,

A BRONX TALE
screenplay
by
Chazz Palminteri
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REPRESENTATION:
william Morris Agency
150 El Camino Drive
Beverly Hills, California 90212
(213) 274-7451
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. D' 4W:* . 5 4aJt $ US.S. Ji@,,""S2'JCU2J1i11lih ... t:Zl
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THE BRONX, 1960 LEGEND:
EXT. STREET - 187TH AND BELMONT AVE., THE BRONX, NEW YORK
- DAY
I
To the MUSIC of Dion and the Belmonts, a city bus glides
down 187th Street and approaches the corner of Belmont
Avenue. We see several people on the street: several old
Italians sitting at small tables outside a cafe, drinking
cappuccino: an old woman with the face of a road map,
leaning on her window sill, staring into space: kids
playing stickball in the street: at the ,light, four girls
in a 1960 Ford convertible, are bopping their heads to the
music and flirting with four guys standing on the corner,
dressed in sleeveless T-shirts, black chinos and open-toed
sandals.
NARRATION (V.O.)
This is the Belmont district of
the Bronx, my home -- a world unto
itself. You could get to any
borough in fifteen minutes from
here, but they might as well be
3,000 miles away
. As the camera continues down the street:
(
NARRATOR (V.O.)
That's my building there's my
stoop~ used to live right over
that drugstore two doors down
was a bookie joint then there
was the bakery two more doors
down was another bookie joint
then the hardware store then
two more doors down was another
bookie joint and on warm summer
days, all through the
neighborhood, you would hear the
sound of youn9 Italian men
romancing the1r women
A '57 Chevy, slowly rolling down the street with the
passenger door open. The DRIVER leans out and yells to a . ~
GIRL walking alongside it. ~
~ I V E R
Marie, get in the fuckin' car!
Camera moves on and reveals the corner of 187th and
Belmont.
CONTINUED
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2
CONTINUED
NARRATOR (V. O. )
But right there, right under that
lamp post there, stood the man,
the number one man in the
neighborhood, Johnny
.J:01iNNY
with a of young men standing on the street corner.
JOHNNY a dapper man in his late thirties.
NARRATOR (V. 0 )
And I would sit on my stoop and
watch him, all day and all night,
but he would never ever look at
me. Never. until one day.
BEGIN TITLES.
LEGEND: A BRONX
TALE
EXT. CITY BUS
Close on the doors of the #12 city bus as they open with
a hydraulic wheeze and we see the feet of the exiting
passengers. Camera pulls back to reveal LORENZO ANELLO in
the driver's seat. Handsome Italian man in his early
forties his uniform immaculately clean as he bids the
passengers good-bye. The doors Wheeze closed.
INT. CITY BUS
,
The bus resumes its journey. Soft saxophone emanates
from a small transistor radio hanging from a hook near
Lorenzo, the driver's left ear. We are focused on a young
nine-year-old boy, COLOGIO, sitting directly behind

NARRATOR (V.0.)
That's me
Cologio bounces slightly with the rough motion of the bus
as he looks to his dad.
NARRATOR (V.0.)
That's my dad. I used to love to
ride the bus with my dad.
CONTINUED
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3
CONTINUED
The doors wheeze open as the bus arrives at the next stop.
Several PASSENGERS get on.
PASSENGER #1
(old Italian man
with an old
rumpled unlit
cigar: speaks in
a thick Italian
accent)
Hey, Lorenzo. How are you today?
LORENZO
Feeling pretty good, Luigi. How
about yourself?
The passengers continue to ad-lib greetings to Lorenzo.
NARRATOR (V. O. )
Everybody loved my father. And
my father loved everybody.
CLOSEUP
Doors of the bus as they wheeze open again, and we pull
back as Cologio bounces off the bus. He turns and waves
good-bye to Lorenzo.
LORENZO
Come on, son. Get upstairs.
The doors wheeze closed. __ The bus slides away.
Cologio looks skyward and sees:
ROSENA
Cologio's mother, a beautiful Italian woman in her
midthirties leaning out of their fifth floor apartment
window. She smiles and waves him up. --
COLOGIO
walks up his stoop and disappears into the entrYWay. Then
he peeks out around the corner and watches:
BUS
disappearing down 187th street.
(
(
4
COLOGIO
peers upward and sees the empty window where his mother
was. He looks up the street and sees:
JOHNNY
standing there. Two bodyguards slightly behind him.
COLOGIO
smiles to himself, stares hard at Johnny.
COLOGIO
(to himself)
Lookin' good, today, Johnny.
Lookin' good.
Then suddenly he hears the SOUND of doo wop singing, and
he jumps back out into the street and follows the sound.
ALLEY
Cologio peeks into the alley and sees:
000 WOP GROUP
Four guys, down below in an entryway to a basement,
singing, harmonizing.
COLOGIO
walks into the alleyway, looking down at the group,
snapping his fingers.
I
Suddenly from behind Cologio there is a great commotion as
the door to the adjoining building opens and:
JIMMY TEN-TO-TWO
The bouncer is roughly evicting a customer from the
neighborhood bar. Jimmy throws the customer into the alley
and then sees Cologio, smiles, pats him on the head and
then exits into the bar. The door remains open a crack.
COLOGIO
peeks through the crack and sees:
I

5
INT. CHEZ JOEY - DAY
The Chez Joey is the neighborhood hangout and this side
door leads to the main room. There is a world of activity.
People eating, drinking, laughing. A few of the customers
are singing to the jukebox which plays constantly.
We see all of this from Cologio's point of view -- through
the crack in the door.
RUDY ICE, the "owner" of the bar, glides by.
NARRATOR (V.0.)
Rudy Ice. They called him Rudy
Ice because he was so smooth.
We see Rudy Ice, dressed in Tom Jones shirt, gliding
through the tables and customers, singing and skating.
RUDY ICE
(singin9)
Hey, how a d01n'? How's all my
girls ton1ght? Give him a drink.
Give her a drink. Give everybody
a drink.
Camera stays on Rudy as he's singing, and skating.
NARRATOR (V. o. )
Rudy always wore those Tom Jones'
shirts with the pUffy sleeves,
slit down to his belly button, and
the high, high collar. If you
dropped him off a building he
could fly. And Rudy was a
frustrated singer, but Johnny
would never let him sing with the
band. So just for spite, he would
never utter a spoken word, he
would only sing. "
CUSTOMER at the bar.
CUSTOMER
Hey, Rudy, what's the weather
like?
RUDY
(singing)
Sunny!
EDDIE MUSH, reading a racing form, cigarette dangling from
his mouth. He's got a toupee on his head that looks like
he ordered it from the back of a comic book.
CONTINUED
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CONTINUED
NARRATOR (V. O. )
Eddie Mush was a degenerate
gambler. He was also the biggest
loser in the whole world. They
called him Mush because everything
he touched turned to Mush. He
used to go to the race track and
the teller would 9ive him his
tickets already r1pped up.
FRANKIE COFFEE CAKE, his back to us, is combing his hair
in the mirror behind the bar. He thinks he looks good.
NARRATOR (V.0.)
They called him Frankie Coffee
Cake because his face looked like
a Drake's coffee cake.
Frankie turns, we see his face, severe acne.
NARRATOR (V. O. )
He was tough to look at.
GIGI, THE WHALE
an enormously fat man, eating a meatball sandwich,
laughing, sitting on a chair much too small for him.
NARRATOR (V. O. )
Gigi, the whale. As they say, you
didn't walk with Gigi, you walked
among him. If you stared at Gigi
long enough you would see him get
fatter by the hour. Legend has
it his shadow once killed a dog.
Cologio peering through the crack in the door. He suddenly
disappears.
EXT. ALLEY - DAY
Rosena is draggin9 Cologio by the scruff of the neck out
of the alley and 1nto the street.
ROSENA
How lon9 does it take you to climb
five fl1ghts? How many times do
we have to tell you to stay away
from that bar?
Rosena drags Cologio to their stoop.
CONTINUED
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CONTINUED
ROSENA
I have to get a few things from
the store. Get upstairs and wash
up.
Rosena heads up the street. Cologio disappears into the
entryway. Then he peeks out again and sees that his mother
has disappeared.
He looks to Johnny, still on the corner.
JOHNNY
talking to his bodyguards, is gesturing with his right
hand.
COLOGIO
imitating Johnny's gestures when suddenly something smacks
him on the back of the head.
Rosena is behind him, grabbing him.
(
I knew it.
gonna do.
ROSENA
I knew what you were
COLOGIO
I'm going, Ma. All right, I'm
going.
Cologio runs inside.
CLOSEUP - COLOGIO
A steak flops down on a plate in front of him. -
COLOGIO
I'm not in the mood for steak.
INT. DINING ROOM - ANELLO HOME - EVENING - CONTINUOUS
A modest, fifth-floor apartment. Typically Italian.
Cologio and Lorenzo are sitting at a dining room table.
Rosena can be seen in the kitchen in the b.g.
CONTINUED
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8
CONTINUED
LORENZO
Oh, you're not in the mood for
steak? Do you know how many times
I have to drive that bus back and
forth on 187th street so this
family can have steak once a week?
COLOGIO
Eight.
LORENZO
(this stops him)
Who told you that?
COLOGIO
Nobody. I count 'em.
ROSENA
Cologio, your father wants to talk
to you.
COLOGIO
About what, Dad?
Lorenzo reaches into his shirt pocket and pulls out two
tiCkets, then lowers his voice so that Rosena can't hear
him. He's practically whispering.
LORENZO
Look what I got.
ROSENA
Lorenzo!
LORENZO
Uh -- your mother said she caught
you near the bar today.
COLOGIO
I wasn't by the bar.
Rosena, overhearing, sticks her head out of the kitchen.
ROSENA
Cologio, tell your father the
truth.
COLOGIO
I was by the bar.
LORENZO
Why did you lie?
CONTINUED
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CONTINUED (2)
COLOGIO
I took a shot
(indicating the
tickets)
Are they the bleachers?
ROSENA
Lorenzo, do something.
LORENZO
Hey, what am I going to say?.He
took a shot.
(to Cologio)
Nice try, son.
COLOGIO
Thanks, Dad.
LORENZO
Center field.
COLOGIO
Behind the Mick?!?
LORENZO
Eat your steak
EXT. 187TH STREET - DAY
Cologio, sitting on his stoop, watching Johnny like a hawk.
COLOGIO
(to himself)
Nobody's cooler than you come
on, look at me just once.
Phil the peddler, a man in his late fifties, heavyset, with
a gut, unkempt and smokinCJ a stogie comes down 'the street
with his cart full of frul.t and vegetables. At tpe head
of the cart is an old white, swaybacked horse. An
assortment of customers are around the cart.
NARRATOR (V. o. )
Phil the Peddler. With that big
white horse with the slope down
its middle. And he would call
everybody 'Mary,' no matter who
they were, male or female, young
or old, to Phil you were Mary.
CONTINUED
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10
CONTINUED
PHIL
Don't touch the peaches, Mary!
Watch the moulin-yam, Mary! Two
for a dollar, Mary!
Phil approaches Johnny as Cologio continues to watch from
his stoop.
PHIL
Hello, John. How are you today?
You're looking good, John. I got
some peaches for you.
SOUNDS of honking horns.
PARKING SPACE IN FRONT OF COLOGIO
There's an empty ~ a r k i n 9 space and a car is trying to back
in. Another car 1S try1ng to drive straight in. The two
drivers are honking and cursing each other.
COLOGIO
watching the proceedings with great interest.
CARS
across cars with Cologio in b.g. The man in the front car
gets out with a baseball bat. Goes to the back car and
swings the bat into the window of the rear car. The bat
goes through the window and strikes the head of the driver.
Blood and broken glass.
COLOGIO
wide-eyed.
DRIVERS
The man in the second car has gotten out of the car, head
all bloody. The man with the baseball bat goes to swing
again and sudd.enly there are TWO SHOTS. The man with the
baseball bat falls -- dead.
COLOGIO
motionless
--
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11
COLOGIO'S POV - JOHNNY
sUddenly appears, standing next to the second man. There
is a gun in his hand. It is sUddenly very quiet. Then
Johnny notices Cologio over his right shoulder. He turns
with the gun in his hand and looks straight at Cologio --
for the first time.
COLOGIO
looking right back at Johnny. Motionless.
NARRATOR (V.O.)
I went deaf. I couldn't hear.
Everything went out of focus. All
I could see was Johnny standing
there with the gun in his hand.
JOHNNY WITH THE GUN
Motionless. Camera moves in tight on Johnny's hand as it
pulls out a handkerchief. He applies the handkerchief to
his friend's bloody head.
JOHNNY (O.S.)
Put him in the car Get him to
a hospital. Come on, move, move.
The bodrguards move quickly to the car, ~ u t the bleeding
man i n s ~ d e and drive off. Camera moves ~ n tight on
Johnny's face as he turns to stare back at Cologio again.
COLOGIO
staring back.
HIGH ANGLE - COLOGIO, THE BODY AND JOHNNY
Johnny walks casually back to the corner by the post,
staring at Cologio all the way. Silence.
TIGHT ANGLE ON COLOGIO
Suddenly to top of the frame is broken by a hand reaching
down and grabbing Cologio's hand and pUlling him upward.
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INT. HALLWAY
Cologio being dragged up the stairs by Lorenzo. We only
see Lorenzo's legs as Cologio's feet scamper against the
steps to try to keep up with his father.
UP TO ROSENA
looking down through the stairwell.
ROSENA
Is he all right? Is he all right?
M baby. My baby. Is he all
rl.ght?
INT. HALLWAY - TOP OF STEPS - LORENZO, COLOGIO AND ROSENA
Rosena is feeling Cologio allover to see if he is injured.
ROSENA
Are you all right, baby? Are you
okay?
She kisses him, and holds him. In the b.g. we see some of
the neighbors who have come out from their apartments.
They mumble amongst themselves.
COLOGIO
(beginning to cry)
I'm okay, Mommy. Don't worry.
Please don't cry. I'm okay.
Lorenzo starts to lead Cologio into their apartment.
Rosena follows.
COLOGIO (CONT'D)
Daddy it was a parking space,
DaddyHe hit him with a bat He
was bleeding Daddy, why did he
hit him it was only a parking
space, DaddyWhy, Daddy?
Lorenzo closes the apartment door and searches for the '"
words. He is almost near tears after realizing what his
son just witnessed. Then:
LORENZO
It wasn't the parking space,
son they just met at the wrong
time in their lives.
CONTINUED
(
13
CONTINUED
COLOGIO
But, Dad, you don't understand.
It was over nothing, Dad.
Nothing.
LORENZO
Son.
KNOCKS at the door. Lorenzo quiets his son and then goes
to door.
LORENZO
Who is it?
Police.
VOICE (0.5.)
(
LORENZO
(to Cologio and
Rosena)
Shh.
Lorenzo opens the door. Two uniform policemen stand in
doorway.
POLICE
We'd like to ask your son a few
questions.
LORENZO
My son knows nothing.
POLICE
We feel he does. There were
witnesses who
LORENZO
(adamant)
My son knows nothing!
COLOGIO
(interrupting)
Daddy, I know everything. I seen
it all. Dad, I really did.
Moment of awkward silence. Then Lorenzo, trying to make
light of it all:
-'
Kids!
LORENZO
(to police)
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INT. HALLWAY
Cologio and Lorenzo coming down the stairs, followed by the
Police.
POLICEMAN
We have some people downstairs.
We just want you to tell us which
one you saw pull the trigger. You
think you can do that?
Lorenzo and Cologio exchange glances.
COLOGIO
(to the Policeman)
Yes, sir.
EXT. BUILDING
Follow Cologio, Lorenzo and police into street. There are
five men lined up against the side of the building.
Cologio, his hand in his father's, with the cops looking
on, walks up to the first man, Eddie Mush.
COLOGIO
Eddie Mush? No, Officer. It
wasn't him.
(goes to the next
man)
Giqi? No, it wasn't him.
(the next)
Jimmy? Nope. Wasn't him.
(the next)
Frankie Coffee Cake?
(makes a face in
reaction to
. Coffee Cake)
Eeeuuuu. Nope. Not him.
(next man)
Johnny?
Cologio looks up to Lorenzo. We see the strain on
Lorenzo's face ashe looks back to his son. Cologio looks
back to Johnny. ~
COLOGIO
Johnny? No. It wasn't him
officer.
LORENZO
(relieved)
Are you satisfied, Officer? Let's
go, son.
CONTINUED
/
15
CONTINUED
As Lorenzo gives Johnny a look and leads Cologio back
toward their building, Cologio turns to look at Johnny.
JOHNNY
is looking right at Cologio. He gives him a gesture of
approval.
