to see you tomorrow night.
ANGELA
Maybe. Bye.
Angela leaves the line and heads toward the exit.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
8 -
A Sweet 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.
ANGELA
It’s for my mom, she hates when it
gets soupy.
They continue walking.
ANGELA
Well?
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.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
9 -
A Rose for a Rose
EXT. THE AQUEDUCT LOOKING TOWARD FORDHAM ROAD - NEXT DAY.
Vin dances down the Aqueduct in the rain, same coat covering
his head and white shirt, only 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...”
CUT TO:
Vin passing a FLORIST with bouquets outside, beneath a
dripping awning. He backtracks to a bucket of ROSES, grabs
the largest one, then books out of frame, as the STORE OWNER
emerges, shaking his fist.
CUT TO:
Vin turning onto Valentine Avenue. Reaching Angela’s
building, he takes a deep breath, yanks the front door open.
MUSIC FADES.
CUT TO:
INT. APARTMENT BUILDING FOYER
Vin approaches the buzzer directory beside the locked lobby
door, scrolls down to a pen-scrawled BERNSTEIN, presses it.
Angela’s whispering voice crackles over the speaker.
ANGELA
Be right down! Wait in the lobby.
Buzzer sounds. Vin opens the door and enters the lobby, which
has a floor-to-ceiling mirror, bench at the center, staircase
either side. Placing the rose on the bench, he checks his
look in the mirror, pushes back his wet hair, picks the rose
back up, then suddenly winces.
VIN
Shit!
Sucking blood from a thorn-pricked finger, he hears the echo
of a slamming door, then footsteps racing down the stairs to
the right. He frantically scrapes any remaining thorns off
the rose as the steps get louder with every flight, finally
stopping. He looks up. His mouth drops.
ANGELA (O.S.)
Hi.
CUT TO:
Angela is a vision. Standing at the top of the stairs, she’s
naturally beautiful, with long, straight hair draping over a
black wool coat covering skin-tight black jeans that lead
down to black boots. She holds a ratty black umbrella.
ANGELA
You okay?
CUT TO:
Vin nervously extending the rose.
VIN
A rose for a Rose.
CUT TO:
Angela descending the stairs and accepting 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.
ANGELA
It’s also very romantic.
Their lips almost touch when BENNY’s voice suddenly echoes
throughout the building from above.
BENNY (O.S.)
Angela!
Frame UNFREEZES. Angela 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 your
ass back up here! Angela!
VIN
He shouldn’t talk to you like that.
ANGELA
We should go now, Vincent, please!
Rose held firmly against her chest, she hands him the
umbrella. Wrapping an arm tightly around his, they head to
the lobby door, push it open, then jump into the rain.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
10 -
Tensions in the Bernstein Apartment
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, revealing Vin and Angela in
the street below, running toward Fordham Road.
BENNY (O.S.)
Son of a -
CUT TO:
CU of Benny’s shoulder as Angela’s MOTHER comes up behind
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.
CUT TO:
Genres:
["Drama"]
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 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’?
CUT TO:
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.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
12 -
Playful Moments in the Photo Booth
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.
ANGELA
So?
She enters and sits. Doing the same, he draws the curtain.
CUT TO:
INT. PHOTO BOOTH
Vin sits beside Angela as she extends a hand.
ANGELA
Got any quarters?
He takes two out, drops them in her hand. She drops them into
the slot, then immediately messes his hair.
VIN
Hey!
Before he can reach his hair, the booth camera flashes,
capturing one crazy pose after another. The machine whirs.
ANGELA
Let’s go.
She pushes Vin out of the booth and follows.
CUT TO:
OUTSIDE PHOTO BOOTH
They wait for the photo strip to develop. A bell rings.
ANGELA
It’s ready!
CUT TO:
PHOTO STRIP sliding 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
Look at my hair, 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.
CUT TO:
EXT. FORDHAM AND UNIVERSITY
Vin and Angela run toward Abe’s.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
13 -
A Dance in the Rain
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!
CUT TO:
Abe, in his 30s, a fuller head of wilder, wiry brown hair,
pops up from behind the counter, the arm with the tattooed
number holds 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?
CUT TO:
Vin and Angela on one side of the counter, Abe on the other.
VIN
Abe, this is Angela Bernstein -
Angela, this is Abe, Abe Zimmerman.
ANGELA
A pleasure meeting you, Mr.
Zimmerman.
First wiping his hands on his apron, he extends a hand, which
she accepts.
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 here. 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 a more open
space, then begins a flawless ballet routine. The shop
lighting suddenly darkens, a spotlight magically remaining on
Angela, now in COLOR, as music transforms into Tchaikovsky’s
ROMEO AND JULIET ballet. An awestruck Vin watches as Angela’s
dance ends, the music morphs back to RHAPSODY IN THE RAIN,
the scene returns to BLACK & WHITE, and the shop’s normal
lighting returns. There’s the sound of instant applause.
CUT TO:
An applauding Abe, who’s just delivered their egg creams.
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. Vin remains stunned.
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 missin’ the comin’
attractions.
Slipping on her coat, he turns and walks toward the front,
passing the counter. First taking a quick sip of her egg
cream, then grabbing the rose, Angela follows.
VIN
Later, Abe.
ABE
Nice meeting you, Angela, you can
dance in my establishment any time.
ANGELA
Thank you, Abe - Vincent, wait!
CUT TO:
Genres:
["Romance","Nostalgia","Drama"]
Ratings
Scene
14 -
Frustration on Fordham Road
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.
ABE
You got it.
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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
15 -
A Rainy Movie Date
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.
CUT TO:
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 begins climbing. After a curious pause, she follows.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
16 -
A Rainy Night at the Movies
INT. LOGE - LOEWS PARADISE
Vin and Angela 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.
CUT TO:
Vin booking down the steps toward the shortest long line.
CUT TO:
Vin reaching the CONCESSION LADY.
