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ALL SCRIPTS


                                       "MOONSTRUCK"

                                            by

                                   John Patrick Shanley

                                       Final Draft 

                

               FADE IN:

               INT. ZITO'S BREAD STORY - DAY

               Several dozen loaves of golden Italian bread are standing on 
               end in a shaft of morning sunlight. They are standing on end 
               in bins. In the window, ZITO'S can be read in reverse.

               We leave the loaves and DRIFT DOWN TO a Progresso Products 
               calendar, which hangs from the wall by a nail. The month is 
               November. Various phone numbers and delivery dates have been 
               penned in in a rough scrawl. Now WE GO TO a white formica 
               counter, scuffed and pocked from long use. On the counter, 
               in a rinsed out olive jar filled with water, are three fat 
               red roses. The TITLE APPEARS IN BLACK SCRIPT AGAINST THE 
               WHITE BACKGROUND.

                                        MOONSTRUCK

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

                                     ZITO'S VOICE
                              (barely discernable)
                         Three times they cancel the order 
                         with me, and three times they come 
                         back. Who they kidding? They cheap, 
                         cheap, cheap. The other bread they 
                         get is no good. They save pennies. 
                         Everybody complain and they come 
                         back. "Zito, your bread is the best." 
                         They're like children stupid in school 
                         who cannot learn. The water. It's 
                         the water. You buy bread in Hoboken, 
                         you get Hoboken water. Hoboken water 
                         is dry. Ask anybody who knows. Ask 
                         your father. He knows.

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

               NOW WE SEE ZITO

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

                                     ZITO
                         You want me to make you some coffee?

               NOW WE SEE LORETTA FOR THE FIRST TIME

               She's entering a few final figures in the ledger. LORETTA is 
               Italian, 37. Her hair black, done in a dated style, is flecked 
               with grey. She's dressed in sensible but unfashionable clothes 
               of a dark color.

                                     LORETTA
                         What d'you know about coffee? Gimme 
                         a loaf of bread.

               EXT. ZITO'S BREAD STORE - DAY

               Loretta emerges with her little weathered leather bookkeeping 
               satchel and a loaf of Zito bread in a white paper bag. She 
               moves off briskly.

               EXT. A.J. CONTI FUNERAL CHAPEL - DAY

               This is a little Italian funeral parlor.

               INT. THE "WAKE" ROOM"

               A generic little room filled with many flowers and wreathes, 
               many folding chairs, a few OLD PEOPLE sitting and, up front, 
               the star of the show, the CORPSE on display in his gold and 
               formica casket. Before the casket is a little kneeler. We 
               discover an OLD LADY there, who crosses herself and rises.

               She goes and sits by RUBY, another old women. She leans over 
               and says.

                                     OLD WOMAN
                         He looks great.

                                     RUBY
                         That Al Conti is a genius.

               INT. OFFICE OF THE FUNERAL PARLOR

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

                                     CONTI'S VOICE
                         I am a genius.

               The SHOT WIDENS TO INCLUDE the loaf of bread which is half 
               cut up and being buttered. Next to the bread are two steaming 
               mugs of coffee. We HEAR the subdued TAPPING of Loretta's 
               tabulations.

                                     LORETTA'S VOICE
                         If you're such an artistic genius, 
                         why can't you keep track of your 
                         receipts? How am I going to do your 
                         income tax?

                                     CONTI'S VOICE
                         I am an artistic genius.

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

                                     LORETTA
                         If you're an artistic genius, how 
                         come you got butter on your tie?

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

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

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

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

               We are looking at a wall of dry-cleaned clothes bags. They 
               are hanging from an automated grid. As we watch, the wall 
               starts to move off to the left. A gap appears where no clothes 
               are hung. The gap creates visual frame. In the frame is 
               ROBERT. He is operating the grid with a little stick shift. 
               He stops it and takes down a garment. He leaves the frame, 
               heading off to the counter. When he moves away, WE SEE that 
               Loretta is behind him, working her calculator, entering in a 
               ledger. She slams the ledger shut, waves goodbye, and goes. 
               After beat she reappears, produces Conti's tie, says something 
               to Robert, who is out of view, leaves the tie, and

               INT. BUTCHER SHOP - DAY

               WE SEE a cleaver whacking an oxtail into section.

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

               INT. A FLORIST SHOP - DAY

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

                                     FLORIST'S VOICE
                         Red roses. Very romantic. The man 
                         who sends these knows what he's doing.

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

                                     LORETTA
                         The man who sends those spends a lot 
                         of money on something that ends up 
                         in the garbage can.

               The Florist gives her a look and then smiles.

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

                                     LORETTA
                         Without me, you'd be out of business. 
                         I like flowers.

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

               END OF CREDITS

                                                               DISSOLVE TO:

               EXT. THE GRAND TICINO - AN ITALIAN RESTAURANT - NIGHT

               A red neon sign hangs in the window.

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

               INT. THE GRAND TICINO - NIGHT

               White tablecloths and dark green walls, a tiny bar up by the 
               door. The WAITERS all look a little alike. That's because 
               they're all related. The place is about half full, and bustles 
               along pleasantly.

               MUSIC

               A VIOLIN PLAYS a melancholy Neapolitan air.

               MR. JOHNNY and Loretta sit at a table for two talking quietly.

               They have their menus and glasses of red wine. Mr. Johnny is 
               Italian, around 42. His wavy salt-and pepper hair is 
               impeccably combed back; but there is so much that it threatens 
               to fall forward someday and engulf his face. He is wearing a 
               pinky ring, a dark suit, a gold watch, and, on his face, a 
               mustache and a look of incredible seriousness. Loretta is 
               Italian, 37. Her black hair, done in a dated style, is flecked 
               with grey. She is wearing a dark blouse, black skirt, and 
               high heels. One of her teeth is framed with gold work.

               Mr. Johnny is really timid of life, an overgrown boy, who 
               hides these qualities behind a veil of dignity.

               Loretta is tough and efficient, loyal and watchful; she 
               watches out for Mr. Johnny, and defends him against life.

               BOBO, an Old World Italian waiter, comes over to take their 
               order.

                                     BOBO
                         Are you ready?

                                     MR. JOHNNY
                         Hello, Bobo. How are you tonight?

                                     BOBO
                         Very good, Mr. Johnny.

                                     MR. JOHNNY
                         We will both have the Salad Ticino.

                                     BOBO
                         Uh-huh

                                     MR. JOHNNY
                         And I'll have the special fish.

                                     LORETTA
                         You don't want the fish.

                                     MR. JOHNNY
                         No?

                                     LORETTA
                         It's the oily fish tonight. Not before 
                         the plane ride.

                                     MR. JOHNNY
                         Maybe you're right.

                                     LORETTA
                         Give him the manicotta, Bobo. Me, 
                         too.

                                     BOBO
                         Yes, Miss Loretta.

                                     LORETTA
                              (to Mr. Johnny)
                         That will give you a base. For your 
                         stomach. You eat that oily fish, you 
                         go up in the air, halfway to Sicily 
                         you'll be green and your hands will 
                         be sweating.

                                     MR. JOHNNY
                              (smiles)
                         You look after me.

               They HEAR a distinguished MAN'S VOICE rise out of the babble.

               They turn and look. The man's name is PERRY.

               PERRY AND PATRICIA FROM LORETTA'S POV

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

                                     PERRY
                         Patricia, please don't go!

                                     PATRICIA
                         What do you think I am, a talking 
                         dog?

                                     PERRY
                         I was just making a point about the 
                         way you said... the way you stated 
                         your aspirations.

                                     PATRICIA
                         You can kiss my aspirations! 
                         Professor!

               She storms out, leaving Perry muttering to himself.

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

               An abnormally SHY WAITER stops.

                                     SHY WAITER
                         Yes?

                                     PERRY
                         Could you do away with her dinner, 
                         and any evidence of her, and bring 
                         me an big glass of vodka?

                                     SHY WAITER
                         But absolutely!

               THE SHY WAITER begins to efficiently clear.

               MR. JOHNNY AND LORETTA EXCHANGE A GLANCE

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

                                     MR. JOHNNY
                         A man who can't control his woman is 
                         funny.

                                     LORETTA
                         She was too young for him.

               Mr. Johnny considers this a point well taken.

               BOBO AND HIS NEPHEW EDDIE STAND NEAR THE KITCHEN

               Which can be seen through a serving window. They can look 
               out over the restaurant tables. Bobo is melancholy and 
               philosophical. EDDIE is a young waiter.

                                     EDDIE
                         What'samatter, Uncle Bobo?

                                     BOBO
                         Tonight Mr. Johnny's gonna propose 
                         marriage.

                                     EDDIE
                         How you know that?

                                     BOBO
                         He arranged it with me. When he asks 
                         her, then he'll wave to me and I'll 
                         bring champagne. Good bachelor 
                         customer for twenty years. But who 
                         knows? Maybe he'll lose courage.