COLOGIO
in turn gives Johnny a gesture -- a simple wave of the
hand. And Cologio and Lorenzo disappear into the building.
INT. HALLWAY
Lorenzo and Cologio.
LORENZO
Are you okay, son?
COLOGIO
Yeah, Dad. We fooled 'em, Dad.
Huh? We really fooled 'em.
LORENZO
(reluctantly)-
Yes, son. We fooled 'em.
COLOGIO
I didn't rat, I didn't rat.
LORENZO
No, sonyou didn't rat.
COLOGIO ?
That was Right, Dad? I did
a good Right?
LORENZO
Yeah, sonyou did a good "
thing for a bad man.
COLOGIO
I did a 1
As Cologio and Lorenzo walk back up the stairs:
CONTINUED
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CONTINUED
NARRATOR (V. O. )
I did a good thing for a bad man.
I didn't understand that. Not at
nine years old. I mean, in my
neighborhood the lowest thing
anyone could be is a rat. And I
wasn't a rat.
. (pause)
The day after the killing my
father insisted that I ride the
bus with him.
EXT. BUS - DAY - TIGHT SHOT ON CITY BUS
zooming past camera.
EXT. BUS ARRIVING AT CITY ISLAND - DAY
(
We see the #12 and CITY ISLAND on the front of the bus as
it arrives at its final destination. Lorenzo and Cologio
get off and head for the pier.
EXT. CITY ISLAND PIER - DAY
With the sounds of the ocean waves and sea gulls and even
strains of the jazz still emanating from the bus, Cologio
and Lorenzo walk down the pier.
LORENZO
Okay, son. Let's see how good you
are. Who was the last player to
win the Triple Crown?
COLOGIO
Mickey Mantle. 327 Batting
Average, 127 RBIs, 52 Homers.
LORENZO
That's right, son. Who do I think
- is the greatest ballplayer that
ever lived?
COLOGIO
Joe D, Dad. The Yankee Clipper.
Fifty-six-game hitting streak.
Nobody beat that. Right, Dad?
LORENZO
That's right, son. Do you know
why they were so great? Because
they had talent and they used it.
CONTINUED
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CONTINUED
COLOGIO
Do I have talent, Daddy?
LORENZO
Yes, you do.
COLOGIO
But what .can I be, Dad?
LORENZO
Anything you want to be, son.
Always remember what I am saying
to you: The saddest thing in life
is wasted talent.
COLOGIO
What do you mean, Dad?
Cologio looks at his dad with curiosity.
LORENZO
Come on, I'll take you for an ice
cream.
INT. BUS - DUSK
Cologio riding behind Lorenzo as they approach the corner
of 187th and Belmont.
NEW
The bus arrives at the corner and stops. Lorenzo sees
Johnny, still standing under the light post -- his
bodyguards behind him.
JOHNNY
nods to Lorenzo.
LORENZO
gives a forced half smile and then turns back. As he opens
the bus door with the sound of a "whoosh" for Cologio:
LORENZO
No hangin' out tonight. Get right
upstairs.
Cologio exits the bus. He turns to look at Johnny.
:
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JOHNNY
gives him a gesture of acknowledgement.
COLOGIO
gives a little wave back and looks up to see:
ROSENA
leaning out of their fifth-story window. She waves to
Cologio.
COLOGIO
runs into his building. We hear the "whoosh" of the
closing bus door as Lorenzo starts to drive away.
INT. BUS - CONTINUOUS
Lorenzo looks into his rearview mirror to see:
JOHNNY
talking and laughing with his bodyguards.
LORENZO
turns away from the mirror, grips the steering wheel a
little tighter and falls into deep thought.
INT. COLOGIO'S BEDROOM - NIGHT
col09io, in his pajamas, is kneeling beside his_bed,
praY1.ng.
NARRATOR (V.0.)
That night I started thinking
about what my father said to me.
And I realized that I had lied and
that a man had been killed. I had
committed a mortal sin. And I
didn't want my soul to burn in
hell.
ROSENA
appears at his open door, .sees him praying.
CONTINUED
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19
CONTINUED
COLOGIO
(praying)
God bless Mommy and Daddy. God
bless Mickey Mantle and I hope the
Yankees win the Series tomorrow
and he hits three home runs. And
God.my dad said I did a good
thing for a bad man and I don't
understand
ROSENA
What's the matter? God is not
answering your prayers?
COLOGIO
N o ~ Ma. I thought I did the right
t h i n ~ and now I'm not sure I did.
I th1nk I committed a bad sin.
ROSENA
Well, tomorrow, why don't you go
to confession and maybe then
you'll feel better.
COLOGIO
Yeah
INT. CONFESSIONAL
The screen is totally dark. We hear the sliding SOUND of
the confessional window and sees shafts of light on
Cologio's face.
COLOGIO
Bless me father for I have sinned.
This has been one month since my
last confession. And these are
my sins. I missed mass on Sunday
once. I ate meat on Friday twice.
I lied about witnessing a murder
once.
PRIEST
You did what?
COLOGIO
It was only once, Father. Why are
you yelling?
PRIEST
Do you know what the Fifth is?
CONTINUED
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20
CONTINUED
COLOGIO
Yes, Father. I know what the
Fifth is. The Fifth is 'I refuse
to answer on the grounds that it
might incrimin '
PRIEST
The Fifth Commandment!
COLOGIO
Thou Shalt Not Kill.
PRIEST
That's right. Now, I want you to
tell me about it.
COLOGIO
No, Father. No. I'm not telling
you nothing. Listen, Father.
Your guy is bigger than my guy up
there, but my guy is bigger than
your guy down here.
PRIEST
(sighs)
You're right
COLOGIO
Just forgive me, Father. Okay?
PRIEST
(another pause)
Five Our Fathers and Five Hail
Marys for your penance.
COLOGIO
Five Our Fathers, Five Hail Marys
for a murder rap? That's not bad,
Father.
PRIEST
(suddenly angry)
Cologio
COLOGIO
Bye
Cologio quickly crosses himself and exits.
EXT. CHURCH - DAY
Cologio exits through the large front doors. He is
exuberant, energized.
CONTINUED
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21
CONTINUED
We follow him as he runs and skips down the street towards
his home, clicking his heels as he goes.
NARRATOR (V. O. )
I left that church and I was
feeling great But five hours
later
EXT. BUILDING - STOOP - DAY
Cologio is sitting on the stoop, his head in his hands,
crying his eyes out. After a moment Johnny appears and
sits beside him. After a moment:
JOHNNY
Hey kid. What's-a matter, kid?
Why are you crying?
COLOGIO
Johnny. Bill Mazcaroski, I hate
him, Johnny. He just hit a home
run and the Pittsburgh Pirates
just beat the New York Yankees in
The World Series. Mickey Mantle
is going to be so depressed. He's
gonna cry, Johnny. I know it.
The Mick is gonna cry.
JOHNNY
Mickey Mantle? You think Mickey
Mantle cares if you live or die?
You think Mickey Mantle cares if
your father lives or dies? Mantle
makes a hundred thousand dollars
a year. Bow much does your father
make? See if your father can't
pay the rent -- go ask Mickey
Mantle. See what he tells you --
Come on, kid. Forget this Mickey
Mantle stuff. Nobody cares. And
don't ever talk about this
baseball stuff in front of me ever
again. Come on, I'll take you
for an egg cream.
Johnny and COlogio, as they walk together down the street
towards the candy store. Johnny has a protective arm
around Cologio.
CONTINUED
--
(
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22
CONTINUED
NARRATOR (V.O.)
I walked into the candy store with
Johnny and I never felt the same
way about professional sports
again -- ever.
(pause)
I started spending a lot of time
with Johnny.
INT. BACK ROOM OF CHEZ JOEY - CRAP GAME
Smoke filled, dimly lit room. We hear the sounds of deep,
male voices groaning, cursing and arquin9 over the
exc1tement of the crap game. The man to the r1ght of
Johnny rolls the dice up against the back wall -- and
loses.
Cologio is making behind the bar. Gigi the
Whale is standing beh1nd Johnny.
GIGI
(wheeze)
So I took out the biscuit, you
know.
(wheeze)
I put two cannolis right into his
squash. Badda bing, badda bing.
(wheeze)
EDDIE MUSH
approaches Johnny.
EDDIE
Johnny, come on, lend me a
hunPred.
JOHNNY
Come on, Mush. You know what's
gonna happen.
EDDIE
Please, Johnny. I feel it. I
feel it this time.
JOHNNY
(gives him a
hundred)
All right, here. Get it out of
your system.
CONTINUED
--
(
(
/
23
CONTINUED
EDDIE
(screams)
I'm in! I'm in!
All the 9amblers seize the opportunity, smile, and place
bets aga1nst him.
COLOGIO
making the cappuccinos, watches, knowing what's going to
happen.
EDDIE
rolls the dice -- sees the result.
EDDI
I'm out.
COLOGIO
comes in with a tray of cappuccinos. Gamblers stuff dollar
tips in his pockets as they take cappuccinos. Eddie takes
one of the cappuccinos from Cologio.
EDDIE
Johnny. Put this on my tab.
COLOGIO
takes the last cappuccino to Johnny.
JOHNNY
(to Cologio)
stay by my side, kid. You're my
lucky charm.
JOHNNY -
rolls the dice and loses again.
JOHNNY
Somebody's got a hex on me today.
(lookin9 upwards)
Why are you d01ng this to me? I
was an altar boy.
--
f
f
24
RUDY
skates by, singing the Beatles song.
RUDY
'You're a loser. And you're not
what you appear to be .. '
JOHNNY'
Keep it up, RUdy. You're gonna
get smacked.
The dice are passed on to Johnny. He is about to roll
them, then he looks to Cologio.
JOHNNY (CONT'O)
Cologio, I want you to throw the
dice for me.
COLOGIO
What Johnny? I don't know how to
play dice, Johnny.
JOHNNY
(handing dice to
Cologio)
Don't worry about it, kid. You
gotta do better than me. Just
throw the dice.
COLOGIO
Okay, Johnny.
Cologio throws the dice. They don't reach the back wall.
All the Wiseguys start laughing.
GIGI
Hey, Johnny.
(Wheeze)
You're a little provolone's got
an arm like a wet noddle.
EDDIE MUSH
Johnny, he just ain't got it. And
you call me a loser.
RUDY
(singing)
'He's a loser, and he's not what
he appears to be '
JOHNNY
(serious)
I don't want anybody laughing at
this kid. Nobody laughs at my
boy.
CONTINUED
Four.
four.
panic.
(
(
25
CONTINUED
The room grows suddenly quiet. Johnny turns to Cologio.
JOHNNY
Come on, kid. You can do it.
Come on. comin' out. Gimme a
seven.
Johnny turns to Gigi, who is hovering over him.
JOHNNY
Gigi, stop breathing on me
(back to Cologio)
Come on, baby. Throw those dice.
Young Cologio smiles and throws the dice. Johnny watches
as the dice roll and hit the backboard.
JOHNNY (CONT' D)
Seven! All right, come on. You
can do it again.
(placing more
money)
Let it ride. You can do it again.
Another seven. I love those
sevens.
At that moment Eddie Mush appears beside Johnny.
EDDIE
Come on, Johnny, let's go
partners.
JOHNNY
I don't want you in the same
neighborhood. Jimmy, lock him in
the bathroom.
Jimmy takes Mush by the arm and leads him away.
JOHNNY
(to Cologio while
putting more
money down)
Come on, kid. You can do it. I
love those sevens.
Young Cologio throws the dice again.
JOHNNY
All right, the point is
Four's the ~ o i n t . Nobody
Nobody pan1c.
CONTINUED
..
/
,
(
(
26
CONTINUED (2)
COLOGIO
I'm sorry, Johnny.
JOHNNY
That's all right. Four's okay.
COLOGIO
But I didn't throw a seven.
JOHNNY
That's okay. Four's okay. Don't
worry about it.
(to the room)
I say he makes the hard four.
Two, two on the hard four. Let
it all ride.
Gigi is leaning close to little Johnny again, breathing
heavily.
JOHNNY
Gigi, stop breathing on my
shoulder, please
.Johnny tries to move Gigi back.
JOHNNY
Back up, Gigi. Back up.
(calling across
room to Jimmy)
Jimm, get him out of here. Lock
him 1n the bathroom. Get him out
of here.
Jimmy begins to lead the protesting Gigi away. The rest
of the Wiseguys are placing heavy bets as Johnny places
even more money on the floor. The floor is full of cash.
They all interject ad-libs "No way, Johnny." "Ain't gonna
happen." "You're pushing your luck, John." etc. Johnny
hands the dice to Cologio. A hush of silence comes over
the room because of the heavy betting. Johnny speaks very
quietly to Cologio.
JOHNNY - - . , ~
Okay, kid you can do.
COLOGIO
Don't w o ~ , Johnny. I'll throw
a seven th1S time.
JOHNNY
(screaming)
Noooo! No sevens!
J CONTINUED
..
/
(
(
'(
--"
27
CONTINUED (3)
COLOGIO
But I thought sevens were good.
JOHNNY
Not now, kid! Please, not now.
Just relax. Come on, baby, you
can do it.
Johnny guides Cologio's look towards the back wall. Then
a look of horror comes over Johnny's face.
FRANKIE COFFEE CAKE
peering straight at Cologio and Johnny.
JOHNNY
Frankie Coffee Cake. Move that
face. I don't want his face
looking at that face when he's
throwing my dice. Get a towel
from the bar, put it over his
head Jimmy nevermind that, put
him in the
FRANKIE
I know. I know. The bathroom.
Frankie starts walking towards the bathroom, unassisted.
FRANKIE (CONT' D)
I'm coming, Jimmy.
JOHNNY
(to Cologio)
Okay, come on now, kid. Two two's
the number.
Cologio shakes the dice, blows' on them, closes his eyes in
deep concentration (just like he's seen the big"guys do)
and says:
COLOGIO
Come on, baby. Two two on the
hard four.
JOHNNY
Don't get cocky, kid. Just throw
the dice.
COLOGIO
Okay, Johnny.
Cologio throws the dice. Johnny watches them as:
(
(
.
28
DICE
They roll and tumble across the floor, through all the
money and bounce off the back wall and finally settle near
a stack of money. They rest -- two two! A roar goes up.
ROOM
The crowd is divided between the winners and losers as the
place goes beserk. But Johnny's voice rises above the din.
JOHNNY
Two two! He did it! I don't
fuckin' believe it! I love this
fuckin' kid.
Johnny grabscologio and starts kissing him allover the
top of his head. Cologio gently tries to fend him off.
JOHNNY
I love this fuckin' kid.
COLOGIO
(protesting)
Johnny!
Johnny kisses him on the cheek.
COLOGIO
(protesting)
Johnny!
NARRATOR (V. o. )
Nine. I made nine passes in a
row. I don't know how much money
Johnny won, but when it was
over
INT. BAR - LATER
The bar is almost empty. Johnny and Cologio are walking
through the bar towards the front door.
JOHNNY
You're goin' to the best school
in the whole world, kid, the
University of Belmont Avenue. But
you gotta get two educations: one
from the street and one from
school. This way you'll be twice
as smart as everyone else.
They exit.
:
/
--
I
~ ..
29
EXT. BAR - NIGHT
Cologio and Johnny come out of the bar. Cologio heads down
the street towards his stoop.
JOHNNY
Cologio. Come here. Listen, no
disrespect to your mother and
father, but your name's a little
too bi9. We gotta do something
about 1t. From now on your name
is c.
COLOGIO
C?
JOHNNY
Yeah, C for Cologio
(reaches into his
pocket, pulls out
a bill)
And here's a C-note for C. Put
this in your kick and don't tell
anybody where you got it.
COLOGIO
(taking the bill)
A hundred dollars! I never had
a hundred dollars before.
JOHNNY
And I never had a boy before
COLOGIO
You never had a ? I don't
understand
JOHNNY
Never mind. Listen. Tomorrow you
come by the bar and.-
COLOGIO
We'll play dice again?
JOHNNY
No l tell you what how would
you like to go to the zoo?
COLOGIO
The where?
JOHNNY
The zoo. Just me and you.
Johnny turns and sees the refrigerator bodyguards hovering.
CONTINUED
/
/
(
30
CONTINUED
And my
Okay?
home.
ahead.
JOHNNY (CONT'D)
(smiling)
two baby-sitters here.
Come on, you better get
It's gettin' late. Go
-
Cologio starts walking to the door.
JOHNNY
See ya tomorrow C. I'll tell
everybody in the neighborhood
that's your new name.
Johnny smiles. Cologio gives a little smile back and
exits.