VIN
Sno-Caps and a coke - no ice.
CUT TO:
Vin charging 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 seriously munches.
CUT TO:
MOVIE SCREEN as James Bond fights off the talon-tipped shoes
of arch villain Rosa Klebb.
CUT BACK TO:
A totally engrossed Angela, and pre-occupied Vin.
ANGELA
I think we missed a lot.
VIN
Fill you in later.
She extends the candy box.
ANGELA
Want some? I’m full.
VIN
You just started.
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.
CUT TO:
CU of Vin’s 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.
VIN (O.S.)
Shit! Freakin’ film broke.
CUT TO:
Vin and Angela among the hissing and booing couples.
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.
CUT TO:
Vin and Angela 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.
CUT TO:
EXT. AQUEDUCT AVENUE
Vin and Angela run down a rainy Aqueduct Avenue, his coat
pulled up over their heads.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
17 -
Awkward Encounters
INT. STAIRCASE OF VIN’S APARTMENT BUILDING
Vin and Angela hurriedly climb flight after flight of stairs.
CUT TO:
INT. THIRD FLOOR OF VIN’S APARTMENT BUILDING
Vin and Angela at his APARTMENT DOOR. Taking a deep breath,
he puts the key in and opens the door.
CUT TO:
INT. VIN’S APARTMENT - HALLWAY
Vin 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.
CUT TO:
INT. VIN’S APARTMENT LIVING ROOM
LUCIA MORRONE, Vin’s mother, appears at the living room
entrance. A woman looking older and wearier than her 40s,
Lucia’s already greying hair is tied in a bun, arms folded
across her chest. The ratty housedress she wears and rag she
holds give away the housework that’s been rudely interrupted
as 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.
CU of an aggravated Vin leaning toward Lucia to give her the
usual peck on the cheek, whispering in her ear instead.
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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
18 -
Chasing Regret
INT. HALLWAY OUTSIDE VIN’S APARTMENT
The echo of the slammed door still ringing throughout the
hallway, Angela looks off, upset, as 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 back, she takes off down the stairs. He follows.
VIN
Angela, wait up! Angela!
CUT TO:
INT. STAIRCASE OF VIN’S APARTMENT BUILDING
Angela descends flight after flight, Vin in hot pursuit.
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
19 -
Cultural Connections
INT. LOBBY OF VIN’S APARTMENT BUILDING
Angela sits on a lobby radiator beside the staircase, resting
the rose on her lap, as Vin appears and 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. (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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
20 -
The Cost of Superstition
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.
CUT TO:
EXT. - CROSS BRONX EXPRESSWAY EXIT RAMP
Gus slowly staggers up the exit ramp. Suddenly hearing
screeching tires, he looks up in wide-eyed terror.
ANGELA
Then how did he -
VIN
(He) got hit by a pickle truck.
ANGELA
A pickup truck?
CUT TO:
Genres:
["Drama","Tragedy"]
Ratings
Scene
21 -
Fleeting Intimacy
EXT. - CROSS BRONX EXPRESSWAY EXIT RAMP
A MOISHE’S PICKLES truck leans over the divider between
expressway and exit ramp, Gus’ legs twitching below it.
VIN
No, a pic-kle truck. Snap! It was
over just like that. Never knew
what hit him.
CUT BACK TO:
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, kinda’ like
an uncle. 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
- like I said, he’s 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.
CUT TO:
Vin climbing toward second floor and Angela’s echoing steps.
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!
CUT TO:
Angela looking over the railing down at the puzzled Vin,
shooshing him with a finger over her lips before vanishing.
CUT TO:
Vin reaching the fifth floor, then the next landing. Taking
another turn, he looks up and suddenly stops, stunned.
CUT TO:
A dingy bulb above creates an angelic halo over Angela, who
looks down at him from the fourth step between the landing
and the STEEL FIRE DOOR behind her. He notices the ominous,
rusted metal sign reading DANGER - DO NOT OPEN bolted to it.
CUT TO:
Vin, breathless and confused.
VIN
Okay, where to now?
CUT TO:
Angela gently placing 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?
CUT TO:
Still in shock, Vin stares up at Angela.
VIN
Scared?
He climbs to Angela, stopping at the step 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, he looks down, then stops.
CUT TO:
Vin’s POV of the rose on the marble step beside them, glowing
within its own halo created by the overhead bulb.
CUT TO:
ECU of Vin’s sweaty face looking down at the rose, as
Angela’s mouth presses up against his ear, whispering.
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.
CUT TO:
WIDER SHOT of Vin and Angela on the staircase as he yanks his
hand out, then pushes Angela back onto the step.
ANGELA
What’s wrong?
Grabbing his coat, he takes off down the stairs.
ANGELA (O.S.)
Where are you going?
CUT TO:
Vin descending the staircase.
ANGELA (O.S.)
Vincent, please don’t leave!
CUT TO:
Vin descending a lower staircase, even faster.
ANGELA (O.S.)
Don’t leave me here, Vincent,
please come back! Vincent!
CUT TO:
Vin pushing the lobby door open, jumping into the rain, as
SHE SOLD ME MAGIC begins to play in the background.
“Maybe, so it’s maybe, maybe, maybe I love you
I think I’m burning for the love life...”
VIN (V.O.)
I hit the Aqueduct and ran as fast
as I could -
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
22 -
Vin's Regretful Run
EXT. COURTYARD
Vin races across the courtyard onto Aqueduct Avenue
“She sold me magic, she sold me magic,
And all of the little things I needed every day...”
CUT TO:
Vin running through the puddles along the Aqueduct toward
Fordham Road, as MUSIC continues throughout the next montage.
CUT TO:
EXT. MONTAGE - VIN’S ODYSSEY UP FORDHAM ROAD - DAY TO NIGHT
Reaching Fordham Road, Vin runs past familiar 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
thinkin’ how good Angela made me
feel inside, how for the first time
in my miserable life I didn’t feel
(MORE)
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?