                                     EDDIE
                         Heavy duty stuff.

               PERRY, FEELING NO PAIN, COLLARS THE SHY WAITER

               He holds out his empty glass.

                                     PERRY
                         Can I get another one of these?

                                     SHY WAITER
                         Definitely!

               Perry takes his arm.

                                     PERRY
                         May I presume to ask you a question?

                                     SHY WAITER
                         Sure!

                                     PERRY
                         Do you have a girlfriend?

                                     SHY WAITER
                         I am alone in the world.

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

                                     PERRY
                         That's very sad.

               BOBO IS CLEARING THE REMAINS OF MR. JOHNNY'S DINNER. He's 
               already cleared Loretta's.

                                     BOBO
                         How's things?

                                     LORETTA
                         Fine, Bobo. We'll take the check.

                                     MR. JOHNNY
                         No, I want to see the dessert cart.

                                     BOBO
                         Very good.

               Bobo goes. Loretta is surprised.

                                     LORETTA
                         You never have dessert.

                                     MR. JOHNNY
                         Never is a long time.

               Mr. Johnny is uneasy. He massages his head.

                                     LORETTA
                         What's the matter?

                                     MR. JOHNNY
                         My scalp is not getting enough blood 
                         sometimes.

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

                                     MR. JOHNNY
                         Have Something.

                                     LORETTA
                         I shouldn't.

                                     MR. JOHNNY
                         Will you marry me?

                                     LORETTA
                         What?

                                     MR. JOHNNY
                         Will you marry me?

                                     LORETTA
                         Bobo, take the cart away.

               He does.

                                     LORETTA
                              (continuing)
                         Are you proposing marriage to me?

                                     MR. JOHNNY
                         Yes?

                                     LORETTA
                         You know I was married and that my 
                         husband died. But what you don't 
                         know is I think he and I had Bad 
                         Luck.

                                     MR. JOHNNY
                         What do you mean?

                                     LORETTA
                         We got married at the City Hall and 
                         I think it gave bad luck the whole 
                         marriage.

                                     MR. JOHNNY
                         I don't understand.

                                     LORETTA
                         Right from the start we didn't do it 
                         right. Could you kneel down?

                                     MR. JOHNNY
                         On the floor?

                                     LORETTA
                         Yes, on the floor.

                                     MR. JOHNNY
                         This is a good suit.

                                     LORETTA
                         I helped you buy it. It came with 
                         two pairs of pants. It's for luck, 
                         Johnny. When you propose marriage to 
                         a woman, you should kneel down.

                                     MR. JOHNNY
                         Alright.

               Mr. Johnny slowly gets out of his chair. There's not enough 
               room for him to kneel down. He has to ask two off-duty PRO 
               WRESTLERS who are eating dinner to move their chairs. They 
               do so with bemused expressions. Their names are BOB and MOOK.

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

                                     PERRY
                         Is that man praying?

               MR. JOHNNY ON HIS KNEES ADDRESSES LORETTA

                                     JOHNNY
                         So. Will you ma...

                                     LORETTA
                              (interrupting)
                         Where's the ring?

                                     MR. JOHNNY
                              (at a loss)
                         The ring?

               BOB AND MOOK ARE WATCHING MR. JOHNNY'S PERFORMANCE

               They are deadpan mugs.

                                     BOB
                              (to Mr. Johnny)
                         A ring. That's right.

                                     MOOK
                         I woulda sprung for a ring if it was 
                         me.

               BOBO AND EDDIE STAND NEAR THE KITCHEN WATCHING

                                     BOBO
                         She's got him on his knees. He's 
                         ruining his suit.

               LORETTA AND MR. JOHNNY

                                     LORETTA
                         You could use your pinky ring.

                                     MR. JOHNNY
                         I like this ring.

                                     LORETTA
                         You propose to a woman you should 
                         offer her a ring of engagement.

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

                                     MR. JOHNNY
                         Loretta. Loretta Castorini Clark. On 
                         my knees. In front of all these 
                         people. Will you marry me?

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

                                     LORETTA
                         Yes, Johnny. Yes, John Anthony 
                         Cammareri. I will marry you. I will 
                         be your wife.

               Mr. Johnny slowly stands up, brushes off his knees. The 
               restaurant has fallen utterly silent. Loretta smiles. They 
               embrace. Loretta kisses him quickly.

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

               Bobo stands very near her table. She is about to applaud the 
               proposal. She brings her hands together. Bobo's hand flashes 
               out and neatly captures her hands before they can part again. 
               The single sound dies abruptly in the silent room.

               LORETTA AND MR. JOHNNY

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

                                     MR. JOHNNY
                         Bobo! The check!

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

                                     PERRY
                         I feel like I have just witnessed a 
                         car accident.

               The Shy Waiter sits down at Perry's table.

                                     SHY WAITER
                         When I was twenty-seven years old, 
                         in Jersey City, I asked a woman to 
                         marry me. She had red hair. She 
                         smelled a jasmine. She wore black 
                         shoes with pointy white tips.

                                     PERRY
                         What happened?

                                     SHY WAITER
                         She didn't hear me. She asked me to 
                         repeat, so she could understand what 
                         I said. But I wouldn't repeat it. 
                         Outta shyness. So I'm a bachelor.

               MR. JOHNNY AND LORETTA

               He's helping her on with her coat.

                                     LORETTA
                         What time is it?

                                     MR. JOHNNY
                         Seven-thirty.

                                     LORETTA
                         So we'll pick up the car, we'll make 
                         the plane in plenty of time.

               Mr. Johnny puts on his coat.

                                     MR. JOHNNY
                         My mother will be happy I'm getting 
                         married.

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

                                     BOBO
                         I forgot to bring the champagne, Mr. 
                         Johnny.

                                     MR. JOHNNY
                         I forgot to wave. We'll have it at 
                         the wedding.

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

               INT. THE CREAM LTD - NIGHT

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

                                     LORETTA
                         What about the wedding?

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

                                     LORETTA
                         How near is she to death?

                                     MR. JOHNNY
                         A week. Two weeks. No more.

                                     LORETTA
                         Then let's set the date.

                                     LORETTA
                         How about a month from today?

                                     MR. JOHNNY
                         Must it be so definite? Can't we 
                         just say that we will be married 
                         when I get back?

                                     LORETTA
                         Where? At the City Hall? No! I want 
                         the whole wedding or we will have 
                         Bad Luck. For a whole wedding to be 
                         planned, a date must be set.

                                     MR. JOHNNY
                         Alright. A month. In a month.

                                     LORETTA
                         A month from today?

                                     MR. JOHNNY
                         Yeah.

                                     LORETTA
                         I'll take care of it, Johnny. I'll 
                         take care of the whole thing. All 
                         you have to do is show up.

               INT. A TERMINAL AT KENNEDY INTERNATIONAL AIRPORT - NIGHT

               CLOSE UP ON TV MONITOR - VIDEO INSERT

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

                                     AVA
                         Oh, you're not going. You're staying.

                                     GREGORY
                         No, I'm going.

                                     AVA
                         The Shawfish?

                                     GREGORY
                         Just across the bay, at the fuel 
                         depot. The men wanted to try to get 
                         home. I can't explain.

                                     AVA
                         Then, I suppose the time has come 
                         say it's been nice Dwight Lionel. 
                         It's been everything. Oh, Dwight, 
                         I'm frightened.

                                     GREGORY
                         I know, I am so sorry for so many 
                         things. I love you, Moira. I love 
                         you. I love you.

               INT. A TERMINAL AT KENNEDY AIRPORT - NIGHT

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

                                     VOICE
                              (over P.A. System)
                         International Flight Number Six-ohfour 
                         boarding for Rome and Palermo at 
                         Gate Twenty-six.

               MR. JOHNNY AND LORETTA ARE SAYING GOODBYE

                                     LORETTA
                         Call me when you get in.

                                     MR. JOHNNY
                         I'll call you when I get to Mama's 
                         house.

                                     LORETTA
                         You've made me very happy, Johnny.

               He takes a piece of paper from his wallet.

                                     MR. JOHNNY
                         There's one thing about this wedding 
                         I want you to do. Call this number. 
                         It's a business number. Ask for Ronny. 
                         Invite him to the wedding.

                                     LORETTA
                         Who is he?

                                     MR. JOHNNY
                         He's my younger brother.

                                     LORETTA
                         You have a brother?

                                     MR. JOHNNY
                         We haven't spoken in five years. 
                         There was some bad blood. I want you 
                         to call him and invite him to the 
                         wedding. Will you do it?

                                     LORETTA
                         Sure.

                                     VOICE
                         This is the last call for 
                         International Flight Number Six-ohfour 
                         boarding at Gate Twenty-six for Rome 
                         and Palermo.