MONTAGE (TO THE MUSIC OF DION AND THE BELMONTS)
Johnny taking Cologio into the candy store and introducing
him to everyone.
Johnny gettini fitted for a tailored suit. While everyone
'in the store 1S making a fuss over him, Cologio stands and
watches. Johnny looks to Cologio for approval. Cologio
nods.
Cologio standing behind Johnny at a card table, letting
Cologio peek at his hand. Johnny selects a discard,
Cologio shakes his head. Johnny selects another. Cologio
nods. Johnny plays the card. Another player picks up the
discard and wins. Johnny and Cologio share a laugh.
NARRATOR (V. o. )
(playing over
montage) .
Johnny took me e v e ~ h e r e he went
and he would always introduce me
to ~ e o p l e as his boy. And r
not1ced a strange thing happening
in the neighborhood. Everywhere
r went, even when r was by myself,
people were happy to see me. All
the store owners would always
smile at me and call me by my
name. Even Phil the Peddler, who
called everybody Mary
EXT. 187TH STREET - DAY
Phil the Peddler with some customers. Cologio is sitting
on his stoop.
CONTINUED
.'
"
--
(
(
31
CONTINUED
PHIL
(sees Cologio)
Hey, Cologio. I mean, C. How are
you today, my boy? That's a nice
new outfit you got on, boy.
COLOGIO
I wear this all the time, Phil.
PHIL
Never mind. I got some nice
peaches for your Mom.
COLOGIO
I got no money on me, Phil.
PHIL
You don't need money with me, kid.
Don't ever embarrass me like that
again. Here you go -- And just
tell Johnny that I took care of
you.
As Phil moves away and Cologio watches him, the bag of
-peaches in his hand:
NARRATOR (V. o. )
That's when it hit me. Like a
smack in the face. It was because
of Johnny that everybody was
treating me so nice I liked
it l liked it a lot. Johnny was
right, the working man was a
sucker
INT. HALLWAY
Cologio, excited about his bag of free peaches,. runs up the
steps. He bursts through the door.
INT. APARTMENT
Cologio discovers Lorenzo looking stern and Rosena with her
head down crying on the kitchen table.
LORENZO
(holding an
envelope in his
hands)
Cologio, what's this?
CONTINUED
./
(
\
(
CONTINUED
32
COLOGIO
What's what, Dad?
LORENZO
This. Where did you get this?
Your mother found this behind your
drawer.
COLOGIO
It's money that I've been saving,
Dad.
LORENZO
Twelve hundred dollars you been
saving?! Did you become a brain
surgeon overnight, son?
COLOGIO
Dad, I worked for it.
LORENZO
Doing what?
COLOGIO
Things.
LORENZO
What things?
Oh, things.
Things.
COLOGIO
You know, things.
LORENZO
Don't lie to me, son. Just tell
me the truth and I won't get
upset.
COLOGIO
You promise?
LORENZO
I'm your father, would I lie to
you?
COLOGIO
I worked the craps games and the
guys gave me tips.
LORENZO
(upset)
What crap games? What tips?
CONTINUED
--
(
(
(
33
CONTINUED ( 2 )
COLOGIO
I thought you weren't going to be
upset?
LORENZO
I lied. Now tell me everything.
COLOGIO
I told you, I worked for Johnny
and he
LORENZO
I knew it. I knew it, Rosena.
I'm taking this money right back.
I'm going right down to the Chez
Joey and give this back to Johnny.
Rosena suddenly picks her head up.
ROSENA
Let's not make any rash decisions.
LORENZO
Rosena, I'm surprised at you.
ROSENA
Why? Because we finally have a
chance to bUy some things we need.
LORENZO
This is dirty money.
ROSENA
Jesus Christ, Lorenzo just
once
LORENZO.
J: work to support my family. We
don't need any gangster's money
(to his son) .
Cologio, come with me.
Cologio and Lorenzo walk out of frame. We stay with
Rosena.
INT. CHEZ JOEY
Johnny is sitting alone in his corner.
LORENZO
Johnny, I would like to talk to
you.
CONTINUED
34
CONTINUED
JOHNNY
Hey, Lorenzo. What's up. Hello,
C.
COLOGIO
Hi, Johnny.
LORENZO
I want you to take this money
back. We can't accept this.
JOHNNY
No disrespect to you, Lorenzo, but
I didn't give it to you. I gave
it to your son. He worked for it.
LORENZO
That's right, Johnny. ' ~ son'.
And I don't want my son ~ n v o l v e d
in your shit.
JOHNNY
What shit are you talking about?
LORENZO
Please, Johnny, I'm not a stupid
man. You stay away from my son.
You hear me?
Uncomfortable moment of silence. Then:
JOHNNY
Excuse me, Lorenzo. Would you
mind if you and I speak alone?
(to Cologio)
C, would you mind
LORENZO
I'll speak to my own son.
(to Cologio)
Coloqio, wait outside.
COLOGIO
goes out the front door.
can listen.
He holds it open a crack so he
JOHNNY
(turning to
Lorenzo)
First of all, never speak to me
like that again. I respect you,
(MORE)
CONTINUED
CONTINUED
JOHNNY (Cont'd)
Lorenzo. I never influenced your
son in any way. I tell him to do
the right thing -- to go to school
and go to college and
LORENZO
You don't understand, Johnny.
It's not what you say, it's what
he sees. The clothes, the cars,
the money, the women. I tried to
take him to a baseball game the
other day and he said he didn't
want to go. Because Mickey Mantle
would never pay my rent?
JOHNNY
(smiles)
He said that to you? I don't
believe that kid.
LORENZO
It's not funny, Johnny. It's not
funny when your nine-year-old son
has a bigger bank account than you
do.
JOHNNY
That's not my problem, Lorenzo.
I offered you a job. All you had
to do was drop my numbers off.
From one bus stop to the next.
Nobody would have suspected you
because of who you are. It would
have meant another $150 a week in
your kick for you and your family.
But you said 'no' to me.
LORENZO
That's right. And I say 'no' to
you again.
(throws money back
to him)
You couldn't corrupt me, so now
you want to corrupt my son.
JOHNNY
You think I would do that? You
think I would hurt that boy in any
way? That boy is like a son
LORENZO
Don't you say that
JOHNNY
That boy is like a son to me!
--
What did
I have my
(
36
EXT. BAR - FRONT DOOR - CONTINUOUS
Cologio picks his head up when he hears this.
JOHNNY (0. S.)
Get out of here. I wash my hands
of you, Lorenzo. Jimmy, show him
the door. Jimmy, I want him out
of here!
SUddenly Lorenzo comes rushing out of the bar, grabs
Cologio, and heads down the street.
COLOGIO
Where's my money, Dad?
Johnny say, Daddy? Can
money?
LORENZO
I left it in there.
COLOGIO
What? How could you do that
Daddy? I worked for it. It was
my money.
LORENZO
It's dirty money, son.
COLOGIO
It's not. It's mine, Daddy.
LORENZO
You stay away from that man.
COLOGIO
I want my money, Daddy. Daddy,
I want it.
LORENZO'
Shut up! stop it!
COLOGIO
Daddy, listen
LORENZO
Son, stop
COLOGIO
No, Daddy, please
LORENZO
No, son
CONTINUED
(
(
37
CONTINUED
Lorenzo slaps his son. Cologio reels from the slap.
Lorenzo is shocked by his own actions. Then Cologio looks
up at Lorenzo.
COLOGIO
Johnny was right, the working man
is a sucker, Dad. He's a sucker.
LORENZO
Johnny's wrong. It doesn't take
much strength to pull a trigger,
but try to get up every morning,
day after day, and work for a
living to feed a family ..
(looking towards
the bar: under
his breath)
Goddamn you, Johnny.
(back to Cologio)
Johnny is wrong. The working man
is the real tough guy I'm the
tough guy.
COLOGIO
But they treat him so special.
And they treat me special, too.
I can do anything I want
LORENZO
That man is evil
COLOGIO
( c r y i n ~ J
and they k1SS his hand, Daddy.
How can he be evil? I seen it,
Daddy. And every day people go
by and say 'Good morning, John,
how ya doin', John?'
Cologio makes the connection between Lorenzo and Johnny.
COLOGIO (CONT'D)
Just like you, Daddy. The people
on the bus. It's the same thing.
They love him, just like they love
you, Daddy.
LORENZO
No, it's not the same. There's
a difference. People don't love
him. They fear him.
COLOGIO
I don't understand, Daddy.
CONTINUED
"
(
(
38
CONTINUED (2)
LORENZO
You will, son, when you get older.
Lorenzo and Cologio turn and walk down the rain-slicked
street in pale moonlight, Lorenzo's arm around Cologio's
shoulders. A figure approaches them -- Rosena -- a scarf
pulled around her head to protect herself from the misty
rain. Rosena runs up to Lorenzo and Cologio. She has
tears in her eyes. There is a moment of silence as all
look at each other.
Johnny looking through the rain-streaked bar window. The
words "Chez Joey" appear on the glass above his head. He
watches the Anello family and we see the longing in his
eyes.
Lorenzo, cologio and Rosena ..
ROSENA
I'm sorry.. I'm sorry...
LORENZO
Let's go home.
Lorenzo wraps his other arm around Rosena and the three
walk down the street. The light from the street lamp on
the corner of 187th and Belmont casts an eerie light over
the family. Over this we hear:
NARRATOR (V. O. )
I never listened to my father
about staying away from
Johnny and Johnny and my father
never spoke again. As I grew,
Johnny grew in power. A total of
eight years passed and Johnn
became the Capo Di Tutti Cap1, the
boss of all the bosses. The
Number One man on the whole East
Coast. And I was his friend.
HARD CUT TO
AQUEDUCT RACE TRACK - 1968 - DAY
Tight on the horses in the starting gate. They are
restless, banging against the gate. Legend: "Aquaduct
Race Track, 1968". The gates fly open and the horses
charge out. There is a roar from the crowd as we:
'.
39
CROWD
Panning shot of the crowd cheering the horses on.
VOICES (O.S.)
Where's C? Where's C?
INCLUDE
Frankie Coffee Cake, Gigi, the Whale, Johnny with new
Bodyguards sitting behind him.
Johnn, now forty-two, is showing the strain of his
posit1on. His hair is thinning, he has circles under his
eyes, and there is a tautness about the face. But he is
still a handsome man, has grown a moustache and retains a
vitality that shows as he moves with the grace of a man who
owns the air around him.
They are all sitting, totally involved in the race. Johnny
keeps looking behind him and then sees:
COLOGIO
Age seventeen, coming down the aisle, cutting through the
crOWd, tickets in his hand.
JOHNNY
C, come on. Did you get the bet
in?
COLOGIO
I got it in, John. It's all on
seven.
Cologio, as he sits between Frankie and John, fans all the
tickets for John to see. He then holds one for himself and
hands the rest to John.
JOHNNY
You hold them. This is going to
be beautiful. The seven is a
lock. It can't lose.
THE RACE
The horses are coming around the far turn headed for the
stretch. The seven starts pUlling away from the pack.
--
(
'.---
40
THE CROWD
Johnny, cologio and the rest stand as number seven pUlls
in front. They all cheer and yell "Come on, seven." "Yes.
Yes." "It's a lock. It's a lock." "Nobody can catch you,
nobody can catch you, seven." "All the way, all the way."
THE RACE
Coming down the stretch, number seven is now five lengths
in front. It can't lose.
TIGHT ON NUMBER SEVEN
The intense rumbling of hooves as Seven pounds towards the
finish.
THE CROWD
Johnny, Cologio and the guys are already hugging and
celebrating.
JOHNNY
(yelling over the
crowd)
I told you. Didn't I tell you.
It was a lock.
COLOGIO
(yelling)
You're always fucking right, John.
Cologio grabs Johnny and hugs him.
GIGI
Come on, seven.
j (to John)
Now we can go eat.
JOHNNY
Gigi, I'll bUy you the whole menu,
Geeg.
THE RACE - THE TIGHT SHOT ON NUMBER SEVEN
The rumbling of the hooves is intense as the jockey whips
the horse towards the finish.
- - ~
(
41
THE CROWD
THE GUYS
Come on, seven. This is
beautiful. I don't believe it.
And then they hear from off screen behind them.
VOICE (0.5.)
Come on, seven. You're my lucky
seven.
They all stop cheering, stunned, like being struck by
lightning. They look at each other and then turn and see:
EDDIE MUSH
a few rows behind them, standing, cheering.
EDDI MUSH
Come on seven.
Immediately Johnny grabs the tickets from Cologio, rips
them up and throws them in the air. Cologio can't believe
it.
COLOGIO
John, we're five lengths in the
lead.
Cologio, in a panic bends down to pick up the ripped-up
tickets.
JOHNNY
It doesn't matter let's go
home we've been Mushed sorry,
Gigi.
THE RACE
Number seven is still in the lead, nearing the finish, but
the four is coming up like a house of fire.
EDDIE MUSH
screaming.
EDDIE MUSH
Come on, seven. You're the boss,
you're the boss.
/
/
. ~
42
COLOGIO
pieces of tickets in his hands, turns to Johnny and the
departing guys.
COLOGIO
Johnny . Johnny
Cologio turns back to the track to see:
THE RACE
Number four catches seven at the finish and we hear:
ANNOUNCER
Four, by a nose. This is the
greatest comeback I have ever seen
in racing etc.
COLOGIO
standing there, dejected, the pieces of tickets still in
his hands. He turns to look at Mush. Mush sees him.
EDDIE MUSH
Hey, C. How ya doin'? Listen,
I got a tip for the next race.
COLOGIO
(as he starts
walking out)
Go fuck yourself.
EDDIE MUSH
Very emotional.
INT. CHEZ JOEY - CRAP GAME - NIGHT
The room looks almost the same except for some ne!" paneling
and a few decorations. Cologio, having just entered, is
dressed in black suit with an open white shirt. He looks
cocky, sure of himself as he strides across the room. The
room is full of Wiseguys. The Narration is continuous.
NARRATOR (V. o. )
Johnny invited me to a special
crap game and Wiseguys from all
over the c o u n t ~ were there.
L.A., Miami, Ch1cago, Detroit, Las
Vegas, and they treated me like
I was a nobody. And I was.
Cologio looks over to one corner and sees:
!
,/
--
(
f
---
43
THREE WISEGUYS
being very loud.
WISEGUY 111
You know Tough Tony from Nevada?
WISEGUY #2
He's nobody. He can't get himself
arrested.
WISEGUY #3
Well, fuck him then. Get somebody
and whack him out.
They all laugh.
COLOGIO
smiles and says to himself.
COLOGIO
(under his breath)
Yeah. Everybody's a tough guy.
"A look comes over Cologio's face. He remembers:
JOHNNY (V.0.)
Hey, C. Come here, C. I want to
show you something.
EXT. BRONX ZOO - BABOON CAGE - 1960
as Cologio (age nine) runs over to Johnny, a bag of popcorn
in his hand. The two bodyguards are in the b.g.
JOHNNY
You see those three ,baboons over
there. Trying to be tough guys.
Banging on their chests, making
all kinds of noises.
THREE BABOONS
beating their chests, making noises, showing how tough they
are.
JOHNNY
with his arm around Cologio.
CONTINUED
/
t
.
44
CONTINUED
JOHNNY
Look at them. Now -- you see that
one over there. The old one with
the grey beard and the whiskers.
OLD BABOON
getting up, starting to move towards other three.
JOHNNY (0. C.)
Watch what happens when he comes
over. Look. Look. Look. See?
Look, C.
THREE BABOONS
SUddenly go quiet, their chests sink in, their heads go
down. The old baboon walks past them.
COLOGIO AND JOHNNY
'Cologio is transfixed. Johnny is engrossed.
JOHNNY
You know what that means, C? He's
the real Capo. He's the tough
guy, right there. Always remember
that. When a real tough guy walks
into a room, watch everybody's
body language. That tells a lot.
Don't forget what I teach you.
COLOGIO
looks to Johnny, looks at the baboons.
OLD BABOON
-
looks at Cologio and Johnny. He just stares at them.
JOHNNY
stares back at the old baboon. Then to Cologio.
JOHNNY
He knows He knows, C.
(
(
, ,
' ..
~ .
45
COLOGIO - AGE SEVENTEEN - 1968
still remembering.
JOHNNY (V.0.)
He knows He knows, C. He's the
real Capo.
INT. CHEZ JOEY - 1968
All of a sudden the door opens but we can't see who has
entered. There is a moment of awkward silence.
COLOGIO
is straining 'to see.
SEVERAL WISEGUYS
turn and head for the door. There are hugs and greetings.
COLOGIO
looks to the three Wiseguys who are suddenly quiet.