Vin reaches the Pelham Parkway, stopping 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?
CUT TO:
PRESENT - INT. SODA SHOP
Vin sitting 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 some loser slowin’ her
down, takin’ her on detours she
might never come back from, and
what - wind up like my mother?
CUT BACK TO:
Genres:
["Drama","Romance"]
Ratings
Scene
23 -
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 stops before the Grotto at St. Lucy’s. 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, as devout
WORSHIPPERS, most with umbrellas, mostly Hispanic, all of
them holding empty containers, wait in line before a life-
sized Madonna set into the stone above them.
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.
He pops up and leaves the grotto.
VIN (V.O.)
But I got back up and headed to the
nearest phone booth I could find -
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
24 -
Fractured Resolve
EXT. PHONE BOOTH ON CORNER OF MACE AVE. & WILLIAMSBRIDGE RD.
He enters a 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, then notices a black Lincoln
Continental passing by.
CUT TO:
VIN’S FANTASY
CU of a meaty hand with that INITIAL “B” PINKY RING gripping
a PISTOL emerges from the Lincoln’s opening back window, just
as the car screeches to a stop, the back door swinging open.
Benny, seen only from the chest down, climbs out of the car,
stomps toward Vin in the phone booth, yanks the door open,
grabs a rose out of his hand, stuffs it into the barrel of
his gun, and points it toward the trembling face of teenage
Vin, cornered inside the phone booth.
CUT BACK TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
25 -
Running from Regret
TEENAGE FLASHBACK (B/W) EXT. MONTAGE - VIN’S ODYSSEY - NIGHT
Snapping out of his fantasy, Vin, still inside the phone
booth as the Lincoln fades from view, wipes the sweat from
his forehead, opens and exits the booth, heading back toward
Pelham Parkway.
VIN (V.O.)
That was it! 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, but where else
was I gonna’ go but back home?
He begins walking back, as I CAN’T STOP THE RAIN continues,
now in the Italian NON SO PERCHE.
CUT TO:
Vin jumping on a BUS at Eastchester Road.
VIN (V.O.)
Couldn’t even feel my feet, so
I broke down and took a number 12
bus.
CUT TO:
Vin’s POV from bus on Fordham Road, the old DOLLAR SAVINGS
BANK CLOCK in the distance, hands of its dial at 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!
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
26 -
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
the both of ya’s 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?
CUT TO:
Genres:
["Drama","Crime"]
Ratings
Scene
27 -
A Dangerous Infatuation
FLASHBACK - EXT. FORDHAM ROAD - A HOT DAY IN LATE AUGUST
Teenage Vin, his FRIENDS, and a crowd of MEN overlook a BOCCE
COURT near the Aqueduct, on which an intense game is being
played by OLD ITALIAN MEN, all of whom are them very
boisterous and animated. Suddenly, ANN MARIE RUGGIERO, a tall
woman in her mid 20s, suddenly struts by. Ann Marie is Sophia
Loren and Gina Lollobrigida covered by a flimsy, diaphanous
sundress, leaving zero to the imagination of the dumbstruck,
slack-jawed, and stammering males of all ages she passes. One
of the Old Men drops the bocce ball he holds onto his foot.
VIN (O.S.)
Holy shit!
CUT BACK TO:
INT. WHITE CASTLE
Paulie sits across from a stunned Vin.
PAULIE
That’s right. 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
Look, I’m sorry about Ann Marie,
but Angela’s not just some little
girl.
PAULIE
No shit! She’s 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.
CUT TO:
EXT. VIN’S BUILDING ON AQUEDUCT AVENUE
Vin exits Paulie’s Caddie, and watches it screech away.
CUT BACK TO:
Genres:
["Drama","Crime"]
Ratings
Scene
28 -
Longing and Loss at Abe's Soda Shop
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.
(MORE)
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 -
and it only got stronger.
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 -
CUT TO:
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?
CUT TO:
Angela walking 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.
CUT BACK TO:
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 -
CUT TO:
FLASHBACK 1968 (B/W) EXT. GRAND CONCOURSE - DAY
CU of a KRUM’S CHOCOLATEERS sign. PAN DOWN to an entrance on
a busy noontime GRAND CONCOURSE sidewalk, just as BENNY, seen
only from the neck down, exits store, begins wading through
PEDESTRIANS toward his Lincoln, when a SHADOW passes between
him and the CAMERA. THREE GUNSHOTS ring out, screams follow.
CUT TO:
SIDEWALK. CU of the INITIAL “B” PINKY RING on Benny’s bloody
hand still gripping the GIFT BOX of CHOCOLATES, the attached
GIFT CARD reading “To Sherry” also stained with his blood.
CUT BACK TO:
Genres:
["Drama","Romance","Crime"]
Ratings
Scene
29 -
Second Chances at Abe's
PRESENT - INT. ABE’S SODA SHOP
Frankie stares intently at Vin.
FRANKIE
Even made it to my favorite part of
the Daily News - the Crime Story -
buried in the middle of the main
section. Had it all - mob, murder,
sex, right down to the blood-
stained gift card made out to his
Goomar, which was still attached to
the box of Barton’s bonbons they
had to pry out of his dead fingers.
VIN
Three slugs through the heart.
FRANKIE
And they never found out who did
it.
VIN
Well, after Benny’s funeral, I’d
hang around Valentine Avenue once
I finished my route, hopin’ to bump
into Angela, but I never did - so
now, here I am, fifty years later,
and 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
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 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 twice your
size, and so rotten they’d make you
piss your fancy pants, 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, things have
changed, 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 into...
CUT TO
TITLE: SECOND EGG CREAM
CUT TO:
INT: ABE’S SODA SHOP
“Lightning’s striking again and again and again...”
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. MUSIC FADES.
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 Helen, who’s still staring out
the window.
ABE
Helen!
Helen snaps into the moment, turning toward Abe.