                                     MR. JOHNNY
                         I've got to go.

               He clumsily kisses her. Then he quickly turns and leaves.

               She waves, but he doesn't look back.

               EXT AIRPORT RUNWAY - NIGHT

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

               AN OLD ITALIAN CRONE IS LOOKING OUT THE TERMINAL WINDOW

               In the background we see the accordion like ramp that was 
               loading to the departing aircraft, slowly fold up. Loretta 
               walks up beside her, and looks out the window, too. The crone 
               is dressed in black and has a black scarf on her head.

               The Crone notices Loretta.

                                     CRONE
                         Do you have someone on that plane?

                                     LORETTA
                         Yeah.
                              (smiles)
                         My fiancé.

                                     CRONE
                         I have put a curse on that plane. My 
                         sister is on that plane. I have put 
                         a curse on that plane that it should 
                         explode. Burn on fire and fall into 
                         the sea. Fifty years ago she stole a 
                         man from me. Today she told me that 
                         she didn't even love him. She took 
                         him to feel strong with me. Now she 
                         goes back to Sicily. I have cursed 
                         her that the green Atlantic water 
                         should swallow her up.

                                     LORETTA
                         I don't believe in curses.

                                     CRONE
                              (smiles)
                         Neither do I.

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

               INT. A PARKING GARAGE IN LITTLE ITALY - NIGHT

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

                                     ATTENDANT
                         Mr. Johnny's, right?

                                     LORETTA
                         Right. The key's in it.

                                     ATTENDANT
                         Good night.

                                     LORETTA
                         Night.

               Loretta walks of into the night.

               EXT. THE SWEETHEART LIQUOR STORE - NIGHT

               Camera frames the window with a sweetheart in neon.

               EXT. THE SWEETHEART LIQUOR STORE - NIGHT

               Loretta walks up the street and enters the store.

               INT. THE SWEETHEART LIQUOR STORE - NIGHT

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

                                     LOTTE
                         I've seen how you look at her and it 
                         isn't right.

                                     IRV
                         How do I look at her?
                              (to Loretta)
                         Can I help you?

                                     LORETTA
                         A split of Moet.

                                     LOTTE
                              (to IRV)
                         Like a wolf.

                                     IRV
                              (getting the split)
                         Like a wolf, huh? You never seen a 
                         wolf in your life.

                                     IRV
                              (to Loretta)
                         That's seven-fifty-seven.

               Loretta pays and waits for her change.

                                     LOTTE
                         I seen a wolf in everybody I ever 
                         met and I see a wolf in you.

                                     IRV
                              (giving the change)
                         That makes ten. Thanks. Have a nice 
                         night.

                                     LORETTA
                         You, too.

               Loretta walks out.

                                     IRV
                         You know what I see in you, Lotte?

                                     LOTTE
                         What?

                                     IRV
                         The girl I married.

               Lotte, caught off-guard, blushes.

               EXT. THE CASTORINI HOUSE - NIGHT

               It's a big, old eccentric, three-story corner house. To one 
               side, it's got a qated arch that leads to an inner courtyard 
               where three cars could park. It's got two cast-iron balconies. 
               About a third of the windows in the house are lit.

               From within can be HEARD the faint strains of VICKI CARR 
               SINGING and one DOG BARKING. Loretta appears, carrying 
               champagne, approaches the front door, unlocks it, and goes 
               in.

               INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT

               MUSIC

               VICKI CARR is SINGING "IT MUST BE HIM."

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

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

               Loretta comes in and takes off her coat. A single MAD HOWL 
               is HEARD, followed by a PANDEMONIUM OF BARKING. FIVE DOGS 
               charge into the hall to greet Loretta. They are totally 
               cockeyed, crackpot mutts. Their names are JUDAS, LUCY, LEO 
               FATBOY, AND JONES.

                                     LORETTA
                         Hello, boys and girls. Guess what 
                         happened to me?

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

                                     OLD MAN'S VOICE
                         How long must I wait? Quanto tempo 
                         devo aspettare?

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

               INT. THE CASTORINI HOUSE - LIVING ROOM - NIGHT

               This is the source of the Vicki Carr song, which is just 
               ending. COSMO CASTORINI, Loretta's father is just turning 
               off the old stereo. He is a powerful man, about 65, with a 
               huge shock of white hair and gold wire glasses. He's wearing 
               a big old red silk robe over blue pajamas, and royal blue 
               slippers. The room it filled with lumpy upholstered furniture, 
               once grand, now threadbare; shawls and doilies cover holes 
               in failing fabric. There's a fireplace containing a dying 
               fire. Cosmo's wing chair, with his newspaper on it, is beside 
               a lit fringed lamp. Cosmo sees Loretta as she comes in.

                                     COSMO
                         Hi.

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

                                     LORETTA
                         Where's Ma?

                                     COSMO
                         Bed.

                                     LORETTA
                         You're not sleepy?

                                     COSMO
                         I can't sleep anymore. It's too much 
                         like death.

                                     LORETTA
                         Pop, I got news.

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

                                     COSMO
                         Alright. Let's go in the kitchen.

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

               INT. THE CASTORINI HOUSE - KITCHEN - NIGHT

               Loretta and Cosmo sit at the kitchen table. It's a big tin 
               table with a black-and-white design. Loretta has put two old- 
               fashioned champagne glasses on the table, the split of 
               champagne, a bag of sugar cubes, and a bottle of bitters.

               She pours the champagne, drops a little lump of sugar into 
               each glass, and adds a dash of bitters. She hands one of the 
               drinks to Cosmo.

                                     LORETTA
                         Here.
                              (She Toasts)
                         Ti amo.
                              (Translated: I love 
                              you.)

                                     COSMO
                         Ti amo.

                                     LORETTA
                         You look tired.

                                     COSMO
                         What's your news?

                                     LORETTA
                         I'm getting married.

                                     COSMO
                         Again?

                                     LORETTA
                         Yeah.

                                     COSMO
                         You did this once it didn't work 
                         out.

                                     LORETTA
                         The guy died.

                                     COSMO
                         What killed him?

                                     LORETTA
                         He got hit by a bus.

                                     COSMO
                         No! Bad luck! Your Ma and I been 
                         married fifty-two years an nobody 
                         died. You were married, what, two 
                         years, and somebody is dead. Don't 
                         get married again, Loretta. It don't 
                         work out for you. Who's the man?

                                     LORETTA
                         Johnny Cammareri.

                                     COSMO
                         Him? He's a big baby. Why isn't he 
                         here with you telling me?

                                     LORETTA
                         He's flying to Sicily. His mother's 
                         dying.

                                     COSMO
                         More Bad Luck! I don't like his face, 
                         Loretta. I don't like his lips. When 
                         he smiles I can't see his teeth. 
                         When will you do it?

                                     LORETTA
                         In a month.

                                     COSMO
                         I won't come.

                                     LORETTA
                         You've got to come. You've got to 
                         give me away.

                                     COSMO
                         I didn't give you away the first 
                         time.

                                     LORETTA
                         And maybe that's why I had the Bad 
                         Luck. Maybe if you gave me away, and 
                         I got married in a church, in a 
                         wedding dress, instead of at the 
                         City Hall with strangers standing 
                         outside the door, maybe then I 
                         wouldn't had the Bad Luck I had.

                                     COSMO
                         Maybe.

                                     LORETTA
                         I didn't have no wedding cake, no 
                         reception or nothing. Johnny got 
                         down on his knees and proposed to me 
                         at The Grand Ticino.

                                     COSMO
                         He did?

                                     LORETTA
                         Yeah.

                                     COSMO
                         That don't sound like Johnny. Where's 
                         the ring?

               Loretta shows it.

               Cosmo examines it.

                                     LORETTA
                         Here.

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

                                     LORETTA
                         It's temporary.

                                     COSMO
                         Everything is temporary. That don't 
                         excuse nothing.

                                     LORETTA
                         So you'll come to the wedding, right?

                                     COSMO
                         Let's go tell your Mother.

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

               THE CASTORINI HOUSE - DARKENED MASTER BEDROOM - NIGHT

               The door to the hall opens, and the light from without dimly 
               illuminates a massive four-poster bed. Cosmo enters, followed 
               by Loretta. He speaks into the dark a calm and measured 
               summons.

                                     COSMO
                         Rose. Rose. Rose. Rose.

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

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

                                     ROSE
                         Who's dead?

                                     COSMO
                         Nobody. Loretta is getting married.

                                     ROSE
                         Again? Johnny Cammareri.

               Cosmo goes and sits on the bed.

                                     COSMO
                         I don't like him.

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

                                     LORETTA
                         No.

                                     ROSE
                         Good. When you love them they drive 
                         you crazy cause they know they can. 
                         But you like him?

                                     LORETTA
                         Oh yeah. He's a sweet man. I wanna 
                         have a big church wedding, Ma. And a 
                         reception.