Cologio smiles and turns back to the door to see:
JOHNNY
being greeted and hugged by everyone.
Johnn is returning the greetings when he suddenly sees
ColOg10. He starts towards him leaving the Wiseguys
behind.
JOHNNY
(yelling across
the room)
C. What are you doing?
COWGIO
Hi, John.
JOHNNY
How ya doin
'
I C. Everything all
right?
(to others)
Hey, everybody. This is my boy
here.
(MORE)
CONTINUED
46
CONTINUED
JOHNNY (Cont'd)
(to Cologio)
I'll see you in a little while.
I got some business to take care
of.
COLOGIO
Okay, John. I'll wait. '
As Johnny turns, walks into a back room, several of the
Wiseguys, before following him, turn to Cologio.
WISEGUY
(to Cologio)
I'm sorry, I didn't
I'm so embarrassed.
apologize, I didn't
WISEGUY
(to Cologio)
Hey, you're ever in
me up.
(DETROIT)
get your name.
I must
know.
(CHICAGO)
Chicago, look
'--
WISEGUY (LOS ANGELES)
(to Cologio)
Hey, you're ever in L.A., give me
a call.
WISEGUY (LAS VEGAS)
(to Cologio)
Hey, come to Las Vegas and see a
show.
WISEGUY (NEW YORK)
(to Cologio)
Come to Miami and meet my
daughter.
. .'
As all the Wiseguys disappear into the back room:
NARRATOR (V.0.)
Johnny just said a few words to
me and I became a person. I liked
it. I liked it a lot.
EXT. 187TH STREET AND BELMONT AVENUE - 'LATE AFTERNOON
Cologio, CRAZY MARIO, BABES and PHILLY are hanging out on
the street corner. Gigi is flopped on a chair nearby,
eating. Two pretty Italian girls are walking across the
street. All eyes are upon them.
CONTINUED
.'
(
(
47
CONTINUED
BABES
My God, I don't believe this.
Look at this broad. She's
gorgeous.
COLOG10
Settle down, man. Put it back in
your pants, will ya? .
CRAZY MARIO
I know those broads. They're both
pigs.
COLOGIO
Mario, how the hell do you know?
CRAZY MARIO
Believe me, they can't be trusted.
They wold fail the test in a
heartbeat.
PHILLY
What test are you talking about,
Mario?
All the other guys join in with "Come on, Mario. Tell us."
etc.
CRAZY MARIO
The Mario Test.
COLOGIO
All right, Mario. What's this
test?
CRAZY MARIO
The test is -- you take them for
a ride in your car. ' You go on a
highway and you get right up next
to one of those eighteen-wheelers
goin' by. You beep the horn and
you wave to him. You gotta make
sure he's lookin' at you. It's
very important. Then, you put
your right hand behind her head.
And gently, but firmly, you force
her head down between your legs.
Now she's gonna resist, but just
force her down. It's for her own
good, believe me.
(MORE)
CONTINUED
"
, . ::,J
'-/
.
48
CONTINUED (2)
CRAZY MARIO (Cont'd)
Now, if she goes down on the old
'barbarooda,' you know what I
mean, knowing that the guy in the
eighteen-wheeler is watching
she can't be trusted.
Beat of silence. They all look at him in amazement. Then
they break into laughter and Cologio speaks.
COLOGIO
You're a sick person, Mario. You
need help. You should see a
doctor.
CRAZY MARIO
Listen to me, C. You get these
girls who say
(little innocent
voice)
'Oh, I never did it before.' But
when she goes down on the old
'mahashka', you know I mean, and
she does this with her hand and
puts that hair over her right ear,
like this -- that means she did
it before.
COLOGIO
Mario, you better talk to
somebody.
GIGI
Wait a minute, C., listen
(Wheeze)
the guys' got a point there.
I had this gorgeous tomato once
(Wheeze)
she had these set of
watermelons
(Wheeze)
she went down on my zucchini,
I couldn't believe it
(laugh)
arrrgh, arrgh, aargh.
COLOGIO
You guys are sick bastards, you
need help.
Cologio see LOUIS BEANS crossing the street.
CONTINUED
49
CONTINUED ( 3 )
COLOGIO
Beans, get over here. Where's my
fuckin' money.
Beans pretends he doesn't see Cologio and keeps walking
faster.
BABES
What happened with you and Beans?
COLOGIO
He owes me twenty. He's been
dodging me for two weeks.
THE #12 BUS
comes down 187th. Lorenzo beeps the horn and waves Cologio
over.
COLOGIO
runs over to the driver's window.
LORENZO
Come on, take a ride with me. I
only got one trip left.
COLOGIO
Okay, Pop.
Cologio jumps on the bus.-
INT. BUS
Cologio sits right behind his dad. The doors close with
a wheeze and the bus continues on its route. There are
only a few passengers in the bus: a couple of old ladies
in the back, two old men talking to each other, three black
girls, the same age as Cologio, in-a corner and an old bum -"
way in the back. "
We hear the jazz from Lorenzo's transistor radio.
Cologio's eyes are fixed on one incredibly beautiful black
girl, JANE. She is tall and beautiful and classy. She
continues talking with her friends but every once in a
while sneaks a look at Cologio then quickly looks away.
Lorenzo continues to talk to the inattentive Cologio.
CONTINUED
,.
(
(
(
50
CONTINUED
LORENZO
So how did things go in school
today, okay? Are you gonna watch
the fi9ht toni9ht on TV? Carmen
Basil110 is g01ng against Gene
Fulmer Hey, are you there? Are
you listening to me?
Lorenzo looks in his rearview mirror and catches a shot of
Jane eyeing Cologio and then quickly looking away.
LORENZO
Cologio, pay attention when I'm
talking to you.
Cologio finally looks to his father.
COLOGIO
Why can't you call me C, Dad?
Everybody calls me C?
LORENZO
Why can't I? Because I gave you
that name. Cologio was my
father's name. That's why.
COLOGIO
Forget it.
A beat.
LORENZO
Are you gonna watch the fight or
not with me tonight?
COLOGIO
I don't know, Dad. -I think I'm
gonna pass on that tonight.
LORENZO
Why?
COLOGIO
I made some plans. You
understand.
Lorenzo turns back to his driving.
LORENZO
Okay, son.
Cologio looks back to Jane, oblivious to his father's
disappointment.
/
--
I'
'.
51
EXT. BUS
as it pulls up to a bus stop. The three black girls get
off.
As bus pulls away, Cologio and Jane's eyes meet through the
bus window.
INT. BUS
The only passenger left, besides Cologio, is the drunk
passenger who continues to talk to himself.
COLOGIO
Dad, what's with the guy down
there?
LORENZO
Ah, he's drunk as a skunk. He's
been on two trips already with me.
I tried to talk to him before but
he got a little hostile.
COLOGIO
Come on, Dad, let's just throw him
off.
LORENZO
Son, take it easy. I lay a hand
on him, I could lose my job.
COLOGIO
Don't worry, Pop. I'll do it.
LORENZO
Just relax. Let me talk to him.
They both walk to the back of ,the bus to confront the
Passenger.
LORENZO
Okay, pal. It's time to go home.
Lorenzo grabs him by his arm. """
PASSENGER
(obviously very
drunk)
Get your fuckin' hands off me.
These hands are registered. I can
kill you with either one.
The Passenger pushes Lorenzo. Lorenzo backs off. Cologio
lunges forward.
CONTINUED
/
52
CONTINUED
COLOGIO
Watch it, Dad. Let me do it.
Lorenzo stops him.
LORENZO
No.
Lorenzo starts pushing Cologio back towards the front of
the bus.
COLOGIO
Come on, Dad. Let me throw him
off.
LORENZO
Be quiet and sit down.
COLOGIO
Why?
LORENZO
I know what I'm doin'. Watch and
learn.
Lorenzo sits behind the wheel. Cologio sits behind him.
EXT. BUS
The bus starts moving down the street.
INT. BUS
COLOGIO
What/ s up, Dad?
LORENZO
Just watch.
Lorenzo looks at the Passenger in his rearview mirror.
Passenger is weaving in his seat.
LORENZO
It's all a matter of timing,
sOD It's all timing. I could
lose my job if I put my hands on
him all a matter of timing.
Lorenzo continues to watch the passenger weave.
Cologio is watching both Lorenzo and the Passenger.
CONTINUED
The
", r
-_II'-
53
CONTINUED
LORENZO
All a matter of timing.
PASSENGER
weaves towards the aisle and then back. straight up.
LORENZO
sees his moment.
FOOT
hitting the brake.
PASSENGER
snaps forward, his head bumps against the front seat. He
slumps back a little grin on his face.
EXT. BUS
Lorenzo has the Passenger by the arms and Cologio has his
feet as they carry him off the bus.
LORENZO
Timing. Timing is the key.
COLOGIO
Dad, you're the best.
LORENZO
See what I mean. There's no need
to get your hands dirty. Let' s
drop him off here.
They set the Passenger up on a bench. Lorenzo sticks an
old newspaper in his hands. The Passenger is still out
cold.
LORENZO
(to Passenger)
Everything okay?
(to Cologio)
Did you hear him say 'yes.'
COLOGIO
Sounds like a 'yes' to me.
(
(
..
54
INT. BUS - LATER - TRAVELING SHOT - LORENZO AND COLOGIO
LORENZO
Sure you don't want to come to the
fight with me tonight?
COLOGIO
No thanks, Dad. I got plans.
. LORENZO
You haven't been spending much
time home lately. If I don't see
you on the bus we never would get
together.
COLOGIO
I know. I've just been bUsy. you
know.
LORENZO
Yeah. I know. You want me to
drop you off at the house?
COLOGIO
No, Dad. I'm going to the bar.
LORENZO
Why are you going there?
COLOGIO
Don't start up with me, Dad.
Please.
LORENZO
You're old enough to know what
you're doin'.
The bus pulls to a stop at 187th and Belmont, right in
front of the Chez Joey. Lorenzo opens the bus doors just
as Johnny comes out of the bar. They stare at each other
for a moment, then Lorenzo turns to Cologio. Cologio exits
the bus, the door closes behind him. Cologio watches the
bus go. He then turns to Johnny when sUddenly:
LOUIE BEANS
comes around the corner, sees Cologio and dashes across the
street.
COLOGIO
Louie! Beans 1 I want my money.
Louie disappears around another corner.
CONTINUED
You're
right.
answer
(
.
55
CONTINUED
COLOGIO
Beans! You can't dodge me
forever!
JOHNNY
C. What are you doin'? What are
you yelling about?
COLOGIO
John. I got a problem with this
guy over here, Louie Beans. This
~ y owes me twenty dollars and
1t's been two weeks now and every
time he sees me he keeps dodging
me, John. Should I crack him one,
or what?
JOHNNY
Listen, C, sometimes violence is
not the answer. Is he a good
friend of yours?
COLOGIO
No, John, I don't even like him.
JOHNNY
Well, there's your answer right
there. Look at it this way, it
cost you twenty dollars to get rid
of him. He'll never ask you for
money a ~ a i n . He'll never bother
you aga1n. He's out of your
life for just twenty dollars.
You got off cheap.
COLOGIO
right, John. You're always
How do you know the right
all the time, Johnny.
JOHNNY
Well, I try to keep my eyes and
ears open all the time And I
read.
COLOGIO
You read, Johnny?
JOHNNY
Yeah I read you know Come
on, let's go next door to
Mario's get something to eat.
They start walking towards Mario's.
CONTINUED
--
,
(
56
CONTINUED (2)
COLOGIO
What do you read?
JOHNNY
You know things you know. I
read philosophy.
Cologio stops walking at the door of Mario's -- shocked.
COLOGIO
Philosophy? You read Philosophy?
Come on, John.
JOHNNY
Sure. You ever hear of
Machiavelli?
COLOGIO
Who?
JOHNNY
Nick Machiavelli, believe me, this
man had it together. If he was
around today, he would be my
Consigleri, C. Come on, let's go
inside.
INT. MARIO'S - EARLY EVENING
Cologio and Johnny enter. The owner, FRANK, upon seeing
Johnny, throws his hands in the air and rushes over.
FRANK
Hey, Johnny. Please, sit down.
I got your table all ready. Bow
are you, c?
COLOGIO
Fine, Frank. How are you?
FRANK
Ah, can't complain.
JOHNNY
Give us a nice bottle of wine and
some pasta.
FRANK
Coming right u\" John.
(scream1ng to a
nearby waiter)
Get some bread and butter on this
table, hurry up.
CONTINUED
(
(
.
57
CONTINUED
cologio watches this and smiles to h i ~ s e l f .
COLOGIO
Johnny. So what about this guy
Machiavelli?
JOHNNY
Availability, that's what he
always said.
COLOGIO
What do you mean?
JOHNNY
I could live anywhere I want to.
You know why I live in this
neighborhood? Availability. I
want to stay close to everything.
Being on the spot you can see
trouble start and deal with it
immediately. Trouble is like a
cancer. It's easy to cure when
it's small, but if you wait too
long, it grows and then it kills
you. So you gotta cut it out
early.
One waiter drops off bread and butter immediately followed
by another waiter bringing the wine. He pours the wine for
Johnny to test. Johnny passes the wine to Cologio.
Cologio tests the wine.
Nice.
COLOGIO
(to waiter)
I
JOHNNY
(with a smile)
I'm glad you approve.
The waiters, after pouring the wine, leave.
JOHNNY
Availability, c;:. That's what it
comes down to. The people in this
neighborhood, that see me every
day that are on my side -- they
feel safe and that gives them more
reason to love me. But the
people that want to do otherwise,
they think twice, because they
know I'm close. And it gives them
more reason to fear me.
CONTINUED
(
(
--
58
CONTINUED (2)
COLOGIO
Is it better to be loved or
feared, John?
JOHNNY
It's nice to be both, but it's
v e ~ difficult. But if I had my
ch01ce I would rather be feared
because fear lasts longer than
love. Friendships that are bought
with money mean nothing. You see
how it is around here, I make a
joke and everybody laughs. I know
I'm funny but I'm not that
funny. It's fear that keeps them
loyal to me. But the trick is,
not to be hated. That's why I
treat my men well. But not too
well. I give them too much, then
they don't need me. I give them
just enough where they need
me but they don't hate me.
Frank comes with the pasta, smiles at Johnny, then slips
away. Cologio and Johnny start eating. After Cologio's
first bite he looks up and sees:
FRANK
near the kitchen, smiling sheepishly with a look of "is it
good?" on his face.
COLOGIO
looks at J o ~ y and nods his head towards Frank.
JOHNNY
turns to Frank.
JOHNNY
Very good, Frank.
FRANK
smiles back.
From outside, the sound of several motorcycles pulling into
the neighborhood. They slow down and stop nearby.
(
.
59
JOHNNY
tenses. Listening.
COLOGIO
keeps eating. Oblivious.
The sound dies as the motorcycles are shut down.
JOHNNY
pushes his plate away and rises.
JOHNNY
Keep this warm for us, Frank.
FRANK
John, is everything okay? You
don't like it?
JOHNNY
No. No, it's okay. Keep it warm.
COLOGIO
a bit bewildered, follows the exiting Johnny out of the
restaurant. Frank is left behind, equally bewildered.
INT. CHEZ JOEY - NIGHT
Eight motorcc1e quys are standing by the bar. They are
all dressed 1n leather or denim, long hair, beards, bare
arms with tattoos, typical Hell's Angels. These are the
aliens. Their leader has red hair and a red beard. Only
the bartender, the bouncer and Rudy Ice are in the bar.
As Co1ogio and Johnny enter the bar there seems to be a
stalemate. All is very quiet. The BOUNCER is addressing
the Aliens.
BOUNCER
I'm sorry, fe11as, but you're not
dressed properly. You'll have to
leave.
RED BEARD
We just want a few beers and we'll
be on our way.
BOUNCER
I said you gotta go.
CONTINUED
.....
.
60
CONTINUED
JOHNNY
What seems to be the problem here?
RED BEARD
We just want a few beers. We've
been on the road a long time.
We'd appreciate it. We're kinda
dry.
Johnny thinks for a moment, studies the situation, and then
says:
JOHNNY
You spoke like a gentleman. I
respect that. Give them their
beers.
Patty Irish places eight bottles of beer on the bar, one
in front of each of the Aliens. There is a palpable
tension in the room.
Johnny turns to leave with Cologio.
Suddenly there is the sound of loud laughter. Johnny and
~ o l o g i o turn to see:
RED BEARD AND THE ALIENS
standing at the bar, their beers held high, upside down,
drenching the bar.
JOHNNY
crosses to Red Beard as the Aliens sit back down and stare
at Johnny, defiantly, grinning.