HELEN
Yes?
ABE
This is Frankie. Who I was telling
you about? Vincent’s friend.
The hand that accepts Frankie’s has a noticeable shake, along
with a tattooed number on the creped forearm above it.
HELEN
Oh, yes, I remember that face.
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 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.
CUT TO:
Frankie approaching Vin, who’s standing over the Rhapsody.
FRANKIE
Hey, Vin!
Vin spins toward Frankie, a navy blue sports jacket covering
his usual white shirt, and new black dress slacks. Black
leather coat is draped over his usual chair, which rests
before a table with a half finished egg cream on it.
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 the 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 motions Frankie to come real close.
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 takes out his notebook and pen just 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 back to my
apartment -
CUT TO:
Genres:
["Drama","Crime"]
Ratings
Scene
30 -
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.
CUT TO:
CLOSE-UP of Vin, covers up to his chin, eyes 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, as morning light
moves across the ceiling, turning into bright afternoon
light, then sunlight’s last flicker fades into evening.
Getting up, Vin pops a VIDEO into an ancient VCR, then heads
back under the covers.
CUT TO:
CU of Vin’s wide-eyed face illuminated by the TV screen.
CUT TO:
The opening credits of MARTY on the TV screen, as the music
from the film blends with the sounds of passing cars and the
occasional subway.
CUT BACK TO:
Vin popping out of bed, turning off the movie, then once
again retreating beneath the covers.
CUT TO:
Vin’s bloodshot eyes.
CUT TO:
Vin’s POV of his bedroom ceiling, as the sounds and lights of
passing cars and the occasional subway are seen and heard.
The remaining silence is broken by WHAT HAPPENED TO THE NIGHT
coming from the local pool hall. At first a faint echo, the
music gradually fills the room,. Vin’s eyes flutter, then
finally close, as he 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...
DISSOLVE TO:
Genres:
["Drama","Romance"]
Ratings
Scene
31 -
Trapped in the Rain
DREAM SEQUENCE (B/W) - EXT. BRONX STREET - DAY
CLOSE-UP on the REAR WINDOW of a TAXI in a downpour,
terrified 9-YEAR OLD VIN’s face and hands pressed against the
glass he’s trapped behind.
CUT TO:
INT. TAXI - REAR SEAT
9-Year-Old Vin looking out the taxi window at a screaming
8-YEAR-OLD ANGELA, who’s looking in from the outside.
8-YEAR-OLD ANGELA
Let me in! Let me in!
As she pounds on the glass, an out-of-focus SHAPE suddenly
draws closer behind her. A HUGE HAND suddenly grabs 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, as echoing
music continues.
CUT TO:
Genres:
["Drama","Romance","Crime"]
Ratings
Scene
32 -
Nightmare's Grip
INT. TAXI - FRONT SEAT
From DRIVER’S SIDE of GLASS PARTITION looking back toward
9-Year-Old Vin, who turns away from the window, pounds on the
partition, and begins screaming.
9-YEAR OLD VIN
Stop! Go back! Go back!
The taxi begins rocking violently.
CUT TO:
9-Year-Old Vin’s POV through the partition. As windshield
wipers lose the battle against the driving rain, there is NO
DRIVER at the spinning wheel as the music coming over the now
glowing AM CAR RADIO begins skipping 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.
CUT TO:
9-Year-Old Vin’s spinning face emitting a PRIMAL SCREAM.
9-YEAR OLD VIN
Ahhhhh -
CUT BACK TO:
ADULT FLASHBACK - INT. VIN’S BEDROOM - DAWN
Music stops, as a sweat-soaked, screaming Vin pops into frame
and out of his NIGHTMARE, still dressed in street clothes,
9-year-old dream scream morphing into his adult voice. The
sound of garbage trucks cuts through the morning quiet 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.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
33 -
Dawn of Resignation
EXT. AQUEDUCT AVENUE - DAWN
An exhausted Vin staggering down Aqueduct Avenue.
VIN (V.O.)
Hit 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
doctor 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 I made my way over
to Montefiore.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
34 -
A Rose in the Waiting Room
INT. MONTEFIORE EINSTEIN HOSPITAL CANCER CLINIC
Vin enters the HOSPITAL, stops at an information desk.
A GUARD points down a hallway, down which Vin meanders,
reaching a FRONT DESK, where a RECEPTIONIST guards over
the packed WAITING ROOM behind her.
VIN
Yo, I’m Vin Morrone, I got an
appointment.
Not even looking up, she hands him a clipboard. He stares at
it, wide-eyed.
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 returns the clipboard.
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?
CUT TO:
CU of Vin’s face, his eyes widening and mouth dropping.
NURSE (O.S.)
Is Miss Angela Rose Bernstein here?
He shoots up from the chair.
CUT TO:
Vin’s POV scanning 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,
and she’s staring, mouth open, directly at him.
NURSE (O.S.)
Miss Bernstein, is that you?
The Doctor can see you now. Miss
Bernstein?
CUT TO:
Vin, suddenly weaving through the crowded waiting room,
frantically fixing his hair, tucking in his shirt, adjusting
his collar, blowing into his cupped hand for a breath check,
soon stands a foot away from Angela, her 68-year-old piercing
eyes still locked directly on him. Pale, thinner, and
shorter, her natural beauty has only seasoned with age.
They both stand frozen, staring into each other’s eyes.
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
You’ll be here when I come out?
VIN
If you want me to be here, I’ll be
here.
ANGELA
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 takes her arm, guiding her toward
the waiting Nurse.
NURSE
You can let go, I’ve got her.
He does. The Nurse takes Angela’s arm, and they slowly walk
toward the double doors. A frightened Angela looks back.
CUT TO:
A smiling, reassuring Vin.
VIN
Don’t worry, I’ll be here.
CUT TO:
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...”
CUT TO:
Vin, noticing 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!