                                     ROSE
                         And who's gonna pay for that?

                                     LORETTA
                         Pop.

                                     COSMO
                         WHAT?

               Rose starts laughing.

                                     LORETTA
                         Father of the bride pays.

               Cosmo walks out.

                                     COSMO
                         I have no money!

                                     ROSE
                         You're rich as Roosevelt. You're 
                         just cheap, Cosmo.

               Cosmo shouts from the stairs.

                                     COSMO
                         I won't pay for nothing.

                                     ROSE
                         He didn't used to be cheap. He thinks 
                         if he holds on to his money, he will 
                         never die.

                                     LORETTA
                         It's his duty as a father to pay for 
                         my wedding, Ma ...

               MUSIC

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

                                     ROSE
                         Now he's gonna play that damn Vicki 
                         Carr record. And then when he comes 
                         to bed, he won't touch me.

               EXT. THE CASTORINI HOUSE - MORNING

               The first golden rays of sunlight touch the great old house.

               The front door opens. Close shot of dogs coming into camera 
               as door opens. The OLD MAN comes out. The Old Man, who is 
               Cosmo's father, is 83 years old. He is taking the Five Dogs 
               out for their morning walk. He has their five leashes bundled 
               in one hand. In the other hand, even though it is a cloudless 
               November morning, he open black umbrella. He walks off down 
               the block with the dogs.

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

               The Old Man and the Five Dogs appear and enter the park. He 
               approaches a park bench where FELIX and LUCY are already 
               sitting. Felix and Lucy are about the same age as the Old 
               Man. They each have a well-behaved DOG. When the Old Man 
               sits down, he lets the Five Dogs go. The Dogs run off, BARKING 
               like mad.

                                     FELIX
                         It's wrong to just let them go.

                                     OLD MAN
                              (ignoring Felix)
                         Good morning, Lucy.

                                     LUCY
                         Good morning.

                                     FELIX
                         They run around, they mess up the 
                         whole park.

                                     OLD MAN
                         What do you want me to do? Pick up 
                         after five dogs? I'm eighty-three 
                         years old. God in his heaven 
                         understands that I cannot pick up 
                         after five dogs.

                                     FELIX
                         You have too many dogs.

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

                                     OLD MAN
                              (goes back to ignoring 
                              Felix)
                         Lucy. There are big things going on 
                         in my house. My granddaughter Loretta, 
                         the only daughter of my son Cosmo, 
                         has engaged herself to be married a 
                         second time.

                                     LUCY
                         I have heard that Johnny Cammareri 
                         got down on his knees in The Grand 
                         Ticino and proposed to her.

                                     OLD MAN
                         My son does not like this Johnny 
                         Cammareri. He says he is a big baby.

                                     FELIX
                         You should have one dog. Like Lucy. 
                         Like me. I wish I hadda gun. If I 
                         hadda gun, I would shoot four of 
                         your dogs.

               The Old Man makes a low, threatening noise.

                                     LUCY
                         Don't fight.

                                     OLD MAN
                         My granddaughter wants my son to pay 
                         for the wedding. But he does not 
                         want to pay.

                                     LUCY
                         He should pay.

                                     OLD MAN
                         I don't know.

                                     LUCY
                         He owes her a wedding from the first 
                         time when there was none.

                                     OLD MAN
                         Maybe. I don't know. He has not asked 
                         my advice. If he asks my advice, I 
                         don't know what I will say.

               The SOUND of the DOGS becomes intense again.

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

                                     OLD MAN
                         You think so, huh, Stupid? Those 
                         dogs love each other.

               EXT. THE CASTORINI HOUSE - DAY

               The gates in the big archway are opened from the inside.

               It's Cosmo. He's wearing a good but old-fashioned suit, an 
               overcoat, and a homburg. He's pulled his car, a 1965 black 
               Buick, up to the gate. Now that he has the gates open, he 
               gets in the car and drives out to the curb. He gets out and 
               goes back to lock the gates. As he does this, the Old Man 
               approaches the house with the Five dogs and the open umbrella.

               The Old Man and the Dogs go to the front door of the house.

               Cosmo goes to the door of his car. The two men, father and 
               son, see each other at the moment they grab their respective 
               door handles. They each raise a hand in greeting; it is the 
               same gesture for both men, an eccentric chopping motion.

               Then they open their respective doors. The Old Man disappears 
               within the house. Cosmo drives slowly away in his car.

               INT. THE CASTORINI HOUSE - KITCHEN - DAY

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

               Receives a big lump of butter with a hissing gasp of 
               satisfaction. A wooden spoon pushes the sinking lump around 
               until the pan is coated. Two square slices of yellow bread 
               with round holes punched in their middles land in the pan.

               Two circles of green pepper land next to the bread. A spatula 
               flips over the bread which has become glistening gold on the 
               cooked side.

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

               The circles of green pepper are pushed around by the spatula, 
               scooped up deftly, and each is made to frame one of the eggs.

               A WOMAN'S HAND garnishes each bright yellow yolk with a slash 
               of red pimento. The spatula reappears and lifts the results 
               from the pan, and slides them onto two small dark blue plates.

               Now WE SEE that Loretta is just finishing setting the tin 
               table for two. In the b.g., Rose is turning away from the 
               big, old-fashioned six range gas stove where an old speckled 
               coffee pot is steaming up a sun-drenched window. Rose comes 
               toward the table with the laden blue plates. She's wearing a 
               nice old apron over a blue housedress. She's thoughtful.

               As Rose comes to the table, Loretta in a blue denim work 
               shirt and pants, goes to the stove and gets the coffee. As 
               Rose puts breakfast on the table, she speaks to Loretta, 
               who's at the stove.

                                     ROSE
                         Will you live here?

                                     LORETTA
                         No.

                                     ROSE
                         Why not?

                                     LORETTA
                         Pop don't like Johnny.

               Loretta returns with the coffeepot to the table, and pours.

               Then she takes the pot back to the stove.

                                     ROSE
                         So we'll sell the house.

                                     LORETTA
                         I got married before, you didn't 
                         sell.

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

                                     ROSE
                         Grandma was still alive. Chiro was 
                         still home going to school. Now he's 
                         married and gone to Florida. If you 
                         and Johnny moved in, had a baby...

                                     LORETTA
                         I'm thirty-seven years old.

                                     ROSE
                         What's thirty-seven? I had Chiro 
                         after I was thirty-seven. It ain't 
                         over till it's over.

                                     LORETTA
                         Johnny has a big apartment. We'll 
                         live there.

                                     ROSE
                         And we'll sell the house.

                                     LORETTA
                         I'd like to stay, Ma. I love the 
                         house. But Pop don't like Johnny.

                                     ROSE
                         No. He don't.

               The WALL PHONE in the kitchen RINGS. Loretta goes and answers 
               it.

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

               INT. A DARKENED BEDROOM IN PALERMO - DAY

               Mr. Johnny is calling on an old European-style phone. In the 
               b.g. is the sickbed. In the sickbed lies VESTA, Mr. Johnny's 
               mother, her grey hair spread out on a golden pillow.

               By the bed are THREE MOURNERS, old crones dressed in black.

               One clutches a missal, the other two clutch rosaries. All 
               three are grieving in a steady low wordless whine. Mr. Johnny 
               speaks into the phone in a confidential manner. There is 
               some long-distance CRACKLE.

                                     MR. JOHNNY
                         Ssh, it's me. I'm calling from the 
                         deathbed of my mother.

               LORETTA ON THE PHONE

                                     LORETTA
                         How was your plane ride?

               MR. JOHNNY ON THE PHONE

                                     MR. JOHNNY
                         The waitresses were very nice.
                              (glances over at his 
                              mother)
                         My mother is slipping away.

               LORETTA ON THE PHONE

                                     VESTA
                              (calling to the Heavens)
                         Quanto tempo devo aspettare?
                              (now she aims more at 
                              Johnny)
                         How long must I wait?!

                                     MR. JOHNNY
                         I can't talk long.

                                     LORETTA
                         Have you told her we're getting 
                         married?

               MR. JOHNNY ON THE PHONE

                                     MR. JOHNNY
                         Not yet. I'm waiting till a moment 
                         when she's peaceful.

               We HEAR Loretta's VOICE over his receiver.

                                     LORETTA'S VOICE
                         Just don't wait until she's dead.

                                     MR. JOHNNY
                         Have you called my brother?

                                     LORETTA'S VOICE
                         Not yet.

                                     MR. JOHNNY
                         Will you do it today? Call him, make 
                         him come to the wedding. Five years 
                         is too long for bad blood between 
                         brothers. Nothing can replace your 
                         family. I see that now.