JOHNNY
Tsk, tsk, tsk that wasn't very
nice I'm sorry, but you have to
leave.
RED BEARD
(laughing)
Did you hear that, fellas? This
dago wop says we gotta leave!
- (looks Johnny
right in the
eyes)
We ain't leaving, Da90. Make us
leave
(
(
61
RUDY ICE, BARTENDER AND COLOGIO
are all frozen, watching Johnny, waiting to see what he's
going to do.
JOHNNY
calmly walks over to the front door -- locks it -- and then
returns to Red Beard. He takes the keys, holds them up,
then slips them inside his suit jacket and buttons the
jacket.
JOHNNY
Now you can't leave.
(then he smiles)
CAMERA
slowly pans the Aliens, one at a time, as we hear:
NARRATOR (V. 0.)
I will never forget the look on
their faces. All eight of them,
their faces dropped. All their
courage and strength was drained
right from their bodies. They
knew they made that fatal mistake.
This time they walked into the
wrong bar.
JIMMY
the Bouncer coming out of-the back room followed by
Johnny's bodyguards.
JOHNNY
backs away from Red Beard and is met by Jimmy and t h e ~ w o
bodyguards.
There are two lines, eight against four. Patty Irish is '-"'"
still behind the bar, Cologio is in a corner and Rudy Ice
is nowhere to be found.
JOHNNY
- (softl:y>
This is beaut1ful.
Suddenly Johnny explodes, there is gun in his hand and he
leaps on Red Beard and begins pistol-whipping him.
62
BODYGUARD #1
grabs two of the Aliens by the throats and bends them
backwards over the bar, choking them. A third Alien slugs
Bodyguard #1 directly in the face. Bodyguard #1, looks at
him, totally unaffected and then backhands him, sending him
sprawling.
PATTY IRISH
can be seen peeking over the edge of the bar. A glass
flies by and he disappears again.
JIMMY
the Bouncer, hits an Alien square in the jaw. The Alien
falls over the bar. Jimmy throws his body on top of the
Alien, grabs the bar under him and begins to crush the
Alien between himself and the bar.
JOHNNY
gives a final blow to Red Beard. Another Alien jumps
'Johnny from the back, choking him. Suddenly a bottle is
smashed over the Alien's head and he slumps away. Johnny
turns to look and sees:
COLOGIO
grinning. Johnny smiles back. SUddenly a fist slams into
Cologio's head and he goes down. Johnny jumps Cologio's
attacker as Rudy Ice slides into frame.
RUDY ICE
(singinCJ),
'Can I get a w1tness? Can I get
a witness?'
And Rudy slides out of frame. Johnny yells after him.
JOHNNY
RUdy. Open the door.
BODYGUARD '2
has one Alien by the throat and another by the hair. He
takes the one by the hair and slams his face into his
knees. The Alien is knocked out. Rudy glides'in and sings
to the unconscious Alien.
CONTINUED
--
(
.
63
CONTINUED
RUDY ICE
(singing)
'The ~ a r t y ' s over. It's time to
call 1t a day . '
JOHNNY
throwing the keys to Rudy.
JOHNNY
Rudy, open the fuckin' door. We
gotta get these guys out of here.
COLOGIO
still on the floor, slowly raising himself.
RUDY ICE
gliding towards the front door, keys in hand.
RUDY ICE
(singing to the
Aliens)
' they burst your silly balloon
and taken the moon away '
Suddenly Johnny slaps Rudy upside the head.
RUDY ICE
(singing)
'I'm so hurt '
Johnny pushes Rudy aside and heads for the door.
EXT. CHEZ JOEY - NIGHT - CONTINUOUS
We see the eight motorcycles parked.
The door bursts open. Jimmy and the Bodyguards are
dragging the half-conscious Aliens out into the street.
They throw them right into the parked bikes. They step on
the bikes and on the faces of the Aliens.
JOHNNY
drags Red Beard out and heaves him into the street.
CONTINUED
t....-
~ ...
64
CONTINUED
Cologio follows behind Johnny, still groggy, his mouth is
swollen and his lip is bleeding. Johnny grabs Red Beard
by his beard and lifts him up to his face.
JOHNNY
Look at me, tough guy.. My name
is Johnny Remember me Remember
this wop's face 'Cause I'm the
one who did this to you And
don't ever mistake kindness for
weakness again.
Johnny heaves Red Beard back into the street and turns to
Jimmy and the Bodyguards.
JOHNNY
Nice work, fellas. Let's go.
Rudy, set up some drinks. We got
anything to eat inside?
RUDY ICE
(singing)
'Apple, peaches, pumpkin pie '
Johnny grabs Rudy and pushes him through the door.
JOHNNY
Shut the fuck up. What the hell
is wrong with you? You're singing
through the whole damn fight
Jimmy, put him in the bathroom.
From inside we hear Rudy beginning to whimper.
JOHNNY
stop crying, you're a grown man.
RUDY ICE
(sin<1ing from
ins,-de)
'It's my party and I'll cry if I
want to '
JOHNNY
I'm warning you, RUdy.
Johnny turns to Cologio who is still with the Aliens.
JOHNNY
Come on, C. Let them lie there.
COLOGIO
Okay. I'll be right in, Johnny.
"
".
~ / CONTINUED
. ~
.\
o
.
65
CONTINUED (2)
Johnny disappears inside the bar, leaving Cologio standing
over the half-unconscious Aliens sprawled in the street.
NARRATOR (V.0.)
I stayed there a little longer to
enjoy the moment. It felt great.
Johnny sticks his head out of the bar.
JOHNNY
C. Come on.
COLOGIO
Coming, John.
Johnny disappears back into the bar. Cologio turns to Red
Beard, who is still sprawled where Johnny threw him.
COLOGIO
(suddenly cocky)
You're lucky I really didn't get
into the fight. Remember this
face 'cuz I'm the guy who almost
did this to you.
(points to his
swollen mouth)
I got hit with a lucky shot.
Thanks for the love tap.
INT. COLOGIO'S BEDROOM - NIGHT - CLOSE ON COLOGIO
lying on his bed with his back to the door, an ice pack
pressed against his swollen mouth. He is moaning. Lorenzo
enters.
j LORENZO .
Coloqio what's wrong?
Cologio turns and Lorenzo sees his face.
LORENZO
What the hell happened? Were you
in a fight?
COLOGIO
Yeah, Dad. I had a little bit of
a problem.
LORENZO
Well, what happened?
CONTINUED
- - ~
\
J
66
CONTINUED
COLOGIO
Some guys came into the bar and
started trouble. I tried.
LORENZO
How many times do I have to tell
you? When you see trouble about
to happen. get out of there.
COLOGIO
What do you want me to do? Run
away? Make people think I got no
heart?
LORENZO
You' think these people really care
about ou? All these guys that
you t h ~ n k are tough guys in that
bar they go five blocks outta
the neighborhood and they're
nobodies.
COLOGIO
Not Johnny, Dad.
LORENZO
Not Johnny. Johnny's a boss, so
maybe more people know him. But
because of who he is, Johnny could
never make a friend.
COLOGIO
Johnny's got lots of friends.
LORENZO
But not one that he can trust.
I know him.
COLOGIO
He trusts me.
LORENZO
Maybe Dinner will be ready in
five minutes.
CLOSEUP ON GUNS AND HANDS
MIKEY GAGA (0. S.)
Here, feel it, touch it, caress
it. A gun is like a woman, C.
If you don't treat it right, it'll
fuck you.
CONTINUED
..
67
CONTINUED
Pull back to reveal:
AN ALLEYWAY
with Mikey Gaga, Slick, Babes and Cologio. Mikey Gaga, the
neighborhood thief, has an open towel with several guns in
it. Cologio has a gun in his hand and is feeling a sense
of its power. It feels good.
JOHNNY
at the end of the alleyway.
Hey, C.

C.
JOHNNY
(
.\
-:;;;
Johnny sUddenly realizes what is happening and his tone
changes and he starts walking into the alley.
JOHNNY
C! I want to talk ~ o u . Come
here! Gaga, stay r1ght there.
I want to talk to you, too.
MIKEY GAGA
with panic, starts taking the guns and putting them in his
bag. His cockiness is suddenly gone.
MIKEY GAGA
Sorry guys, we gotta close for
alterations.
JOHNNY
(grabbing Cologio)
You. I want to talk to you.
(to Gaqa)
Gaga, how many times do I have to
tell you not to peddle that shit
around here. I got a respectable
joint and I don't like it.
SLICK
Johnny, I told them not to sell
that shit here that you
didn't
CONTINUED
that
want you
Go
(
(
.
68
CONTINUED
JOHNNY
Slick, please. Don't run
game down on me. I don't
guys hangin' around here.
ahead, take a walk.
Mikey Gaga, Slick and Babes walk down the alleyway leaving
Cologio and Johnny. Johnny looks at Cologio and there is
a moment of awkward silence. .
JOHNNY
Well, tell me ls this what it
is? You want to buy a gun
now? You want to be a tough guy.
COLOGIO
No, John. That's not it. But
after what happened last night I
just thought
JOHNNY
You thought what? You think a
gun makes you a tough guy?.I seen
more guys with guns wet their beds
than anything. It's when the
other guy has a gun and he pulls
his out on you now we see who
the real tough guy is.
COLOGIO
Johnny, you don't understand
JOHNNY
No, I do understand. This shit
is not for you, C. What have I
been teaching you?
COLOGIO
Yeah. I know get two
educations.
JOHNNY
Yeah, you better know. Come on.
Johnny throws an arm around Cologio.
JOHNNY
Come tonight, we'll go to the
fights.
COLOGIO
You got tickets?
CONTINUED
--
(
.
69
CONTINUED (2)
JOHNNY
Come on, C. I don't need tickets.
COLOGIO
My father's been trying to get
some tickets.
JOHNNY
Why didn't you ask me to get 'em
for you?
Cologio doesn't know what to say.
COLOGIO
I just thought maybe you
know
JOHNNY
Look, just because me and your
father don't get along doesn't
mean I won't help him. Your
father's a stand-up guy. And if
he ever needs a favor, you ask me.
And I don't want nothing in
return.
COLOG10
I just thought
JOHNNY
C, next time ask me. For
anything. Okay?
They begin to walk out of the alley.
INT. SUNNYSIDE GARDENS, QUEENS - BALCONY - NIGHT
Cologio and Lorenzo are sliding into their seats. The ring
is obviously way below them.
COLOGIO
Hey, Dad. Nice seats. I gotta - ~
be careful I don't get a
nosebleed.
LORENZO
Hey, these are the best I could
do.
COLOGIO
Dad, come on. I'm only kidding.
They settle into their seats.
CONTINUED
70
CONTINUED
The ring from their point of view. There are many people
crowded around the ring as the fights haven't begun yet.
Then Cologio sees:
JOHNNY
entering with a babe on his arm, and he is ushered to his
ringside seats. Many people greet Johnny and he
acknowledges them. Jimmy, beside Johnny, looks up he sees:
COLOGIO AND LORENZO
in the balcony. He speaks to Johnny.
JIMMY
John, I found them. They're in
the balcony.
JOHNNY
Jimmy, I need two seats
.Jimmy goes to two patrons next to Johnny's seats.
JIMMY
Excuse me, my boss has some
friends that he would like to have
sit with him. Would it be all
right if you give up your seats?
The two patrons look up at Jimmy, then they look at Johnny.
Johnny just smiles. They look back at Jimmy. Then:
PATRON
I wouldn't have it any other way.
The patrons go off in search of other seats.
COLOGIO AND LORENZO
in their balcony seats. Suddenly Jimmy, totally out of -"
breath, appears next to Cologio.
JIMMY
How ya doin' C?
(to Lorenzo
Hi.
(to Cologio)
Johnny would like you and your
father to come and join him.
l
V
(
(
.
71
COLOGIO'S POV
Johnny, ringside, with his babe on one side and two empty
seats on the other side, is waving Cologio and Lorenzo
down.
BALCONY
Cologio turns to Lorenzo and waits for an answer.
LORENZO
(to Jimmy)
No thanks. Tell Johnny we're fine
here.
Lorenzo sees Cologio's disappointment.
LORENZO
(to Cologio)
If you want to go, you can. Go
ahead.
COLOGIO
Dad, he's got seats for both of
us. He's trying to be friends.
LORENZO
I like my seat. I paid for this
seat. If you want to go you go.
Cologio looks to his father and then to Jimmy.
JOHNNY
is still waving them down.
COLOGIO
turns to Jimmy.
COLOGIO
Tell Johnny thanks anyway, Jimmy.
We're okay here.
Jimmy leaves.
COLOGIO AND LORENZO
sitting in silence, staring straight ahead. Over this we
hear:
CONTINUED
--
(
(
(
72
CONTINUED
ANNOUNCER (V.C.)
In this corner weighing 147
pounds, the pride of the Bronx,
Billy Bello.
A cheer from the crowd.
ANNOUNCER (V. C. )
And in this corner
Announcer continues in the b.g. as Cologio turns to look
at his father.
LORENZO
looking ahead, stern.
COLOGIO
turns away and looks down to:
JOHNNY
with his friends, laughing and having a good time.
COLOGIO
stares at the fighters, but his mind is somewhere else.
SMASH CUT TO
INT. THEODORE ROOSEVELT HIGH SCHOOL, BRONX - DAY
in a corridor. cologio, with his shirt open, flanked by
his friends, Sally Slick and Babes, comes charging through
two swinging doors. Other students move out of their way
-- some look on with envy, some look on with fear, some
don't ev.en look. OVer this we hear: "'",,-
NARRATOR (V.0.)
I used to walk through the halls
of the school with my friends with
my shirt open, just looking for
trouble. You see, that's all that
mattered in my neighborhood. Who
was the toughest, who was the
strongest, who had the biggest
reputation.
(MORE)
CONTINUED
\.
-:
.
73
CONTINUED
NARRATOR (Cont'd)
Back and forth, everyday we would
walk back and forth -- and every
day I would see...
COLOGIO AND HIS FRIENDS
round a corner into a corridor full of students, blacks,
whites and a few Puerto Ricans. Cologio slows as he sees:
JANE
at the end of the corridor, surrounded by several of her
friends. She is seventeen, tall, beautiful, chiseled
features and her eyes are locked on Cologio. Several of
the black guys watch Cologio's group with caution as they
continue to move down the corridor.
NARRATOR (V. o. )
. her. She would always look at
me and I would always look at her.
Our eyes would meet every day in
the halls. But I would never say
anything to her. And she would
never say anything to me.
All sound slips away. Coloqio and Jane watch each other
as their two groups move through the crowded hallway.
COLOGIO
is shaking and nodding his head as if he were listening to
his friends but his mind is obviously on:
JANE
who is also barely paying attention to her friend as she
watches Cologio.
NARRATOR (V. o. )
But we knew we liked each other.
You know how it is when you smile
with your eyes. She was tall.
She was beautiful. She was
classy.
cologio and Jane pass each other.
NARRATOR (V. 0 )
But she was black. And that was
a no-no in my neighborhood.
(
74
INT. HIGH SCHOOL MEN'S ROOM - DAY
Cologio and Sally Slick are listening to four other Italian
guys in the corner SINGING 000 Wop.
SINGERS
'Earth Angel, Earth Angel. will
you be mine?'
Three BLACK GUYS enter. They are smiling and enjoying the
music. Sally Slick stops the singers.
SALLY SLICK
Whoa .wait a minute
. (turns to the
Black GUys)
You guys want something?
No, man.
singing.
BLACK GUY 1#1
We're just enjoying the
I

(
SALLY SLICK
Yeah? we1l, fuckin' enjoy it
someplace else.
.AII of a sudden the mood changes. The Black GUys are ready
to fight.
SALLY SLICK
Go ahead make your move.
Black Guy, seeing the odds are not in his favor, is about
to speak when the school bell rings.
BLACK GUY #1
(smiles)
Maybe another time.
As the three Black GUys leave.
BLACK GUY #1
(to one of the
singers)
You were flat.
They are gone. Sally Slick starts to go after them.
Cologio grabs him as the four singers slide out.
COLOGIO
(to Sally Slick)
Why the fuck you getting crazy?
They were just digging the
singing.
CONTINUED
.
S+CV+4
75
CONTINUED
SALLY SLICK
'Cause I don't fuckin' like them,
okay?
COLOGIO
Hey, man. They're just people,
like everybody else.
SALLY SLICK
No, they're not.
Sally Slick charges out, leaving Cologio alone with his
thoughts.
EXT. HIGH SCHOOL - DAY
as Cologio is leaving the school, alone. He stops on the
steps when he sees:
JANE
her back to Cologio, with a few of her friends.
COLOGIO
stops and stands and watches and waits.