CUT TO:
Vin watching the Nurse and MARGIE RYAN pass through the
double doors. Tightly holding the rose, Vin resumes his
vigil. The doors suddenly blow open and Angela, wearing a
blue hospital gown, marches toward him. He extends the droopy
rose toward her. She pushes it back up against his chest.
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.
CUT BACK TO:
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
Nervous Anticipation
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?
CUT TO:
Vin’s POV looking through shop window as a bundled up Angela
crosses University Avenue, approaching Abe’s.
VIN (O.S.)
She’s early!
CUT BACK TO:
A panicked Vin standing 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 begins to leave,
looking back with his crossed fingers extended.
VIN
Go!
Frankie 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.
CUT TO:
TITLE: THIRD EGG CREAM - 4 weeks later - 8am
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
36 -
Winter Reflections at Abe's Soda Shop
EXT. FORDHAM ROAD & UNIVERSITY AVENUE
Traffic navigates mounds of melting, slushy snow as Frankie,
in YANKEES CAP and PEA COAT, crosses the street toward Abe’s.
Reaching the door, he pulls it open.
CUT TO:
INT. ABE’S SODA SHOP
Front door rattles open as Frankie enters a shop in obvious
transition. Signs, pictures, and racks have been taken down.
Ceiling and walls are being re-painted. Front window and main
counters are still open for business, but most of the tables
and chairs have been pushed to one corner and tarped over,
except for a single table at the far end on which a SINGLE
WRAPPED ROSE rests, two chairs around it. Vin is leaning over
the silent Rhapsody, hands gripping either side, the SANTA
CAP he wears draping over the back of his leather coat.
A subdued Abe is making two egg creams behind the counter.
ABE
There you are, Red - right on time.
FRANKIE
What’s going on here, Abe?
ABE
A lot’s happened since you were
last here.
FRANKIE
I can see that.
ABE
For starters, I sold my store.
FRANKIE
To those two creeps?
ABE
What, I look like a putz to you?
I sold to Paulie Perillo.
FRANKIE
You’re kidding?
ABE
Not only did Paulie give me a fair
price, he’s taking care of Helen’s
medical bills and home care. I can
stay home and be with her now. He’s
become a real mensch, that Paulie.
FRANKIE
I’m happy for you and Helen.
ABE
Thanks, 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 works his way over the 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.
VIN
Cop a squat, Abe’s already makin’
our egg creams.
FRANKIE
He told me.
Frankie removes his cap and coat, then sits.
FRANKIE
He also told me he sold the shop to
Paulie.
VIN
How ‘about that, huh? Gonna’ be
like brand new. Oh, and no more
Jukebox Jimmy for me, Paulie wants
me to take over.
FRANKIE
Wow, are you ready for that?
VIN
I will be. Abe’ll stick around ‘til
I get the swing of things, then he
can hang up his apron and stay home
with Helen.
FRANKIE
This is exactly what you wanted,
Vin, you’ve got to be crazy happy.
VIN
I am, Frankie, I am.
FRANKIE
Then what’s with 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 the letter. Remember that
Saturday mornin’ after
Thanksgiving?
FRANKIE
Remember? I’ve only been waiting a
month for the payoff, and I’ve got
a pissed off editor bugging me for
an unfinished article.
VIN
Well, just after you left -
CUT TO:
ADULT FLASHBACK - ABE’S SODA SHOP - DAY
From Vin’s POV as Angela races toward his table, as HAVE I
SINNED? finishes playing in the background.
“...have I sinned? Have I sinned? Oh, have I sinned?”
CUT TO:
VIN (V.O.)
Angela storms in, all piss and
vinegar.
Vin, in his navy blue jacket and slacks, standing before the
Rhapsody, leather coat draped over a chair just as Angela, in
her black wool 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 face.
VIN
This is Angela, Abe.
ABE
Ahhh, the dancer. You’re like a
celebrity around here.
ANGELA
Is that so?
ABE
From that one and only 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, disappointed, 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 you-know-
what 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? And 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 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?
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
37 -
Classroom Confrontation
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.
CUT TO:
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?
CUT TO:
An embarrassed and angry 9-year-old Vin.
9-YEAR-OLD VIN
Yes, sister.
She walks away.
9-YEAR-OLD VIN
(Under his breath)
Go to hell.
CUT TO:
Sr. Mary Dolorita spinning 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!
CUT TO:
Genres:
["Drama"]
Ratings
Scene
38 -
Confrontation in the Principal's Office
INT. PRINCIPAL’S OUTER OFFICE
CLOSE-UP of SR. MARGARET IMMACULATA - PRINCIPAL stenciled on
an old wooden door, panning over to 9-year-old Vin sitting on
a bench, head down, hand cupping his aching left ear. A door
creaks opens. Loud voices are heard coming down the hallway.
CUT TO:
INT. SCHOOL HALLWAY
Gus storms down the hall, Lucia trailing. Reaching the bench,
he shoves a finger up to his son’s face.
GUS
You’re dead meat!
Gus bursts through the Principal’s office door, Lucia right
behind. Door slams shut behind them. Muted screams are heard.
The door re-opens. Out storms Gus, then Lucia, grabbing his
son’s arm.
GUS
Get your ass up, we’re goin’ to
Robert Hall to get you some white
goddamn shirts.
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 as Lucia follows.
CUT TO:
EXT. STREET - IN FRONT OF SCHOOL ENTRANCE
Gus opens the front passenger door of his cab, flings 9-year-
old Vin inside, slams the door shut, and walks around to the
driver’s side, as Lucia opens the back door and climbs in.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
39 -
Traffic Tensions
EXT. - GUS MORRONE’S TAXI
POV through front windshield at 9-year-old Vin rides shotgun,
and Lucia in the back seat. Gus slides into the driver’s
seat, slamming the door shut before turning on the radio.
DooWop comes out of the tinny speaker.
GUS
What the...(shuts the radio, slaps
the back of Vin’s head)...how many
freakin’ times I gotta’ tell ya’
not to change my station?