               LORETTA ON THE PHONE

                                     LORETTA
                         Alright. I'll call him. Today. Listen, 
                         Johnny. Call me after you tell your 
                         mother. Alright? Alright. And don't 
                         stand directly under the sun. You've 
                         got your hat, use your hat. Alright. 
                         Bye-bye.

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

                                     ROSE
                         How's the mother?

                                     LORETTA
                         She's dying. But I could still hear 
                         her big mouth.

                                     ROSE
                         Did he tell her?

                                     LORETTA
                         Not yet. That old lady makes him 
                         sweat.
                              (to herself)
                         Where's that card?

               Rose gets up and takes the dishes to the sink, Loretta fishes 
               in her pocket and comes out with the business card Mr. Johnny 
               gave her. She dials the number.

                                     ROSE
                         Who Are you calling?

               INT. CAMMARERI PASTRY SHOP - DAY

               (INTERCUT W/LORETTA IN KITCHEN)

               CHRISSY, a woman with a Queens accent, answers.

                                     CHRISSY
                         Cammareri's Bake Shop.

                                     LORETTA
                         Is Ronny there?

                                     CHRISSY
                         Hold on.
                              (yells into intercom)
                         Ronny, the phone!

               INT. CAMMARERI PASTRY SHOP - OVEN ROOM - DAY

               (INTERCUT W/LORETTA IN KITCHEN)

                                     RONNY
                         Yeah, this is Ronny.

                                     LORETTA
                         I'm calling for your brother Johnny. 
                         He's getting married and he wants 
                         you to come.

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

                                     RONNY
                         Why didn't he call himself?

                                     LORETTA
                         He's in Palermo.

                                     RONNY
                         What's wrong can never be made right.
                              (hangs up phone)

                                     LORETTA
                         Let me come and talk to you.

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

               THE TOWNHOUSE/INT. THE BUICK - DAY

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

               CAMMARERI'S PASTRY SHOP - DAY

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

               INT. CAMMARERI'S PASTRY SHOP - DAY

               It's a nice Italian bake shop. Three Italian women, CHRISSY, 
               BARBARA, and MA wait on THREE WOMEN SHOPPERS at the counter.

               CHRISSY and BARBARA are in their late 20's or early 30's; MA 
               is old, old. Loretta comes in and speaks to CHRISSY.

                                     LORETTA
                         Is Ronny Cammareri here?

                                     CHRISSY
                         He down at the ovens. What do you 
                         want?

                                     LORETTA
                         I would like to speak to him.

               EXT. CAMMARERI'S PASTRY SHOP - DAY

               Chrissy comes out and Loretta follows. They walk around to 
               an outdoor staircase that descends into the sidewalk. Chrissy 
               shouts down.

                                     CHRISSY
                         Hey, RONNY.

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

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

                                     ROCCO
                         What!

                                     CHRISSY'S VOICE
                         Somebody to see Ronny.

               Rocco slides back the door all the way. Chrissy and Loretta 
               make their way past him. He slides the door three quarters 
               shut behind them.

               INT. THE BASEMENT OVEN ROOM - DAY

               There are two coal-fired ovens, one at either end of the 
               room. There is a large wooden table roughly center. And 
               various pieces of baking equipment, dough-mixers, etc., 
               scattered willy-nilly. And everywhere there is bread.

               PIETRO, a baker, is working at one of the ovens with a long 
               wooden spatula. RONNY is working at the other oven.

               Actually, he is just staring in the open door at the baking 
               bread and burning coals. He's dressed in black jeans streaked 
               with flour, a white restaurant shirt, white cotton gloves, 
               and around his neck, a red handkerchief. He is black-haired, 
               handsome and intense.

                                     ROCCO
                         Ronny!

                                     RONNY
                         What!

                                     ROCCO
                         Somebody here to see you.

               Ronny turns and takes in Loretta.

                                     RONNY
                         Have you come from my brother?

                                     LORETTA
                         Yes.

                                     RONNY
                         Why?

                                     LORETTA
                         I'm going to marry him.

                                     RONNY
                         You are going to marry my brother?

                                     LORETTA
                         Yes. Do you want...

                                     RONNY
                         I have no life.

                                     LORETTA
                         Excuse me.

                                     RONNY
                         I have no life. My brother Johnny 
                         took my life from me.

                                     LORETTA
                         I don't understand.

               Everything in the oven room has stopped and everyone is 
               watching.

                                     RONNY
                         And now he's getting married. He has 
                         his, he's getting his. And he wants 
                         me to come? What is life?

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

                                     LORETTA
                         I didn't come here to upset you.

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

                                     RONNY
                         They say bread is life. So I bake 
                         bread, bread, bread.
                              (He's picking up loaves 
                              of bread from one of 
                              the boxes on the 
                              floor, and casually 
                              tossing them across 
                              the room.)
                         And the years go by! By! By! And I 
                         sweat and shovel this stinking dough 
                         in and outta this hot hole in the 
                         wall and I should be so happy, huh, 
                         sweetheart? You want me to come to 
                         the wedding of my brother Johnny?!! 
                         Where is my wedding? Chrissy! Over 
                         by the wall! Gimme the big knife!

                                     CHRISSY
                         No, Ronny!

               Barbara appears in the doorway and comes down the stairs 
               into the room.

                                     RONNY
                         Gimme the big knife! I'm gonna cut 
                         my throat!

                                     LORETTA
                         Maybe I should come back another 
                         time.

                                     RONNY
                         No, I want you to see this! I want 
                         you to watch me kill myself so you 
                         can tell my brother on his wedding 
                         day! Chrissy, gimme the big knife!

                                     CHRISSY
                         I tell you I won't do it!

                                     RONNY
                              (to Loretta)
                         Do you know about me?

                                     BARBARA
                         Oh, Mr. Cammareri!

                                     RONNY
                         Nothing is anybody's fault, but things 
                         happen.
                              (holds up his left 
                              hand to Loretta)
                         Look.

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

                                     RONNY
                         It's wood. It's fake. Five years ago 
                         I was engaged to be married. Johnny 
                         came in here, he ordered bread from 
                         me. I put it in the slicer and I 
                         talked with him and my hand got caught 
                         cause I wasn't paying attention. The 
                         slicer chewed off my hand. It's funny 
                         'cause - when my fiancé saw that I 
                         was maimed, she left me for another 
                         man.

                                     LORETTA
                         That's the bad blood between you and 
                         Johnny?

                                     RONNY
                         That's it.

                                     LORETTA
                         But that wasn't Johnny's fault.

                                     RONNY
                         I don't care! I ain't no freakin 
                         monument to justice! I lost my hand, 
                         I lost my bride! Johnny has his hand, 
                         Johnny has his bride! You come in 
                         here and you want me to put away my 
                         heartbreak and forget?

               He goes to the big table, which is floured and covered with 
               bread. He sweeps everything off the tabletop during the next.

                                     RONNY
                         Is it just a matter of time till a 
                         man opens his eyes and gives up his 
                         one dream of happiness? Maybe. Maybe. 
                         All I have... Have you come here, 
                         Stranger, Bride of my Brother, to 
                         take these last few loaves from my 
                         table? Alright. Alright.

               The table is bare. He stares at it blankly. He wanders away, 
               to the back room where the flour sacks are kept. We hear a 
               single sob escape him from that room, and then silence.

               Everyone in the oven room looks after him. Then Chrissy 
               approaches Loretta. She holds the big knife at her side.

                                     CHRISSY
                         This is the most tormented man I 
                         have ever known. I am in love with 
                         this man. He doesn't know that. I 
                         never told him cause he can never 
                         love anybody since he lost his hand 
                         and his girl.

               She holds out the knife.

                                     CHRISSY
                         Here. Why don't you just kill him? 
                         It would be so much more kind than 
                         coming here and inviting him to a 
                         wedding like he'll never have.

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

               INT. OF THE FLOUR ROOM - DAY

               Many 50 lb. bags of flour are stacked under a bare electric 
               bulb. A rough stone staircase opposite is lit by daylight 
               from above. Ronny, quietly distraught, stands leaning by his 
               forehead against a stack of flour. Loretta approaches him. 
               She feels for him.

                                     LORETTA
                         Where you live?

               He points to the stone staircase.

                                     RONNY
                         Upstairs.

               She touches his shoulder.

                                     LORETTA
                         Come on.

               He follows her up the stairs.

               EXT. THE STAIRCASE ENTRANCE ON THE STREET

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

               INT. THE PEACOCK CAFE — DAY

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

               MUSIC

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

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

               DARK NOOK IN THE CAFE

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

                                     COSMO
                         And then there is copper, which is 
                         the only pipe I use. It costs money. 
                         But it costs money because it saves 
                         money.

                                     MONA
                         And what did they say?

                                     COSMO
                         The man understood me. The woman 
                         wanted to be cheap, but the man saw 
                         that I was right.

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

                                     COSMO
                         I brought you something.

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

                                     COSMO
                         It's a present.