JANE
says "good-bye" to her friends and they leave her alone,
apparently waiting for someone. She still has her back to
Cologio.
COLOGIO
sensing his opportunity, starts moving towards her.
NARRATOR (V.0.)
I knew I had to say something to
her. This chance might never come
again. I wanted to be cool.
Cologio arrives behind Jane.
COLOGIO
(suddenly
insecure)
Hi.
CONTINUED
76
CONTINUED
She turns and smiles.
COLOGIO ---
(panicking; in a
thin voice)
Do you go to this school?
JANE
(cool and
composed)
You see me here every day.
COLOGIO
Of course .. I knew that I
mean..
JANE
I saw you on the bus a couple of
times.
COLOGIO
You saw me? On the bus?
JANE
Yeah. I ride the number twelve
all the time.
COLOGIO
Me, too. My Dad's the driver.
Lorenzo.
JANE
He's your father? He's a nice
man.
COLOGIO
You know him?
JANE
No. But he's so nice to everyone.
COLOGIO
He's my Dad.
JANE
I know I'm Jane. And you're ?
COLOG10
Me? Cologio
JANE
What kind of name is that?
CONTINUED
--
.
77
CONTINUED (2)
COLOGIO
What kind of name is that? It's
Italian, Sicilian. My family's
from sicily.
JANE
Where's Sicily?
COLOGIO
Where's Sicily? Well, you know
the boot that comes down and the
little island next to it and it
looks like the boot is kicking the
island.
Jane is laughing, amused by Cologio's awkwardness.
COLOGIO
Excuse me, are you waiting for
someone?
JANE
Yes I am.
COLOGIO
(hurt)
You are, oh, I see. Well, I
better go.
Cologio starts to leave, trying to remain cool, then:
JANE
I'm just waiting for my brother.
COLOGIO
Oh, you're waiting for your
brother! Oh, that's great
I .
JANE
What's so great about it?
COLOGIO
What's great about it? Well, I
mean, you know
JANE
Do you want to go to the movies?
COLOGIO
Movies? You want to go to the
movies with me?
CONTINUED
-
(
.
78
CONTINUED (3)
JANE
Why are you repeating everything
I'm saying?
COLOGIO
Why am I repeating everything
you're saying? I don't know
why .
Jane just laughs.
COLOGIO
Movies, now?
JANE
No.
COLOGIO
No, I know you meant not now
because you're waiting for your
brother
JANE
Tomorrow after school.
COLOGIO
Tomorrow after school, okay
JANE
We'll meet here.
COLOGIO
Here? Fine. I'll be waiting
here 'til tomorrow. No, I mean
I'll meet you here tomorrow.
JANE
It was nice meeting you
(smiles)
Cologio.
COLOGIO
It was nice meeting you, too,
Jane. I'll see you tomorrow.
Jane starts to walk away. Cologio calls out to her.
COLOGIO
Tomorrow, right? Three o'clock?
JANE
You're getting better.
CONTINUED
(
(
(
.
80
THE OTHER TWO BLACKS
stop and drop their bikes.
A free-for-all develops. The blacks are totally
outnumbered.
BABES
has Black'Guy #2 against a wall and is smashing his face
left and right.
TWO OTHER
Italians are smashing up the bikes, stomping their feet
through the spokes.
SALLY SLICK
is beating one of Black GUy #3 into unconsciousness, still
in the street
'COLOGIO
has Black GUy #1 pinned to the ground but you can see in
his eyes that he does not really want to hurt him. They
look at each other.
COLOGIO
Stay down, man. I don't really
want to hurt YQu.
Black GUy '1 just looks back at Cologio, defiantly, still
struggling.
Suddenly Sally Slick comes over and pulls Cologio off Black
GUy #1.
SALLY SLICK
Get off him. What are you doin'?
Dancin' with him?
Sally Slick grabs Black GUy '1 and starts hitting him in
the face.
SALLY SLICK
You mothayou
He keeps hitting him and hitting him. Black GUy '1 tries
to fight back but Slick is too much for him.
81
COLOGIO
is looking on perplexed as we HEAR the sound of a police
siren. Cologio leaps on Slick.
COLOGIO
Come on, Slick. The cops.
SALLY SLICK
Fuck the cops.
Slick continues to hit Black GUy #1. Cologio finally
manages to pull Slick off Black GUy #1.
COLOGIO
Come on, let's go.
Cologio and Slick start to run away, but Slick keeps
looking back at the Black GUy #1, who is trying to get up.
BABES
and the other Italian guys are all running away
.THE THREE BLACK GUYS
are laying in the street, Black GUy #1 is the only one who
is conscious. The bikes are totally destroyed.
SALLY SLICK
looks at Black GUy #1, getting Up. Slick stops running,
picks Up a garbage can, holds it over his head and starts
running back to finish off Black GUy 11.
BLACK GUY '1
sees Slick heading towards him but is unable to defend
himself or even move.
COLOGIO
sees Slick, turns and runs after him, reaches him and
tackles him just before he gets to Black GUy 11.
SALLY SLICK
What the fuck is wrong with .you?
COLOGIO
You're gonna kill him.
CONTINUED
(
.
82
CONTINUED
SALLY SLICK
Who gives a fuck!
COLOGIO
looks to Slick, trying to make sense of what he just heard.
He looks to:
BLACK GUY #1
very hurt, but aware, watching Cologio.
SQUAD CAR
comes screeching around the corner.
EXT. JOHNNY'S HOUSE IN THE BRONX - EVENING - CLOSE UP ON
COLOGIO'S HAND
.as he knocks on the door. We HEAR Johnny's voice from the
other side of the door.
JOHNNY (0.5.)
Who is it?
COLOGIO
Johnny. It's me, C.
Johnny opens the door. He is in an Italian T-shirt with
no sleeves, no shoes and is just buckling his pants. A
small cross hangs from a around his neck.
JOHNNY
What is it, c?
We see CHRISTINA, a beautiful Hispanic woman and Johnny's
regular girl, glide from the bedroom, slipping on a robe.
COLOGIO
John, I'm sorry lf you're
busy l didn't mean to
disturb
JOHNNY
No, no, that's all right.
(turnin9 to

Christina, you know C.
CONTINUED
-'",
(
(
.
83
CONTINUED
CHRISTINA
Hi, C.
COLOGIO
Hi. I'm sorry to bother you.
CHRISTINA
That's all right. I'm ~ s e d to it.
Christina glides off into the bathroom.
JOHNNY
(to Christina)
Funny. Very funny.
(to Cologio)
Come on in.
Johnny steps back as Cologio enters the house.
INT. JOHNNY'S HOUSE
The interior of the house is very classy and shows a lot
of taste. Leather furniture, nice rugs, artwork on the
walls. A comfortable house. Cologio seems tense and
upset.
JOHNNY
You want something to drink?
COLOG10
No thanks.
(in a rush)
Slick was gonna kill him, man.
He had the guy down and he wanted
to kill him.
JOHNNY'"
Whoa. Whoa. Kill who?
COLOGIO
This nigger
(catches himself)
I don't know what else to call
them. I grew up hating these
people and now I don't even know
Why.
JOHNNY
First of all, I don't know what
happened, but if Slick is
involved, I warned ~ o u to stay
away from him. He 1S nothing but
trouble.
CONTINUED
.
84
CONTINUED
COLOGIO
Johnny, he's my friend ....
JOHNNY
You're lettin9 yourself get caught
up in this This
neighborhood could hurt you, C.
You gotta think for yourself,
COLOGIO
Johnny, I do I'm really
trying but . we hate these
people I mean, I don't hate
them I mean then I meet this
girl . and
A beat, then:
JOHNNY
Yeah?
COLOGIO
I really like her. But you see,
John she's she's black. And
I don't know how to handle it.
JOHNNY
Oh, I see. Now I understand
What's there to handle? The best
advice I can give you is: do what
your heart tells you to do. When
you go against your heart, you're
automatically wrong.
Johnny rises and crosses into the bedroom. We stay with
Cologio and hear Johnny o.s.
JOHNNY (O.S.)
It's like a person who marries for
money, C. That's a big mistake
because you can't put the money
underneath the sheets
Johnn comes back in with a dress shirt on, unbuttoned,
a coat, socks and shoes. He continues to dress
himself.
JOHNNY
and that's all that matters,
at night when the two of you are
in the darkness under the covers,
is how you feel about each other.
(MORE)
CONTINUED
--
(
\
(
.
85
CONTINUED (2)
JOHNNY (Cont'd)
You're only allowed three great
women in your lifetime, C. They
come like the great fighters, once
every ten years. Rocky Marciano,
Joe Lewis, Sugar Ray Robinson.
Sometimes you get them all at
once. I had my three when I was
sixteen. That happens. The girls
I meet today, I don't know if they
like me or what I represent. '
Johnny now fully dressed, rises and heads for the door.
Cologio follows. Johnny stops and turns to Cologio.
JOHNNY
But when a girl likes you, she
likes you.
COLOGIO
Gee, I never thought how great it
is to be a nobody.
JOHNNY
Hey, come on, you're not a nobody.
You're my boy.
Johnny rustles Cologio's hair and grabs him by the back of
the neck.
COLOGIO
(slightl

Johnny.
JOHNNY
(suddenly serious)
C, you never know, maybe this is
the woman that's gonna put wind
in your sails. Maybe she's your
first great one.
COLOGIO
Gee, thanks John I'm gonna go
for it.
INT. JOHNNY'S CAR - TRAVELING - LATER
A 1968 red Cadillac, white vinyl top, white interior, white
spoke wheels.
JOHNNY
Is she a good kid?
CONTINUED
(
86
CONTINUED
COLOGIO
Well, I really don't know, John.
I just met her yesterday.
JOHNNY
All right, here's what we'll do.
Tomorrow you borrow my car.
COLOGIO
Johnny, you never lend anybody
your car.
JOHNNY
That's okay, kid.
You'll make a nice
You gotta give her
Don't worry.
impression.
the test.
COLOGIO
Oh, Johnny, have you been talking
to Mario?
JOHNNY
No, what's the matter
You think I listen to
This is my own test.
the door test.
COLOGIO
What?
with you?
that l?sycho?
You q ~ v e her
JOHNNY
The door test. It never fails.
It's foolproof.
They arrive at the bar. Johnny pulls right up in front.
EXT. CHEZ JOEY AND JOHNNY'S CAR - EVENING
Johnny and Cologio get out of the car.
COLOGIO
(as he is getting
out of the car)
What's the door test?
During the following, Johnny is very animated and he enacts
the details of the door test for Cologio.
JOHNNY
You pull up right where she is,
then you get out of the car, then
you lock both doors. You walk up
(MORE)
CONTINUED
. ~
(
(
(
s+crr
-
.:- :...; : _-(..-:: r r..,i
..j
87
CONTINUED
JOHNNY (Cont'd)
the steps, you bring her back
down. You take out the key, you
open the door for her, you let her
get in, then you c:ose the door
for her. Then you walk around the
car and you look through the rear
window. If she doesn't reach over
and lift up that button for you
so you can get in dump her!
COLOGIO
What?
JOHNNY
Listen to me, kid. If she doesn't
reach over and open up that door
for you, that means she's a
selfish broad and you're just
seeing the tip of the iceberg, you
dump her and you dump her fast.
COLOGIO
But, Johnny, what about all the
beautiful things you just told me.
Do what my heart tells me to do,
when two people touch in the
middle of the night that's all
that matters, find someone to put
wind in my sails, this one could
be one of my great ones ?
JOHNNY
It's all bUllshit, kid. The door
test. That's what counts.
COLOGIO
(meekly)
Dump her?
Johnny just nods.
INT. ANNELO BATHROOM - DAY
Cologio is shaving.
Lorenzo walks into the doorway and st,ands there.
LORENZO
Where are you going, son?
cologio sees his dad in the mirror.
CONTINUED
\
(
.
88
CONTINUED
COLOGIO
Hey, Dad. I need your 0p1n10n
about something. You know Joey
Bama from down the block. He
asked me what I thought about him
going out with a black girl. What
do you think about that?
LORENZO
What's the matter? Joey Bama
can't find any white girls?
COLOGIO
That's not a good answer, Dad.
What's the problem.
LORENZO
People should stay within their
own. You know I get along with
everybody on the bus, but when it
comes to marriage and my children
I think we should stay within our
own. You know I'm not
prejudice
COLOGIO
Dad, don't tell me you're not
prejudice, because you are -- what
would you say if I wanted to go
out with a black girl?
LORENZO
You would never do that.
Cologio nicks himself with his razor.
COLOGIO
Sometimes you just gotta do what
your heart tells you to do -- I
think I'll tell Joey Bama that.
LORENZO
Yeah well, you tell Joey Bama
that sometimes in the height of
passion the little head tells the
big head what to do. And the big
head should think twice about
it Be careful, son.
Lorenzo leaves.
COLOGIO
Okay, Dad, I'll
CONTINUED
,
(
..
89
CONTINUED (2)
Cologio sees that Lorenzo has left. He calls down the hall
to him.
COLOGIO
Okay, Dad. I'll see you tomorrow.
THE RED CADILLAC - A FEW MOMENTS LATER
coming over the crest of a hill to the music of the Four
Tops. It glides up in front of the Roosevelt High School.
Cologio looks in the rearview mirror for one last look,
reaches over and locks the passenger door, gets out of the
car, and with the key locks the driver's door. He looks
up, over the roof of the car and sees:
JANE
on the top of the steps, looking beautiful.
COLOGIO
rounds the car and up the steps towards Jane.
JANE
turns and sees Cologio. There is a look of concern on her
face.
COLOGIO
sees the concern and approaches her cautiously.
COLOGIO
Are you-okay?
JANE
No Where were you last night?
COLOGIO
What do you mean, where was I last
night?
JANE
My brother got beat up in your
neighborhood.
COLOGIO
What are you talking about?
CONTINUED
--
. -
...
,\
(
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90
CONTINUED
JANE
Last night some Italian guys beat
up my brother in your
neighborhood.
COLOGIO
So, what's that have to do with
me?
JANE
You were there.
COLOGIO
I wasn't there, Jane I don't
know anything aboutt it.
JANE
My brother described you. You
were there.
COLOGIO
Jane, I wasn't there. Just calm
down.
JANE
Cologio
COLOGIO
Come on, don't do this to me '.
JANE
Tell him.
COLOGIO
What?
JANE
Tell my brother he's right
behind you.
Cologio turns to see:
WILLY
his face all bruised, a bandage over his ri9ht e ~ e .
Cologio is speechless as he recognizes him 1mmed1ately.
WILLY
(pointing to his
face)
You did this. You did this to me.
CONTINUED
--
(
(
.
91
CONTINUED
COLOGIO
Hey, wait a minute
WILLY
I owe you, you goddamn
COLOGIO
Hey don't, don't you tell her
that . don't ~ i e to her,
man he's lying, Jane
JANE
(to Willy)
Are you sure it was him?
WILLY
It was him. I saw hm. He did
this to me.
COLOGIO
It was Slick Slick did this to
you I tried to help ---
~ a n e turns to Cologio.
JANE
You were there.
COLOGIO
But I didn't do anything. Not to
him. I tried to help him.
(to Willy)
Tell her! You son of a bitch!
(to Jane)
I swear to God, Jane. I tried to
help him
WILLY
You did this to me! And you stay
away from my sister!
COLOGIO
(to Willy)
You fuckin' nig---
Cologio stops suddenly, realizing what he has done. There
is a moment of silence as all three look at each other.
Then Jane turns sUddenly and starts to walk away, crying.
Cologio follows her with his eyes, unable to speak. Jane
is gone. Cologio turns back and stares at Willy. Willf
returns the stare, then turns and walks away. Cologio 1S
left alone.
/
--
(
<.
.
92
EXT. CHEZ JOEY - DUSK
The big red Cadillac pulls up in front of the bar rather
abruptly. Johnny and some of his pals are hanging out
front. Cologio leaps out of the car, leaving the keys in
it.
JOHNNY
Hey Cologio,what happened?
COLOGIO
The keys are in the car, John.
I gotta go.
JOHNNY
C, how come you're back so fast?
COLOGIO
It just didn't work out John.
Listen, I can't talk. I gotta go.
JOHNNY
wait a minute. We're all going
to the track. You wanna come?
COLOGIO
No, no John. I'll see you later.
I really gotta go
Cologio runs off.
JOHNNY
What the hell's the matter with
him?
COLOGIO
comes around a corner onto 187th street near his stoop.
The Anello family car is parked in front of the apartment
building. Lorenzo is at the trunk, taking out grocery
bags. Rosena is just getting out of the ~ a s s e n g e r ' s side.