LUCIA
Gus, don’t get yourself worked up.
GUS
Don’t tell me what to do. And you!
My cab! My radio! My station! Ya’
got that, dummy?
9-YEAR-OLD VIN
Yes, sir.
Gus steps on the gas. The car screeches away.
CUT TO:
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 -
CUT BACK TO:
Genres:
["Drama","Coming-of-age","Family"]
Ratings
Scene
40 -
Nostalgia and Shadows
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.
Reaching into his pocket, 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
Here, 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 -
CUT TO:
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.)
Uuntil the morning she
“accidentally” knocked over a
votive candle, burned down the
Christmas tree, and half the living
room.
VIN (V.O.)
Wow, that’s one crazy way of
gettin’ your dad’s attention.
ANGELA (V.O.)
And he got mine.
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.
CUT BACK TO:
Genres:
["Drama","Romance","Crime"]
Ratings
Scene
41 -
Rekindling Christmas
PRESENT - INT. ABE’S SODA SHOP
SIDE VIEW of Vin and a trembling Angela.
ANGELA
Next morning, he threw out all 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, 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
Number of a hospice service.
VIN
What’s that mean?
ANGELA
That means I’m dying, Vincent.
VIN
Bullshit.
ANGELA
Wish it was. 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
Eric? He was a big jerk, my way of
getting back at you, and guess
what? He vanished on me too.
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 deserved 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
Will do, 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, huh? A real
stand up guy.
ANGELA
He’s like a father to you, isn’t
he?
VIN
Yeah, guess you could say that.
She takes his hand.
VIN
But let’s 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.
(MORE)
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 are a lot more
headed our way, now 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.
FADE TO:
Genres:
["Drama","Romance"]
Ratings
Scene
42 -
A Step Toward Courage
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, no
one’s stoppin’ 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
Jeez, how do you open this by
yourself?
She lifts her arm and flexes a muscle. They chuckle, then
enter the vestibule.
CUT TO:
INT. ANGELA’S APARTMENT BUILDING - LOBBY
Angela takes Vin’s arm. They climb the first flight.
CUT TO:
INT. ANGELA’S APARTMENT BUILDING - SECOND FLOOR
Reaching her SECOND FLOOR APARTMENT, Angela opens the front
door. They wipe their feet on a mat, then enter.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
43 -
A Meal and a Memory
INT. ANGELA’S APARTMENT
DOOR opens onto a LARGE STUDIO. A large PICTURE WINDOW with
a narrower, openable window on either side, is in the LIVING
ROOM AREA left of the door, looking out on swaying leafless
trees, a perfect view of 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 on 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 centered on the table, fallen leaves and
petals scattered 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, and gathers up the rose petals. He
walks to the TRASH CAN in the kitchen and lifts the lid.
CUT TO:
Open trash can from Vin’s POV. Mixed in with other trash is
an empty FROZEN TV DINNER BOX that reads TURKEY.
CUT TO:
CLOSE-UP of Vin shaking his head.
CUT TO:
Rose petals dropping onto the box and other trash. Lid shuts.
CUT TO:
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.
CUT TO:
Stove, Vin dropping spaghetti into boiling water.
CUT TO:
Vin rapping a stale roll on the counter. He cuts it, pours
some oil and garlic on each half and slides it into the oven.
CUT TO:
Vin pouring heated sauce over a mountain of spaghetti.
MONTAGE ENDS. MUSIC FADES.
CUT TO:
Angela stirring from a deep sleep. Vin enters frame.
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.
CUT TO:
Vin’s POV of the single 45 resting 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...”
CUT TO:
Angela at the table as Vin returns.
VIN
How long have you had that record?
ANGELA
I bought it at Woolworths on the
way home that night
VIN
Remember how you danced to this at
Abe’s?
ANGELA
That was a very long time ago.
VIN
Sure 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 Eric -
VIN
The jerk with the fur coat?
ANGELA
That’s right. Well, my father was
following us, and when I got home
that night -
CUT TO:
TEENAGE FLASHBACK (B/W) - ANGELA’S BEDROOM - NIGHT
Angela’s being slapped by Benny’s huge hands, 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!
Easily shaking her off his back and onto the floor, he begins
throttling her.
BENNY
Crazy bitches, both of you,
I’m gettin’ the hell outta’ here!
He storms out of the bedroom. Angela, crawling up from the
floor, climbs alongside her sobbing mother, her arms wrapping
around her.
ANGELA (V.O.)
Later that week, he was leaving
Krum’s -
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
44 -
Chaos on the Concourse
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.
CUT TO:
CU of Benny’s bulging eyes, their meanness quickly replaced
by shock, disbelief, then fear, as he stares intensely into -
CUT TO:
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.
CUT BACK TO:
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.
CUT BACK TO:
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
45 -
Emotional Revelations at Abe's Soda Shop
PRESENT - INT. ABE’S SODA SHOP
An engrossed 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 looked at, 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.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
46 -
Tender Goodbyes
ADULT FLASHBACK - INT. ANGELA’S APARTMENT
Vin tucking Angela beneath the blanket.
ANGELA
After all I just told you, you’re
still here?
VIN
Too late to get rid of me now.
They smile.
VIN
No more monsters, Angela, no more
nightmares - for either of us.
Time for you to sleep.
Closing her eyes, she drifts off.
CUT TO:
Vin cleaning off the table, the dishes, then the Snoopy jelly
jar glass, which he refills with ice before bringing it to
the night stand beside the couch, 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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
47 -
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.
CUT TO:
Vin struggling down Aqueduct Avenue, a huge Christmas tree on
his back, a metal stand in his hand.
CUT TO:
INT. ANGELA’S APARTMENT
Front door opens. Vin peeks in and, seeing Angela is still
asleep, 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 (O.S.)
Vincent!