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

                                     MONA
                         Oh, Cosmo!

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

               EXT. RONNY'S APARTMENT BUILDING - DAY

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

               INT. RONNY'S APARTMENT - DAY

               It's a two-bedroom apartment. The decor reflects Ronny's 
               love of the opera. The furniture is overstuffed, fringed in 
               the colors of Italian passion. But it is all a bit faded, 
               the remains of an old flamboyance. The walls are decorated 
               with opera posters; and over the fireplace there is a painting 
               depicting a scene from "La Boheme": Mimi is standing in the 
               snow. Ronny stares at the picture of Mimi in the La Boheme 
               poster. Loretta comes in from the kitchen and sets down a 
               cup of coffee.

                                     LORETTA
                         You ready for the coffee?

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

                                     RONNY
                         Loretta. What's that smell?

                                     LORETTA
                         I'm making you a steak.

                                     RONNY
                         You don't have to help me.

                                     LORETTA
                         I know that. I do what I want.

                                     RONNY
                         I like it well done.

                                     LORETTA
                         You'll eat this bloody to feed your 
                         blood.

               INT. RONNY'S APARTMENT -DINING ROOM - DAY

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

                                     RONNY
                         This is good. Uhh...

                                     LORETTA
                         Loretta.

                                     RONNY
                         Where'd Johnny find you?

                                     LORETTA
                         He knew my husband who died.

                                     RONNY
                         How'd he die?

                                     LORETTA
                         Bus hit him.

                                     RONNY
                         Fast.

                                     LORETTA
                         Instantaneous.

                                     RONNY
                         When you get engaged?

                                     LORETTA
                         Yesterday.

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

                                     RONNY
                         Why?

                                     LORETTA
                         Why what?

                                     RONNY
                         I don't know.

                                     LORETTA
                              (smiles)
                         So. Five years ago your hand got cut 
                         off and your woman left you for 
                         another man. No woman since then?

                                     RONNY
                         No.

                                     LORETTA
                         Stupid.

                                     RONNY
                         When your husband get hit by the 
                         bus?

                                     LORETTA
                         Seven years ago.

                                     RONNY
                         How many men since then?

                                     LORETTA
                         Just Johnny.

                                     RONNY
                         Stupid yourself.

                                     LORETTA
                         No. Unlucky. I have not been lucky.

                                     RONNY
                         I don't care about Luck, you 
                         understand me? It ain't that.

                                     LORETTA
                         What? Do you think you're the only 
                         one ever shed a tear?

                                     RONNY
                         Why you talking to me?

                                     LORETTA
                         You got any whiskey? How 'bout giving 
                         me a glass of whiskey?

               EXT. STREET NEAR BAKERY - DAY

               SHOT OF COSMO & MONA IN THE BUICK

               The car has just come to a stop. We see Cosmo & Mona kiss.

               She exits car. Cosmo glances around with a slightly guilty 
               look and pulls away.

               LORETTA AND RONNY AT THE TABLE WITH A BOTTLE OF WHISKEY

               Camera is close on Scotch being poured into two glasses.

               Loretta picks up her glass and swallows a healthy dose.

                                     RONNY
                         She was right to leave me.

                                     LORETTA
                         You think so?

                                     RONNY
                         Yes.

                                     LORETTA
                         You really are stupid, you know that.

               Loretta pours herself another shot.

                                     RONNY
                         You don't know nothing about it.

                                     LORETTA
                         I was raised that a girl gets married 
                         young. I didn't get married until I 
                         was twenty-eight. I met a man. I 
                         loved him. I married him. He wanted 
                         to have a baby right away. I said 
                         no. Then he got hit by a bus. No 
                         man. No baby. No nothing! I did not 
                         know that man was a gift I could not 
                         keep. I didn't know... You tell me a 
                         story and you think you know what it 
                         means, but I see what the true story 
                         is, and you can't.
                              (she pours them both 
                              another drink)
                         She didn't leave you! You can't see 
                         what you are. I can see everything. 
                         You are a wolf!

                                     RONNY
                         I'm a wolf?

                                     LORETTA
                         The big part of you has no words and 
                         it's-a wolf. This woman was a trap 
                         for you. She caught you and you could 
                         not get away.
                              (She grabs his wooden 
                              hand)
                         So you chewed off your foot! That 
                         was the price you had to pay to be 
                         free.
                              (throws his hand down)
                         Johnny had nothing to do with it. 
                         You did what you had to do, between 
                         you and you, and I know I'm right, I 
                         don't care what you say. And now 
                         you're afraid because you found out 
                         the big part of you is a wolf that 
                         has the courage to bite off its own 
                         hand to save itself from the trap of 
                         the wrong love. That's why there has 
                         been no woman since that wrong woman. 
                         You are scared to death what the 
                         wolf will do if you make that mistake 
                         again!

                                     RONNY
                         What are you doing!

                                     LORETTA
                         I'm telling you your life!

                                     RONNY
                         Stop it!

                                     LORETTA
                         No!

                                     RONNY
                         Why are you marrying Johnny? He's a 
                         fool!

                                     LORETTA
                         Because I have no Luck!

                                     RONNY
                              (pounding on the table)
                         He made me look the wrong way and I 
                         cut off my hand. He could make you 
                         look the wrong way and you could cut 
                         off your whole head!

                                     LORETTA
                         I am looking where I should to become 
                         a bride!

                                     RONNY
                         A bride without a head!

                                     LORETTA
                         A wolf without a foot!

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

                                     LORETTA
                         Wait a minute! Wait a minute!

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

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

                                     RONNY
                         It's like I'm falling! It's like I'm 
                         in the ocean!

               They kiss again. When they pull apart again, Loretta is 
               crying.

                                     LORETTA
                         I have no Luck!

               He picks her up in his arms.

                                     RONNY
                         Son of a bitch!

                                     LORETTA
                         Where are you taking me?

                                     RONNY
                         To the bed.

                                     LORETTA
                         Oh. Oh God. I don't care about 
                         anything. I don't care about anything! 
                         Take me to the bed.

               He carries her away, into the bedroom.

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

               INT. RONNY'S APARTMENT - BEDROOM

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

                                     RONNY
                         I can't believe what is happening.

                                     LORETTA
                         Me neither.

                                     RONNY
                         I was dead.

                                     LORETTA
                         I was dead, too.

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

                                     RONNY
                         Your blood.

                                     LORETTA
                         All my life I have never reached a 
                         man. I knew that I would reach my 
                         husband, but I took my time and he 
                         was dead. Ronny.

                                     RONNY
                         Loretta.

                                     LORETTA
                         I want to cut you open and crawl 
                         inside of you. I want you to swallow 
                         me.

                                     RONNY
                         I've got you.

                                     LORETTA
                         Get all of me. Take everything.

                                     RONNY
                         What about Johnny?

                                     LORETTA
                         You're mad at him, take it out on 
                         me, take your revenge on me! Take 
                         everything, leave nothing for him to 
                         marry! Hollow me out so there's 
                         nothing left but the skin over my 
                         bones. Suck me dry!

                                     RONNY
                         Alright. Alright. There will be 
                         nothing left.

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

               The MUSIC SWELLS to a terrible triumph.

               EXT. THE CASTORINI HOUSE - NIGHT

               Dog whines over exterior.

               INT. THE CASTORINI HOUSE - AN UPSTAIRS BEDROOM - NIGHT

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

               THE CASTORINI STAIRCASE - NIGHT

               Judas is running down the stairs and into the hall. We FOLLOW 
               HIM down the hall. The hall is only dimly lit. He finds the 
               four other dogs. They are crowded at a narrow doorway.

               From the doorway comes a golden light.

               INT. THE CASTORINI HOUSE - DINING ROOM - NIGHT

               THE PLEASED FACE OF COSMO THROUGH A VEIL OF STEAM

               The CAMERA PULLS BACK.

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

               Rose has just laid down a massive platter of steaming baked 
               fish. Already on the table is a platter of pasta, loaves of 
               bread, a big bowl of salad, two bottles of wine, and an 
               appetizer plate of salami and pimento. Seated at the table 
               is COSMO, the Old Man, and RAYMOND and RITA CAPPOMAGGI.

               Raymond is rotund, moon-faced, bald, somewhere in his fifties.

               He has a pencil-thin mustache over his small mouth. His wife, 
               Rita, looks very like him, except she has hair on her head 
               and none on her lip. Raymond is Rose's brother. There are 
               two empty places at table, for Rose and Loretta.

                                     COSMO
                         Where's Loretta? We're gonna start 
                         without her.

               ONE OF THE ENTRANCE WAYS TO THE DINING ROOM

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

                                     ROSE'S VOICE
                         She must be eating out.

                                     RAYMOND'S VOICE
                         She don't know what she's missing.

                                     ROSE'S VOICE
                         It's not like her not to call.