Lorenzo calls out to Colagio as he sees h1m crossing the
street.
LORENZO
Cologio. Come here. Give me a
hand with the groceries.
COLOGIO
Dad, not now. I'm in a rush.
LORENZO
Would you get over here? I need
a hand.
-......-., CONTINUED
:
.
93
CONTINUED
Cologio starts walking towards them.
COLOGIO
What is it, Dad Hi, Mom.
Cologio gives Rosena a kiss.
ROSENA
(to Lorenzo)
Would you leave him alone? Just
make two trips.
LORENZO
(to Rosena)
I want to talk to him anyway.
(to Cologio)
Listen, I got tickets for the
fights and they're...
COLOGIO
Dad, I don't wanna go to the
fights. Listen, can I ~ o ? I got
a lot of things on my m1nd
ROSENA
Will you let him go?
LORENZO
No, just look, Cologio wh
don't you want to go to the f1ghts
with me?
COLOGIO
Dad, it's not that
ROSENA
Let him go!
Coloqio starts walking away.
COLOGIO
Dad, I gotta go l'll talk to
you Mom
cologio is gone. Lorenzo turns to Rosena.
LORENZO
(very hurt)
I got us box seats.
./
t
.
94
EXT. STREETS - NIGHT
as Cologio paces through the night, seemingly searching for
He approaches another street corner and stops.
In the d1stance he sees:
SLICK
and some of his friends. Cologio is about to approach them
when suddenly:
A BLACK CADILLAC
with Jimm and Johnny and the
abruptly 1n front of Cologio.
out of the car, grabs Cologio
Johnny and the rest follow.
INT. DOORWAY
two bodyguards pulls up
One of the bodyguards leaps
and pUlls him into a doorway.
Cologio is pinned up against the wall, the bodyguards on
each side of him. Johnny approaches. Jimmy remains in the
street, by the car.
COLOGIO
What the hell is goin' on here,
Johnny?
JOHNNY
After you picked up the car, where
did you go?
COLOGIO
I drove around a little and then
I went to go pick up Jane. Why?
JOHNNY ,"
Jane. Was there really a Jane?
Some serious shit is going down,
Cologio.
COLOGIO
Johnny, what is it?
JOHNNY
We stopped to get gas before we
went to the track. When the quy
lifted up the hood to check my
oil( there was a device on the
eng1ne you know what I'm saying
here it didn't go off because
I don't know they
(MORE)
CONTINUED
(
.
95
CONTINUED
JOHNNY (Cont'd)
said it was put together by an
amateur So, tell me where did
you go with my car?
COLOGIO
Well, I picked up the car, John.
I remember, I drove right to the
school . and I locked both of the
doors, just like you told me
(pause) .
wait a minute what is this?
You don't trust me? You think
that I would try to clip you,
Johnny? Are you crazy,
man? I'm gettin' outta here.
Cologio starts to leave. One of the bodyguards grabs him
and puts him in an arm lock.
COLOGIO
Johnny, tell him to take his hands
off me, man
30hnny just looks at Cologio.
COLOGIO
Johnny, what the fuck is wrong
with you?
JOHNNY
Let him go.
The bodyguard releases Cologio.
COLOGIO
Johnny, I would never hurt you
you'been like a fath--John you
broke my heart just leave me
alone!
Cologio runs out of the doorway. The bodyguards start out
after him. Johnny stops them. ,.'"
JOHNNY
Let him go.
Johnny watches Cologio disappear into the night.
/
' ..
.
96
TIGHT SHOT - RUNNING FEET
Cologio, running, running. Cars pass him in both
directions, then one car pulls up besides him and matches
his pace. We see:
SLICK
in the passenger seat, looking directly at Cologio.
SLICK
Come on, get in.
INT. CAR
Cologio is jammed in the backseat between Babes and Philly
Boy. Slick is in the front seat and Tony is driving.
Cologio gags in reaction to a strong odor in the car.
COLOGIO
What's that smell?
BABES
We made those fuckin' niggers a
cocktail, man.
Cologio looks down and sees ten Molotov cocktails jammed
into boxes on the floor.
SLICK
turns around from the front seat and smiles again at
Cologio. He reaches across the seat and hands Cologio a
.45 automatic.
SLICK
Here, C. Take this. You might
need it.
Cologio takes the gun. The car speeds off, burning rubber.
NARRATOR (V.0.)
As soon as I felt that gun in my
hand, I wanted out I didn't
belong here They were all
smi1ing. I was smiling too, but
I was dying inside I wanted out,
but I couldn't get out of the car.
What was I gonna say? 'Let me
out, I'm afraid? I'm chicken '
(MORE)
CONTINUED
(
(
(
.
97
CONTINUED
NARRATOR (Cont'd)
I could never go back to that
neighborhood. They would call me
a punk. They would say I got no
heart. I kept hearing my father's
voice in my head 'Don't blow it,
son.. This neighborhood will hurt
you, son.. Don't waste your
talent, son 'Then I kept hearing
Johnny's voice, 'Be careful, C.
Don't lose it, C. Keep your head,
C.' Somebody pulled the chain and
I was going down the fuckin'
toilet. 'Oh my God, I am heartly
sorry for having offended Thee ... '
Please, please, man .
The car pulls to a stop at a light when suddenly there is
a banging on the window next to Slick.
JOHNNY (O.S.)
Hey, hey, hey!
.Cologio sees Johnny at the window.
COLOGIO
Johnny!?
JOHNNY
Hey, hey, Cologio, get out of the
car Open the door.
SLICK
(rolling down the
window)
He's with us.
JOHNNY
Mind your fuckin' business,
you
SLICK
Hey, John. Be cool. Listen
JOHNNY
I said mind your fuckin' business.
Johnny reaches through the open window, grabs Slick by the
hair and bangs his head against the dashboard. There is
dead silence in the car. A beat, then Babes 'quietly opens
his door so that Cologio can get out. Johnny grabs Cologio
out of the car. .
CONTINUED
.'
(
(
.
98
CONTINUED (2)
JOHNNY
Get in my car over there.
COLOGIO
All right, John. Take it easy.
JOHNNY
I said get in the car .
(turns to Slick
and the others)
You all know who I am so I'm only
gonna tell once. Stay away
from this k1d. Now get the fuck
out of here.
The car speeds off.
INT. RED CADILLAC
Cologio is already in the backseat of the car. Johnny
slides in beside him and calls to Jimmy, who is driving.
One of the bodyguards is riding shotgun.
JOHNNY
Jimmy to the club.
(to Cologio)
What the hell is wrong with you?
What are you doin' with these
guys?
COLOGIO
They're my friends.
JOHNNY
They're your friends?
COLOGIO.
Yeah. They told me not to worry
about anything.
JOHNNY
When friends like that tell you
not to worry, that's the time to
worry.
COLOGIO
After all this time, Johnny, you
don't trust me. You ever think
maybe it was in the car when I
picked it up? That Jane and I
coulda got killed?
Johnny does not
CONTINUED
"
99
CONTINUED
COLOGIO
Don't you trust anybody, Johnny?
JOHNNY
(long pause)
No I can't.
COLOGIO
That's a horrible way to live,
John.
JOHNNY
If you want to live, it's the only
way.
COLOGIO
Yeah, well, not for me . Not for
me.
EXT. CHEZ JOEY
There is dead silence as they pull up in front of the Chez
Joey. Crazy Mario comes out of the bar and runs up to the
car as Johnny and Cologio get out.
CRAZY MARIO
Hey Cologio, some fine-lookin'
black broad was just here looking
for you.
Johnny looks at Cologio. Cologio looks right back at him.
COLOGIO
You believe me now? There was a
Jane?
JOHNNY
Cologio, I'm sorry. I didn't mean
anything.
COLOGIO
Forget it, Johnny. Mario, which
way did she qo?
CRAZY MARIO
She was just here not two minutes
ago. If you hurry up, you can
catch her. 0000, hey, Cologio,
are you banqin' that broad?
COLOGIO
You sick bastard, I don't want to
talk to you.
CONTINUED
-- .
(
.
100
CONTINUED
Cologio runs off. Johnny and Mario watch him go.
CORNER
Cologio rounds the corner and sees:
JANE
walking by herself.
COLOGIO
Jane! Wait a minute! Jane .. come
here!
COLOGIO
runs up to her. He sees people looking from their windows.
JANE
My brother told me the truth you
tried to help him.
COLOGIO
I told you
JANE
I know but he took it out on
you
Jane starts to cry.
COLOGIO
Don't cry, it's okay l
understand how he felt
Jane falls into Cologio's arms. Cologio is, for a moment,
taken back, then he comforts her and looks up and sees:
HORE PEOPLE
looking at them from the windows. Cologio yells up to
them.
COLOGIO
What the hell are you lookin' at?
Mind your own damn business.
-- .
(
(
101
MAN IN WINDOW
watching Cologio and Jane. He slowly closes the blind.
COLOGIO
comforts Jane. He kisses her on the cheek.
COLOGIO
It's okay, baby, let them stare.
Come on, let's go for a walk.
He holds her away from him.
COLOGIO
Give me your hand.
She refuses.
COLOGIO
I said, give me your hand.
She reluctantly puts her hand in his and they start to
walk.
EXTERIOR - NIGHT - SERIES OF SHOTS
as Cologio and Jane walk through the neighborhood to the
music of "It's All In The Game". They cross Fordham Road
and sit on a park bench by the entrance to the Bronx Zoo.
COLOGIO
I 90t a lot on my mind, Jane My
fr1end, Johnny Somebody put
something in his car. The car
that I had when I picked you
up He doesn't trust me, Jane.
I thought he was my zriendHe
knows me since I'm nine years
old.
JANE
Cologio, I trust you.
COLOGIO
You trust me?
JANE
Yes.
COLOGIO
I'm glad you came to see me.
CONTINUED
-- .
(
(
.
102
CONTINUED
JANE
I missed YOUr
COLOGIO
I missed you, too. I think you're
beautiful.
JANE
Stop.
COLOGIO
No, I really do ... I want to start
seeing you, Jane.
JANE
You do?
COLOGIO
Yes . Do you know how to make
sauce? ..
JANE
What?
COLOGIO
Sauce. You know. Sauce for
macaroni.
Jane looks at him incredulously.
JANE
That's a stupid question.
COLOGIO
No, it's not. All Italian guys
ask girls that Well do you?
JANE
Yes, I do.
COLOGIO
Who taught you how to make it?
JANE
My father.
COLOGIO
I'd like to meet your father
someday.
JANE
You will.
CONTINUED
(
(
('
.
103
CONTINUED (2)
COLOGIO
I wanna go out with you, Jane.
Cologio takes her hand and kisses it. Jane, in
up his hand slowly, raises it to her lips and gives
a kiss. Then they both stand.
COLOGIO
Come here, baby ....
They are about to kiss.
COLOGIO
Holy shit! Those guys I was with.
They're on the way down to your
brother's club.
JANE
What guys? .
COLOGIO
The guys that beat up your brother
. they've got Molotov cocktails
they're gonna torch the
joint
Cologio grabs Jane by the hand and starts running across
the street.
COLOGIO
We gotta get a car.
JANE
I've got a car.
COLOGIO
You got a car?
JANE
Yeah. It's parked by the bar.
They cross Fordham Road, busy with traffic, and start
running towards the bar.
COLOGIO
Gimme the keys. Let me drive.
EXT. TREMONT AVENUE - NIGHT
The predominantly black neighborhood just outside Belmont.
The 1965 black Chevy Impala comes screeching down the
street, tires squealing.
-- .
(
(
.(
'II.
../
g
. .
104
A BLACK COUPLE
turns and watches as the car whizzes past them.
COLOGIO AND JANE
arrive at Jane's car. Cologio opens her door.
JANE
My brother .my brother went to
the club..
COLOGIO
Don't worry .. get in.. don't
worry..
Jane gets in. Cologio closes her door and circles around
the back of the car, looking through the back window and
sees:
CLOSEUP OF JANE'S HAND
in slow motion as it reaches across the front seat and
lifts up the lock on the driver's side.
COLOGIO
in full motion rounding the car, throws a punch in the air
like a golfer who just sunk a twenty-foot birdie.
COLOGIO
Yes!
INT. JANE'S CAR - CONTINUOUS
as Cologio swings into the car.
COLOGIO
I knew you were one of the great
ones.
JANE
Great ones? What are you talkin'
about?
COLOGIO
Never mind it's an Italian
thing
EXT. JANE'S CAR -. CONTINUOUS
as Cologio and Jane pull quickly out into the traffic.
-'- .
.
105
EXT. TREMONT AVENUE - THE SOCIAL CLUB - NIGHT - CONTINUOUS
An NO building with all of its windows painted black. In
silence, the black C h ~ v y screeches to a halt in front of
the Black Social Club. All we hear is the voices of Jane
and Cologio. .
JANE (V.O.)
My brother, Cologio.
As the Chevy pulls to an abrupt stop in front of the club,
all four doors swing open.
COLOGIO (V. o. )
Don't worry. I know these guys.
I can talk to them.
Slick, Philly Boy and Babes pile out of the car. Tony
stays behind the wheel.
INT. JANE'S CAR - CONTINUOUS
Cologio and Jane are in heavy traffic.
COLOGIO
Damn it! There's always traffic
on this Fordham Road.
EXT. JANE'S. CAR
as Cologio pUlls a quick u-turn out of the traffic and
heads for a side street. Other cars honk and veer out of
his way.
COLOGIO
We'll take the side streets.
JANE
Be careful!
EXT. TREMONT AVENUE - CONTINUOUS .
Slick firing straight into camera.
THE CLUB
as the shots smash through one of the lower windows.
-- - ~
(
(
106
INT. CLUB - CONTINUOUS
as several blacks dive for cover from the shots coming
through the window.
CLOSEUP - STREET LIGHT
changing from yellow to red.
INT. JANE'S CAR - CONTINUOUS
Cologio sees the light change.
COLOGIO
Shit.
Cologio hits the accelerator and the car shoots through the
red light. Jane covers her eyes.
JANE
Watch it!
EXT. STREET -.CONTINUOUS
as Cologio steers the car away from an oncoming car, barely
missing each other.
EXT. TREMONT AVENUE - CONTINUOUS
Philly Boy, in silence, ~ i c k s up a garbage can, lifts it
over his head, runs stra1ght to the club and heaves the can
through a window. We do HEAR the SOUND of the breaking
glass.
JANE
Slow down. You're gonna get us
killed.
. ,
COLOGIO
Don't worry. We're almost there.
We see several black guys inside the club running and - - .
diving away from the open window.
MOLOTOV COCKTAIL
in Philly Boy's hand as he holds it for Babes to light.
't.
.
-
107
INT. JANE'S CAR - CONTINUOUS
JANE
Are you sure. you can talk to them?
COLOGIO
Hey, they're my friends. They'll
listen to me.
EXT. TREMONT AVENUE - CONTINUOUS
Slick, still firing into the club. We HEAR the gunshots.
PHILLY BOY
lobs the flaming cocktail toward the smashed window.
INT. SOCIAL CLUB - CONTINUOUS
Several blacks are pinned up against the wall next to the
smashed-out window and some are lying on the floor, pinned
down by Slick's constant firing. The flaming Molotov
cocktail sails through the window. Horrified looks on
several of the faces just before the cocktail bursts into
a fireball, consuming the room. We hear the sound of the
explosion, muffled and distorted.
INT. JANE'S CAR - CONTINUOUS
COLOGIO
(almost to
himself)
They qotta listen to me It's
Slick, man, he's crazy
j .
JANE
Slick. Who's Slick?
COLOGIO
My friendHe'll listen to me
ExT. TREMONT AVENUE ..; CONTINUOUS
Slick keeps firing at the windows. All we hear is the
qunshots. We see him mouth the words: "Burn it. Burn it
down." As Babes and Phill Boy throw more Molotov
cocktails at the club. S l ~ c k ' s gun runs out of ammunition.
He throws it aside. They all run for their car. They all
CONTINUED
(
(
108
CONTINUED
pile in, Slick is last. As he gets in he grabs another
Molotov cocktail from ~ h e floor of the car, turns and
mouthing, "Fuck you, niggers" he heaves it at the club.
Babes is pUlling him into the car.
ONE BLACK GUY
comes out of the club from a side door, a Molotov cocktail
in his hand. He starts running towards the black Chevy.
EXT. JANE'S CAR - CONTINUOUS
as Cologio and Jane fight their way through traffic.
EXT TREMONT AVENUE - CONTINUOUS
Philly Boy sees the black guy coming and tries to warn
Slick.
BABES AND PRILLY BOY
pUll at Slick who is trying to grab another cocktail.