CUT TO:
Angela sitting 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 while
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, kisses his cheek, then
excitedly pulls away.
ANGELA
Let’s go out and get decorations.
VIN
Hold on there, young lady, you need
your rest.
ANGELA
I can rest later, let’s go now.
CUT TO:
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?
Letting go of Vin’s arm, she begins crossing the street,
making a beeline for the church.
VIN
Yo, wait up!
He follows her.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
48 -
A Moment of Reflection
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 toward the church, he follows, and soon they
both stand before a statue of the Virgin Mary. There are no
wax candles, just rows of plastic votives - some lit - a poor
box at the center, a pad before 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 a labored sigh, she
blesses herself, then presses another candle.
VIN
Who’s the second one for?
ANGELA
My father.
VIN
Wow.
He touches her shoulder.
VIN
Any more room on that thing?
Angela slides over. Vin kneels. After saying a quiet prayer,
he blesses himself, presses one candle, and then another.
She leans over.
ANGELA
Now we can get our decorations.
She stands, reaches for her purse, but he touches her hand.
VIN
No. Let me - please.
He stands, digs deep into his jeans pocket, and pulls out a
fistful of quarters, which he drops into the box, several at
a time. The clang of change hitting metal echoes throughout
the church. distracted worshippers turn toward them. She
grabs his arm and they quietly head for the front door.
MUSIC CONTINUES through next scenes.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
49 -
A Christmas Confession
EXT. FORDHAM ROAD - VARIETY STORE ENTRANCE - EVENING
Vin and Angela leave the store, their arms filled with bags.
CUT TO:
INT. ANGELA’S APARTMENT
Angela’s hand places a brightly decorated CHRISTMAS BALL on a
heavily adorned branch of the tree. CAMERA pulls back on the
most decorated Bronx Christmas tree ever, noticeably leaning
to one side. CAMERA PANS UP to a SILVER-HAIRED ANGEL topping
the tree.
CUT TO:
Vin and Angela, lit by the tree lights, as 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, but 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 coyly nods, smiles, touches his cheek, then pulls his
face to hers. They kiss, gently at first, then more deeply.
He lifts, then carries her toward the couch. MUSIC FADES.
FADE BACK TO:
Genres:
["Romance","Drama"]
Ratings
Scene
50 -
A Love Remembered: Christmas Eve Reflections
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 -
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.
CUT TO:
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.
CUT TO:
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 her 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, then tuckin’ her into
bed. But ya’ know what we did get a
chance to do?
CUT TO:
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.
(MORE)
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.
VIN (V.O.)
Christmas Eve came.
An instrumental CHRISTMAS IN NEW YORK plays throughout the
following FLASHBACK.
Genres:
["Drama","Romance"]
Ratings
Scene
51 -
A Thoughtful Christmas Eve
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.
CUT TO:
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 -
CUT TO:
Vin’s hand plucking one out.
VIN (V.O.)
I bought one.
CUT TO:
Vin sliding the wrapped red rose into a stuffed grocery bag.
CUT TO:
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.
CUT TO:
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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
52 -
Santa 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 as Vin slides his leather
coat over the Santa suit, places the Santa hat onto his head,
picks up the groceries, then quietly climbs upstairs.
CUT TO:
Vin peeking into the dimly lit apartment. Seeing Angela, her
back toward him and still asleep on the couch, he enters.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
53 -
A Christmas Surprise
INT. ANGELA’S APARTMENT
Vin tiptoes in, grabs the wrapped rose from the grocery bag,
and quietly hides it under his side of the opened 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 -
CUT TO:
Angela’s POV of Vin in all his Kris Kringle silhouetted
glory, created by the magically 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!
CUT TO:
A beaming Angela sits up, struggles to her feet, and walks
toward Vin’s outstretched arms. She suddenly wobbles, then
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.
CUT TO:
Vin and Angela 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.
CUT TO:
Angela, waiting for her glass of water.
ANGELA
What are you doing over there?
CUT TO:
Vin from behind, furiously mixing something on the counter
before him.
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
Well, you never gotta’ chance to
drink your egg cream both times we
were at Abe’s, so I figured -
He hands it to her.
ANGELA
It looks so good.
VIN
Then 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.
She takes her pills, then washes them down with the rest of
the egg cream. They kiss again.
FADE TO:
Genres:
["Drama","Romance","Christmas"]
Ratings
Scene
54 -
A Christmas Eve 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.
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 only 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.
CUT TO:
CLOSE-UP of the book, opened to a page entitled THE PROPHET
ON LOVE, bookmarked by the PHOTO BOOTH STRIP he gave her, and
a PETRIFIED RED ROSE, which he carefully removes.
CUT TO:
Vin, holding the petrified rose.
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 to silence him, just as the BELLS
of Tolentine church begin ringing.
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 gasps, as an instrumental as CHRISTMAS IN
NEW YORK plays.
CUT TO:
PICTURE WINDOW from Angela’s POV, huge snowflakes,
illuminated by the streetlights, are falling outside.
ANGELA (O.S.)
Help me up, I want to see!
CUT TO:
Vin helping her up, as she bolts from his arms toward the
window. Decades melt away with each step as she stares at the
falling snow, now on her tiptoes before the window, giggling
and clapping her hands.
ANGELA
Can you believe this is happening?
He joins her, then notices the unblinking HO! beneath the
SANTA CLAUS FACE, tapping it several times with his finger.
It resumes blinking with the other two, 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.
CUT TO:
EXT. OUTSIDE ANGELA’S APARTMENT WINDOW
Vin opens the window. Angela instantly emerges, her wide-
open, smiling mouth and extended arms welcoming the falling
snow, as the bells stop. Angela suddenly lets out out a
lifetime’s worth of repressed, unexpressed joy, loud enough
for the entire neighborhood to hear.
ANGELA
Merry freakin’ Christmas, everyone!