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

               THE DINING TABLE - RITA IS LOADING UP HER PLATE

                                     RITA
                         I mean, can we talk about it, Rose? 
                         Everybody's heard. She's getting 
                         married again.

                                     COSMO
                         I don't wanna talk about it.

                                     RAYMOND
                         Johnny Cammareri. I think it's great 
                         and about time. What's she gonna do 
                         with the rest of her life she don't 
                         get married?

                                     COSMO
                         I don't wanna talk about it.

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

                                     COSMO
                         My father needs a plate.

               Rose gets another plate from a sideboard and puts it in front 
               of the Old Man. He immediately, methodically begins to fill 
               his new plate. Rose goes to her place and sits down.

                                     RAYMOND
                         Cosmo. Many years ago, when they 
                         told me you were marrying my sister, 
                         I was happy. When I told Rose I was 
                         marrying Rita, she was happy.

                                     RITA
                         Marriage is happy news.

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

                                     COSMO
                         Rose, pass the wine.

                                     RAYMOND
                         I never seen anybody so in love like 
                         Cosmo back then! He'd stand outside 
                         the house all day and look in the 
                         windows. I never told you this cause 
                         it's not really a story. But one 
                         time I woke up in the middle of the 
                         night cause this bright light was in 
                         my face. Like a flashlight. I couldn't 
                         think a what it was. I looked out 
                         the window, and it was the moon! Big 
                         as a house! I never seen the moon so 
                         big before or since. I was almost 
                         scared, like it was gonna crush the 
                         house. And I looked down, and standing 
                         there in the street was Cosmo, looking 
                         up at the windows. This is the funny 
                         part. I got mad at you, Cosmo! I 
                         thought you brought this big moon 
                         over to my house cause you were so 
                         in love and woke me up with it. I 
                         was half asleep I guess and didn't 
                         know no better.

                                     COSMO
                         You were altogether asleep. You were 
                         dreaming.

                                     RAYMOND
                         No. You were there.

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

                                     COSMO
                         I don't wanna talk about it.

                                     ROSE
                              (suddenly angry)
                         Well, what do you wanna talk about!

                                     COSMO
                         Rita. Pass the wine.

                                     ROSE
                         Why you drinking so much?

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

                                     ROSE
                         Old Man, if you give another piece 
                         of my food to those dogs, I'm gonna 
                         kick you till you're dead!

               The Old Man reverses direction and heads back to his chair.

               He sits down and starts to eat.

               EXT. THE CASTORINI HOUSE - NIGHT

               Over the house is a great big full moon.

               INT. THE CASTORINI HOUSE - MASTER BEDROOM - NIGHT

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

                                     ROSE
                         Cosmo?

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

                                     ROSE
                         You drank too much and now you sleep 
                         too hard, and later you'll be up 
                         when you should be down.

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

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

               RESUME INT. CASTORINI HOUSE - MASTER BEDROOM - NIGHT (Rose 
               crying.

               INT. RONNY'S APARTMENT - BEDROOM - NIGHT

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

                                     LORETTA
                         What's that?

               Ronny wakes up, a little alarmed.

                                     RONNY
                         What?

                                     LORETTA
                         That light.

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

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

                                     LORETTA
                         Oh.

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

                                     RONNY
                         It's so bright.

                                     LORETTA
                         I've never seen a moon like that.

                                     RONNY
                         It makes you look like an angel.

               She turns and looks at him. They kiss. They break apart.

               Ronny looks up at the moon.

                                     RONNY
                         Yeah. Looks like a big snowball.

               EXT. THE CAPPOMAGGI HOUSE NIGHT

               Shot of the house with the moon overhead.

               INT. RAYMOND AND RITA CAPPOMAGGI'S BEDROOM - NIGHT

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

                                     RAYMOND
                         Rita. Rita.

                                     RITA
                              (waking up)
                         What? What?

                                     RAYMOND
                         Look.

                                     RITA
                         Oh.

                                     RAYMOND
                         It's Cosmo's moon.

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

                                     RAYMOND
                         I mean it's that moon I was talking 
                         about at dinner.
                              (looks through the 
                              window, down into 
                              the street)
                         Is he down there? No.

                                     RITA
                         Is who down there?

                                     RAYMOND
                         Cosmo.

                                     RITA
                         What would he be doing down there?

                                     RAYMOND
                         I don't know.

                                     RITA
                         You know, in this light, and with 
                         that expression on your face, you 
                         look about twenty-five years old.

               Raymond smiles at her meekly.

               EXT. THE CASTORINI HOUSE - NIGHT

               Over the house is still the great big full moon. The front 
               door opens and out comes the Old Man with the five Dogs.

               The Old Man is in a greatcoat and a felt hat, and he's smoking 
               a cigar. He stops on the top step and lets go a huge plume 
               of cigar smoke. Then he starts off with the Dogs down the 
               street.

               EXT.. EAST RIVER - NIGHT

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

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

                                     OLD MAN
                         Alright now. Howl. Howl.

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

               The Dogs do nothing. The CAMERA CONTINUES TO PULL BACK until 
               WE CAN SEE the whole pier, with the Old Man and the Dogs on 
               it, and the moon above them. The Old Man, frustrated now, 
               cries out.

                                     OLD MAN
                         How long must I wait? Quanto tempo 
                         devo aspettare!

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

               EXT. EAST RIVER - DAY

               Transition from moon reflecting in the water to dawn.

               INT. RONNIE'S APARTMENT - BEDROOM - DAY

               Morning sun floods the room. Close on Loretta, she wakes up.

                                     LORETTA
                         Oh my God.

                                     RONNY
                         What?

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

                                     LORETTA
                         What? What have we done?

                                     RONNY
                              (perturbed)
                         Take it easy.

                                     LORETTA
                              (from closet as she 
                              hurriedly gets dressed)
                         This time I was trying to do 
                         everything right.

                                     RONNY
                              (he grabs a bathrobe, 
                              pulls it on, puts it 
                              on and moves towards 
                              the closet.)
                         Don't just become excited.

                                     LORETTA
                         I thought if I stayed away from the 
                         City Hall, I won't have that Bad 
                         Luck I had again.

                                     RONNY
                         You're trying to make me feel guilty.

                                     LORETTA
                         I'm marrying your brother!

                                     RONNY
                         All right, I'm guilty. I confess!

                                     LORETTA
                         You're invited to the wedding! It's 
                         in a few weeks. Why didn't you do 
                         like him and be with your dying mother 
                         in Palermo?

                                     RONNY
                         She didn't like me.

                                     LORETTA
                         You don't get along with anybody!

                                     RONNY
                         What did you do?

                                     LORETTA
                         What did I do?

                                     RONNY
                         You ruined my life.

                                     LORETTA
                         That's impossible! It was ruint when 
                         I got here! You ruint my life!

                                     RONNY
                         Oh no I didn't!

               Loretta emerges from the closet, tucking in her blouse.

                                     LORETTA
                         Oh yes, oh yes you did! You've got 
                         those bad eyes like a gypsy! Why 
                         didn't I see it yesterday! Bad Luck! 
                         Is that all I'm ever gonna have? Why 
                         didn't I just pick up a stone and 
                         kill myself years and years ago? I'm 
                         gonna marry him!

                                     RONNY
                         What?

                                     LORETTA
                         Last night never happened, you hear 
                         me? I'm gonna marry him anyway and 
                         last night never happened, and you 
                         and I are gonna take this to our 
                         coffins!

                                     RONNY
                         I can't do that!

                                     LORETTA
                         Why not?

                                     RONNY
                         I'm in love with you!

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

                                     LORETTA
                         Snap out of it!

                                     RONNY
                         I can't!

                                     LORETTA
                         Alright. Then I must never see you 
                         again. The bad blood will have to 
                         stay there between you and Johnny 
                         for all time. You won't come to the 
                         wedding.

                                     RONNY
                         I'll come to the wedding.

                                     LORETTA
                         I'm telling you you can't.

                                     RONNY
                         But he wants me to come!

                                     LORETTA
                         But that's cause he don't know!

                                     RONNY
                         Alright. I will not come. Provided 
                         one thing.

                                     LORETTA
                         What?

                                     RONNY
                         That you come with me tonight. Once. 
                         To the Opera.

                                     LORETTA
                         What are you talking about?

                                     RONNY
                         I love two things. I love you, and I 
                         love the Opera. If I can have the 
                         two things that I love together for 
                         one night, I will be satisfied to 
                         give up the rest of my life.

                                     LORETTA
                         Alright.

                                     RONNY
                         Alright. Meet me at the Met.

                                     LORETTA
                         Alright. Where's the Met?

               CATHOLIC CHURCH IN LITTLE ITALY - DAY

               Camera moves from stained glass windows to confessional.