EXT. JANE'S CAR - CONTINUOUS
as Cologio and Jane fight their way through traffic.
EXT. TREMONT AVENUE - CONTINUOUS
The black guy lobs the cocktail at the car.
SLICK
turns with the cocktail in his hand, sees the lit cocktail
coming at him. He turns and dives back into the car,
trying to shut the door as the car takes off.
EXT. JANE'S CAR - CONTINUOUS
as Cologio and Jane fight their way through traffic.
INT. CHEVY - CONTINUOUS
as the cocktail.hits, flames engulf the inside of the car.
109
SLICK AND PHILLY BOY
as the flames leap up on them and they try to beat them
off.
PHILLY BOY
flames leaping up behind him, tries to control the car.
EXT. JANE'S CAR - CONTINUOUS
as Cologio and Jane fight their way through traffic.
INT. CHEVY - CONTINUOUS
Slick, in panic, as he tries to put the flames out on his
body. He watches in horror as the flames reach the boxes
full of Molotov cocktails at his feet.
EXT. THE BlACK CHEVY - CONTINUOUS
weaves down the street, the interior bright with flames.
It bounces over a curb, hits a few parked cars and then
suddenly explodes into a ball of fire. We hear the
explosion, muffled and eerie. All moves into slow motion
as the car burns.
EXT. TREMONT AVENUE - CONTINUOUS
. The area is now full of fire engines, police cars,
ambulances. The black Chevy is now totally burnt,
smoldering. A paramedic pulls the last of the four bodies
out of the car, places it next to the other three and
throws a blanket over it. Police are keeping the growing
crowd back. .
EXT. JANE'S CAR - CONTINUOUS
Cologio and Jane arrive on the scene, breaking through the
crowd. Cologio stops when he sees the car and the bodies.
JANE
Oh, In God. What happened?
Colog10, what happened?
COLOG10
That's them
Jane sees:
(
(
110
WILLY
being treated by a paramedic .
.
JANE
Willy!
She runs to her brother.
Cologio walks to the four bodies but a policeman keeps him
back. He looks back to Jane, who is comforting Willy.
NARRATOR (V. o. )
I didn't know if I should be happy
or sad. Happy because I was alive
or sad because my friends were
dead. But one thing I knew I was
and that was grateful. Grateful
because Johnny ---
COLOGIO
. (to himself)
Johnny1
Cologio runs over to Jane and Willy.
COLOGIO
Jane, look, I gotta go
JANE
Where you going?
COLOGIO
I just gotta go.
(to Willy)
You okay?
WILLY
Yeah.
COLOGIO
I'm s o r r y . ~
WILLY
Listen, man, you better get out
of here
JANE
Cologio
COLOGIO
I gotta go You don't
understand I was almost
that I gotta go
in
CONTINUED
I
\0.,
(
(
-
111
CONTINUED
WILLY
Man, you don't wanna be here. Go!
Jane and Cologio give each other one last look, then
Cologio starts to leave.
COLOGIO
I'll be back...
Cologio turns and starts to run.
EXT. STREETS - CONTINUOUS
Cologio runs down a street, the burning car can still be
seen in the b.g.
INT. MEN'S ROOM - CLOSEUP OF A HAND
opening up the latch on the door of a men's room stall.
We still hear the sound of Cologio's running through the
streets and heavy breathing as the door opens, and a MAN
enters the stall -- we do not see his face. The door
closes. The camera drops down to see that the man has
seated himself on the toilet, still fUlly clothed, his
hands dangling restlessly between his knees. Cologio's
breathing continues as we:
EXT. STREETS - CONTINUOUS
Cologio running. He is smiling, eXuberant, joyful as he
weaves through passersby.
COLOGIO
(to himself)
Johnny, Johnny I votta see
ya you saved my l1fe
Johnny
INT. MEN'S ROOM - CLOSEUP
snub-nosed revolver being cradled in two hands. The sound
of running and breathinv continues. The left hand of the
Man qoes back to his SU1t pocket and pUlls out six bullets.
EXT. STREETS - CONTINUOUS
Cologio running.
COLOGIO
I'm coming, J o h n n ~
- - .
(
(
112
INT. MEN'S ROOM - CONTINUOUS - CLOSEUP
The man is putting each bullet into the chambers,
meticulously, carefully. Breathing SOUND continues.
EXT. STREETS - CONTINUOUS
Cologio running. He is now in the neighborhood. He turns
a corner and runs right into Louie Beans.
LOUIE
C ah ah I swear to God, I'm
going to give you that twenty this
week
COLOGIO
Forget the twenty, Louie I love
ya ....
kisses Louie on the cheek. Cologio runs off
a stunned Louie behind.
INT. MEN'S ROOM - CONTINUOUS - CLOSE ON THE LOADED GUN
The last bullet sliding into place. The chamber is closed.
The MAN rises (we still do not see his face) and slides the
gun inside his pants and buttons his suit jacket.
EXT. STREETS - CONTINUOUS
runs to a sidewalk cafe where guys and women are
outside. He runs right up to one. of the guys,
VITO, and grabs one by the cheeks.
COLOGIO
How ya doin', Vito? .
(to all of them)
I want to tell everyone here
tonight
(to the world)
I love this fuckin' neighborhood!
Cologio takes off, leaving a very bewildered group behind.
INT. MEN'S ROOM - CONTINUOUS - CLOSEUP - HANDS
The Han is washing his hands. We see the hands reflected
in the mirror. Follow the hands as they move to the towel
rack, take two towels, dry the hands and drop the towels.
We only see his back as the Man moves towards the door of
the men's room.
(
113
EXT. 187TH STREET - CONTINUOUS
as Cologio runs towards the front door of the Chez Joey.
INT. MEN'S ROOM - CONTINUOUS
The Man moves closer to the door.
EXT. CHEZ JOEY - CONTINUOUS
Cologio is almost to the door.
INT. MEN'S ROOM - CONTINUOUS
The Man pushes the door open (slightly slowed motion) to
reveal:
INT. CHEZ JOEY - CONTINUOUS
The place is packed and we hear, from the jukebox:
DION
(singing)
'Has anybody here seen '
EXT. CHEZ JOEY - CONTINUOUS
as Cologio bursts through the front door (slightly slowed
motion) and we HEAR (continuous):
DION
(singing)
' my old friend '
Cologio sees Johnny, surrounded by a lot of his friends,
at the far end of the bar and calls out to him:
COLOGIO
Johnny!
THE MAN
- - .
responds to Cologio's
face. He is a young,
same age as Cologio.
looks to Johnny ---
yell. For the first time we see his
handsome Italian teenager. About the
He has a stern look on his face. He
\
(
114
JOHNNY
hearing Cologio's yell, he turns towards the front door.
JOHNNY
(waving over the
crowd to Cologio)
Come here, kid. I love this kid.
Let him through.
THE MAN
looks from Johnny to Cologio.
COLOGIO
is trying to work his way through the crowd.
COLOGIO
Johnny
THE MAN
looks from Cologio back to Johnny, squares his shoulders,
slips his hand on his gun, and starts to move towards
Johnny.
COLOGIO
is fighting his way through the crowd.
JOHNNY - COLOGIO'S POV
Johnny, surrounded by friends including Christina, calls
back to Cologio.
JOHNNY
Hey, kid come here, kid let
him through I love this kid
The Han walks into frame behind Johnny. Be is headed
straight for Johnny.
COLOGIO
pushing his way towards Johnny. Dion continues to play on
the jukebox.
CONTINUED
(
(
115
CONTINUED
NARRATOR (V.0.)
They were all smiling at me. All
I could see was these big smiling
faces. All of a sudden, out of
all these smiling faces, there was
this one face. I couldn't
understand why I kept looking at
this one face and then I realized
why. Because he wasn't smiling.
Music cuts out abruptly. Everything is now in slightly
slowed motion.
NARRATOR (V.O.) (CONT'D)
and nobody'could see him but
me. All of a sudden, I went deaf,
I couldn't hear. Everything
became out of focus. All I could
see was Johnny and the kid with
the gun in his hand. I tried to
warn him l really did.
COLOGIO
in slow motion trying to push through the crowd, trying to
warn Johnny.
COLOGIO
Johnny!
JOHNNY
in his corner, also in slow motion, is still calling to
Coloqio to him. The Man is getting closer.
JOHNNY
I love this fucking kid!
COLOGIO
calls out, his words are thick and hang heavy in the air.
COLOGIO
Johnny! Johnny!
.JOHNNY
starts to stand. The Man is even closer. All the people
around Johnny are still l ~ o k i n g at Cologio.
CONTINUED
-- .
(
116
CONTINUED
, .
, ' . ~
JOHNNY
Come here, kid. Let him through.
I love this fucking kid!
COLOGIO
Johnny, behind you!
TIGHT SHOT - JOHNNY
The gun enters the frame.
JOHNNY
Come here kid.
The gun is now within inches of Johnny's head.
COLOGIO
(full scream)
Noooooooo
GUNSHOT! The sound reverberates and echoes as everything
returns to normal motion.
COLOGIO
Johnny! !
VARIOUS ANGLES
Mass hysteria. Several men ~ r a b the Man and one is trying
to shake the gun lose from h1s hand. Some men are hitting
him, trying to kill him. A couple others are trying to
hold them back.
MEN
(trying to kill
him) .
Fuckin' kill him you cocksucker
etc.
MEN
(trying to
protect)
Don't hurt him who are you?.
What's your name?.etc.
CHRISTINA
Johnny's girlfriend, her dress covered with his blood, is
being restrained.
CONTINUED
(
(
-
117
CONTINUED
CHRISTINA
(cryitlg and
screaming)
Nooo, nooo Johnny Get away
from me, take your hands off
me ._
COLOGIO
on his knees, with Johnny's bloody head in his hand.
COLOGIO
Please, don't die, Johnny.
Johnny
JOHNNY
his face a bloody mess, his head in Cologio's lap, his
right hand on Cologio's arm. His eyes roll just slightly
to look at Cologio, a slight squeeze on the arm and he is
dead.
THREE MEN
dragging the kid across the floor towards a back room. We
see the crowd around Johnny's body. Jimmy yells to the men
dragging the kid away.
JIMMY
Get him in the backmove get
him in the back don't let
anybody near him
CHRISTINA
crying. Another woman is holding her, consoling her.
CHRISTINA
Be was gonna marry me he was
be loved me
COLOGIO
still bolding Johnny's bead, looks up and sees all the
pushing and shoving, the crying and the screaming, but no
one is paying attention to him -- or to Johnny.
-.- .
(
(
(
"',-'
'118
EXT. ALLEY NEXT TO CHEZ JOEY - NIGHT - LATER
As Cologio exits from the Chez Joey from the side door he
startles a group of pigeons. All is silence. He is all
alone. He walks deeper into the alley. We see him, from
a distance, as he leans against the wall and slides to the
ground. So small in the distance, a far away moan.
COLOGIO
(barely audible)
Johnny.Johnny.Johnny ...
CHURCH BELLS
ringing a mournful sound.
NARRATOR (V. O. )
The man that killed Johnny was the
son of the man that Johnny killed
eight years earlier in front of
my house
The bells continue to ring as we:
INT. FUNERAL HOME - DUSK
The room is full of a lot of laughing, hugging,
9reeting each other. There is sense of a funeral,
seems more like a social Friends meeting
friends who haven't seen each other a long time. Many
of the wiseguys we have seen earlier are there.
Pull back to see rows of chairs filled with the
neighborhood people and in the back:
COLOGIO
sitting alone, unnoticed, watching them.
NARRATOR (V. O. )
Johnny was right. Nobody cares.
Nobody cares.
DISSOLVE TO
INT. FUNERAL HOME - LATER
Panning the empty chairs until we discover:
- - .
(
(
-
119
COLOGIO
still sitting alone, but now the room is empty: After a
moment, he rises and approaches the coffin.
COLOGIO
How ya doin' John Not too good,
huh? still wearing those same
shoes, Ya know, Mickey
Mantle's gonna retire soon Who
cares, right? She passed the
test, John. She could be one of
the great Dion's making a big
comeback, John I wish you could
come ba--I just want to thank you
for saving my life. I never got
a chance to tell you. That
night
notices someone beside him. A man in his early
a cold look in his eye.
COLOGIO
Oh, I'm I thought I was
alone. I'm Just thinking out
loud.
CARMINE
That's okay, kid. It's
understandable. .
COLOGIO
This guy here( he's a great man.
He saved my I don't care
what anybody says about him.
CARMINE
Yeah, I know, kid. You're
Cologio. Lorenzo's boy, the bus
driver, right? Johnny told me all
about you.
COLOGIO
What? Johnny told you
me? Johnny spoke to you about
me? I'm sorry, I don't know who
you are.
CARMINE
My name's Carmine, kid. Carmine.
Johnny and I go back a long time
tc;>qether. You see, he saved my
life too a long time agoYou
don't remember me do you? Seven,
eight years ago in front of your
house.
CONTINUED
- - .
(
(
(
-
120
CONTINUED
Cologio looks at the man. Does not recognize him. Then
Carmine points to a scar on his forehead.
COLOGIO
The baseball bat! You were the
guy that got hit with the baseball
bat. I was there, Carmine. I saw
the whole thing. The cops . they
came up to the house they wanted
me to.
CARMINE
I know, kid. I know. Johnny told
me what you did Listen, I'm
gonna be taking over things for
a while here. If you need
anything, you come by the bar,
okay?
COLOGIO
That's okay, Carmine. My Dad just
told me we're moving out. I think
I'm gonna give this neighborhood
a rest for a while. But thanks
anyway.
CARMINE
I understand, kid.
COLOGIO
Carmine, he never saw it coming.
I tried to warn him, but he never
saw it cominghe never knew.
CARMINE
He knew, kid ~ h e ~ e w
COLOGIO
EiCJht fears. Why would somebody
wa1t e1ght years?
CARMINE
It's like Johnny used to tell me
over cappucino. He'd say
'CarmineRevenge is a dish serve
best cold'.
He stares at Johnny, looks back at Cologio.
CARMINE
See you around.
He leaves.
CONTINUED
- .. :. #
,"
.' ....
-
121
CONTINUED (2)
COLOGIO
So long, Car,mine
Cologio looks to Johnny, then looks up and sees:
LORENZO
standing in the b.g., dressed in a suit.
COLOGIO
Dad, what are you doing here?
LORENZO
Are you okay, son?
Lorenzo approaches Cologio and the coffin.
COLOGIO
Yeah, I'm okay. Why are you here?
LORENZO
I'm here to pay my respects to
your friend, son.
COLOGIO
Dad, I'm sorry if I ever hurt you
in any
LORENZO
That's okay.
(turning to
Johnny)
Johnny, thanks for my son I .
never hated you, John. It's just
that I never forgave you for
making my son grow up so fast.
Hay God have mercy on your soul,
John.
COLOGIO
Dad, I
LORENZO
I'll be waiting right over here.
Lorenzo moves a respectful distance behind Cologio into
b.g., and sits, out of earshot. Cologio stares at the
coffin.
CONTINPED
the
-- .
(
(
122
CONTINUED
COLOGIO
Johnny, did you hear that? My
father didn't hate you, John. And
I know you respected him, too,
John, because you never ever said
a bad word about him. To me or
anybody else. And I love you for
that. B e c ~ u s e he's my Dad.
(a moment, then)
Nobody cares. Nobody cares. You
were wrong about that one, John.
Cologio kisses his own hand and places it on Johnny's
forehead.
COLOGIO
. Wasted talent!
He turns to look back at his dad. Lorenzo is looking off
to the side, deep in thought. Cologio turns back to Johnny
and makes the three-fingered gesture.
COLOGIO
See you around, John.
Cologio gives Johnny one final look, straightens his suit
and turns toward Lorenzo.
COLOGIO
Dad?
Lorenzo looks up.
COLOGIO
I'm ready. Let's go.
Lorenzo puts his arm around him.
LORENZO
Let's go home C.
Coloqioand Lorenzo share a smile. They walk out through
the lobby and outside into the night.
EXT. FUNERAL HOME - NIGHT - CONTINUOUS
As Cologio and Lorenzo walk down the street through the
pools of street lights, we HEAR:
NARRATOR (V. o. )
I learned something from these two
men. I learned to give love and
(MORE)
CONTINUED
- - .
(
..~ .......
123
CONTINUED
NARRATOR (Cont'd)
get love unconditionally. And I
learned ,the greatest gift of .
all acceptance ~ Y o u can never
change anybody You just bave to
accept people for what they are.
But you could ask anybody from my
neighborhood and they'll tell you,
this is just another Bronx tale.
L o r e n ~ o and Cologio disappear into the Bronx night.
THE END
..
-
- - .