CUT TO:
Genres:
["Drama","Romance","Christmas"]
Ratings
Scene
55 -
A Miracle in the Snow
INT. ANGELA’S APARTMENT
An exuberant, breathless Angela comes back inside, rubbing
her snow-covered hands over Vin’s face, as both begin crying
tears of joy. She begins to shake and wobble.
VIN
Hey, let’s get you dried off,
you’re shiverin’.
ANGELA
I am getting 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.
VIN
Maybe it is.
She grabs his hand tightly, smiling.
ANGELA
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. He links his with hers. Her
other hand covers theirs as she inhales deeply, then delivers
a message on a breath 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.”
CAMERA slowly pulls back from the couple lying on the opened
couch, Angela held tightly from behind by Vin, as she
clutches the rose to her chest. Eventually gliding backwards
through the wide-opened mouth of the SANTA CLAUS FACE, the
3rd HO! flickering before going out, the CAMERA withdraws
through the picture window, leaves Angela’s apartment, and
pulls back, soon capturing a snow-covered Bronx below.
SLOW FADE TO:
Genres:
["Romance","Drama"]
Ratings
Scene
56 -
A Toast to Memories
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, Frankie, my letter
turned out to be a false alarm -
Doc said it was just a warning.
(He removes a small bottle from his
coat and shakes it.) One of these
babies every mornin’ with my egg
cream, I should be good to go - for
now. (He grabs Frankie’s shoulder)
You know, if you hadn’t grabbed the
stickball bat outta’ my hand that
day, I might not’ve even 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?
(MORE)
Or maybe - just maybe - Angela was
right. It was a miracle. Maybe all
of 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 time 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, then looks outside.
VIN
- an appointment to keep, and a
book to read.
He taps The Prophet in his coat pocket.
VIN
Speakin’ of readin’, hope you got
enough material for that article.
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?
Vin hugs Frankie.
VIN
Don’t ever forget it!
Thunder is heard. Rain begins to fall. He walks to the
Rhapsody, drops a quarter into the slot, makes a 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
Thanks.
Vin pockets the keys, pulls his coat collar up and around his
Santa hat-covered head, then, pushing the rattling door open,
he exits.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
57 -
A Friendly Farewell
EXT. OUTSIDE ABE’S
Vin leaves Abe’s, just as a familiar face shouts out from the
open passenger window of a BLACK CADDIE SUV idling in front.
PAULIE
Hey, Santa, give ya’ a lift?
Vin goes to the open window.
VIN
That’s okay, Paulie, but -
PAULIE
Yeah, I know, ya’ like walkin’
VIN
Thanks for everything.
PAULIE
It’s what Ann Marie woulda’ wanted.
VIN
You’ll be by tomorrow?
PAULIE
Bet yer’ ass I will, got a business
to watch over.
Vin smiles, then walks away from Paulie’s Caddie, continuing
to, and crossing, a slushy Fordham Road toward the Aqueduct.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
58 -
A Rose in the Rain
INT. VIN’S APARTMENT BUILDING
POV from roof fire door looking down a staircase. An
instrumental RHAPSODY IN THE RAIN and FOOTSTEPS echo
throughout the hallways as thunder is heard, flashes of
lightning seen through skylight above, lighting the MARBLE
STAIRS below. Footsteps draw nearer and nearer until Vin
appears at the bottom of the stairs, looking up, wrapped rose
held tightly in his hand against his chest. MUSIC LOWERS, as
lightning illuminates his climb to the fourth step, where he
stops, now in a spot created by the overhead bulb as he
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’s
gonna’ be makin’ the egg creams
from now on?
He removes The Prophet from his coat pocket.
FADE TO:
OVERHEAD - looking down on the staircase. Rain pings against
the stairwell skylight, as Vin, Santa hat back on, sitting
next to the wrapped rose, opens The Prophet, turns to the
page marked by the dried rose and photo booth strip. Thunder
is heard, lightning illuminates the stairwell.
CUT TO:
CU of the page Vin’s reading -
The Prophet On Love
CAMERA SLOWLY PULLS BACK from the page, from Vin, 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.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
59 -
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.
CUT TO:
INT. CONVENIENCE STORE
Frankie at the dairy section, grabs a dozen eggs.
CUT TO:
Frankie on the checkout line, suddenly noticing -
CUT TO:
A DISPLAY STAND, filled with SINGLE-WRAPPED RED ROSES.
Frankie plucks out the best of the bunch.
CUT TO:
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. Te amo,
Carmen.
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
for the new year.
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.
CUT TO:
BLACK SCREEN. A CLICK. A WHIR. FRANKIE’S LAPTOP SCREEN...
THE KING OF AQUEDUCT AVENUE
By Francis X. Kinsella
The cursor erases this and all the text beneath it.
CUT TO:
Frankie, as he begins typing, a wide grin on his face. He
stops, removes the Spaldeen from his jacket, inhales the
scent of the ball deeply, places it alongside his baseball,
then resumes typing - furiously - as the voice of Lou
Christie fills the air a-capella style...
“Rhapsody in the rain, rhapsody in the rain, rhapsody.”
CUT TO:
TITLE CARD...
3 EGG CREAMS
A Rhapsody in the Rain
Lou Christie begins singing LOVE GOES ON FOREVER, which
continues through...
CREDITS
POSTSCRIPT SCENE pops up beside the credits.
Genres:
["Romance","Drama","Slice of Life"]
Ratings
Scene
60 -
Miracles and Memories
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.
CUT TO:
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
Vin’s hand grabbing the top magazine.
CUT TO:
Abe and Helen in civilian clothes, sitting at the table near
the Rhapsody, as he reads the article to a smiling Helen.
CUT TO:
Frankie, who’s looking across the counter. PAN over to Vin,
wearing a chocolate-stained white apron, now also reading the
article. Camera tightens to a CU profile of Vin’s smiling
face, as a single tear falls from his eye.
POSTSCRIPT SCENE fades...CREDITS & MUSIC CONTINUE