               Loretta is next in line of THREE SINNERS waiting to go into 
               the confessional. A FORGIVEN WOMAN emerges from the curtained 
               booth and walks off to pay her penance. Loretta goes into 
               the booth.

               INT. CHURCH - CONFESSIONAL - DAY

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

                                     LORETTA
                         Bless me, Father, for I have sinned. 
                         It's been two months since my last 
                         confession.

                                     PRIEST
                         What sins have you to confess?

                                     LORETTA
                         Twice I took the name of God in vain, 
                         once I slept with the brother of my 
                         fiancé, and once I bounced a check 
                         at the liquor store -- but that was 
                         really an accident.

                                     PRIEST
                         Then it was not a sin. But what was 
                         that second thing you said, Loretta?

                                     LORETTA
                         I... a... slept with my fiancé's 
                         brother.

                                     PRIEST
                         That's a pretty big sin.

                                     LORETTA
                         I know.

                                     PRIEST
                         You should think about this.

                                     LORETTA
                         I know.

                                     PRIEST
                         Alright. This is your penance. Say 
                         two rosaries and... be careful, 
                         Loretta. Reflect on your life.

                                     LORETTA
                         Alright.

                                     PRIEST
                         I absolve you in the name of the 
                         Father, and of the Son, and of the 
                         Holy Spirit, Amen.

               INT. CHURCH - DAY

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

                                     LORETTA
                         Hi.

                                     ROSE
                              (looking up from her 
                              prayers)
                         Where you been?

                                     LORETTA
                         I don't wanna talk about it.

                                     ROSE
                         Just like your father. I lied to 
                         him. He thinks you came home last 
                         night.

                                     LORETTA
                         Thanks. What's the matter with you?

                                     ROSE
                         Cosmo's cheating on me.

                                     LORETTA
                         What! How do you know?

                                     ROSE
                         A wife knows.

                                     LORETTA
                         Then you don't know. You're just 
                         imagining it. He's too old.

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

                                     LORETTA
                         I won't be home for dinner.

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

               INT. CAMMARERI'S BAKERY - DAY

               Feminine hands apply the final decorative touches of blue 
               icing to a wedding cake. Then the hands set the plastic bride 
               and groom on the pinnacle. The CAMERA PULLS BACK.

               Barbara is viewing her handiwork, a wedding cake on a 
               stainless steel wheeled cart. She's in the back part of the 
               bakery. Barbara is pleased with her creation. We TRAVEL WITH 
               HER as she rolls the cart out to the front of the store where 
               Chrissy is waiting on a huge man named HARVEY. She hands him 
               a tiny box, which he takes meekly.

                                     HARVEY
                         See you tomorrow, Chrissy.

                                     CHRISSY
                         Okay, Harvey.

               Harvey lumbers off as Barbara enters the front of the store 
               with the cake on its cart. Barbara calls Chrissy's attention 
               to the cake.

                                     BARBARA
                         So what do you think?

                                     CHRISSY
                         About what?

                                     BARBARA
                         The cake!

                                     CHRISSY
                              (without enthusiasm)
                         Where's Ronny? How come he ain't 
                         come down?

                                     BARBARA
                         How should I know?

               The PHONE RINGS. Chrissy answers it.

                                     CHRISSY
                         Hello, Cammareri's? Hi. Uh-huh. Okay.

               She hangs up.

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

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

                                     BARBARA
                         What, is he still upset?

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

                                     CHRISSY
                         It's that bitch!

               Barbara looks at her, shocked.

               EXT. CAPPOMAGGI'S ITALIAN PROVISIONS - DAY

               An Italian specialty store in Little Italy.

               INT. CAPPOMAGGI'S STORE - DAY

               Provolones and salamis hang from above. To the one side is a 
               deli counter, to the other a series of tables displaying 
               cheeses by the pound, packaged cakes, etc. In the back are a 
               few tables and a kitchen with counter. Up front, behind the 
               deli counter, stands Rita Cappomaggi in a blue apron.

               Out by the tables, Raymond unpacks some jars of olives. In 
               the back, a TRUCK DRIVER can dimly be seen eating his lunch.

                                     RAYMOND
                              (to Rita)
                         I feel great I got no sleep but I 
                         feel like Orlando Furioso!

                                     RITA
                              (looks around 
                              cautiously, then 
                              speaks)
                         You were a tiger last night.

                                     RAYMOND
                         And you were a lamb. As soft as milk.

                                     RITA
                         Shut up. They'll hear you in the 
                         back.

                                     RAYMOND
                         So what? The pleasure of marriage is 
                         you sleep with the woman and then 
                         you don't worry about nothing. Hey, 
                         how about a date tonight, Rita. Let's 
                         eat pasta and roll around.

                                     RITA
                              (scandalized)
                         Raymond, Raymond, lower your voice! 
                         What's got into you?

                                     RAYMOND
                         I don't know! That moon! That crazy 
                         moon Cosmo sent over!

               Loretta walks in.

                                     LORETTA
                         Hi.

                                     RAYMOND
                         Hey there
                              (sings)
                         ...YOU WITH THE STARS IN YOUR EYES...

                                     LORETTA
                              (to Rita)
                         What's the matter with him?

                                     RITA
                         You got me.

                                     RAYMOND
                         You see that moon last night?

                                     LORETTA
                              (suspicious and guilty)
                         What about the moon?

                                     RAYMOND
                         Did you see it?

                                     LORETTA
                              (she lies, nervous)
                         No.

                                     RAYMOND
                         Oh.

                                     LORETTA
                         Listen, I gotta go. I'll take the 
                         deposit to the bank but I'll do the 
                         books tomorrow. I gotta go.

                                     RAYMOND
                         You gotta date?

                                     RITA
                         What are you talking about, you fool? 
                         Her fiancé's in Palermo.

                                     RAYMOND
                         Oh. Right.

                                     LORETTA
                         I got things to do.

                                     RITA
                         Sure you do. You got all that wedding 
                         stuff.

                                     LORETTA
                         Right.

                                     RAYMOND
                         Well, that's romantic, too.
                              (SINGS)
                         ...ISN'T IT ROMANTIC...

               He is walking towards the back now. He shouts to somebody in 
               the kitchen.

                                     RAYMOND
                         HEY. Make me a bowl of minestrone.

               The women are left alone.

                                     RITA
                         What's the matter? You look crazy.

                                     LORETTA
                         I got a lot on my mind, Aunt Rita.

               INT. A CHURCH BASEMENT

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

                                     OLD MAN'S VOICE
                         I've got a lot on my mind. Things 
                         are getting bad in my house. My 
                         daughter-in-law is mad at my son 
                         because he will not pay for the 
                         wedding.

               A TUB OF APPLES FLOATING IN WATER

               An old, gnarled hand reaches in and pulls one out, dries it 
               with a towel. The CAMERA PULLS BACK REVEALING that the hand 
               belongs to Lucy, who is standing behind a table with the Old 
               Man and Felix. She hands the apple to the Old Man, who drives 
               a small wooden stake into it with a little wooden hammer.

               Then the Old Man hands this staked apple to Felix, who dips 
               it into a deep metal pot. It emerges shining with red candy 
               goo. Then Felix sets the candled apple onto a papered tray 
               where a dozen already sit. They repeat this process. But the 
               Old Man, because his thoughts are elsewhere, takes forever 
               to drive the stake into the apple. This frustrates Felix.

                                     OLD MAN
                         At dinner, my daughter-in-law 
                         threatened to kill me. Things are 
                         very bad in my house.

                                     FELIX
                         Hurry up.

                                     LUCY
                         Don't fight.

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

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

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

                                     LUCY
                         Don't make yourself sick.

                                     OLD MAN
                         Cosmo drank five glasses of wine at 
                         dinner.

                                     LUCY
                         Talk to him.

                                     OLD MAN
                         I will. But I must find the right 
                         moment.

                                     LUCY
                         Did you see the moon last night?

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

                                     OLD MAN
                         Yes!

                                     FELIX
                              (in despair)
                         Hurry up, hurry up. We open in five 
                         minutes.

               INT. CAPPOMAGGI'S STORE - DAY

               EIGHT NEAT STACKS OF MONEY BEING RUBBERBANDED

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

                                     LORETTA
                         Bye, Aunt Rita.

                                     RITA
                         Bye, bye, honey. See you tomorrow?

                                     LORETTA
                         Yeah, I'll be in.

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

               EXT. THE CINDERELLA BEAUTY SHOP - DAY

               Loretta walks-down the street and comes to the CINDERELLA 
               BEAUTY SHOP, fidgets a moment, looks around to see if 
               anybody's looking, and goes in.

               WE SEE her through the window talking to MILDRED, who handles 
               appointments. Mildred nods, points, and Loretta goes back 
               into the store.

               INT. CINDERELLA BEAUTY SHOP - DAY

               WE DISCOVER an uneasy Loretta sitting in a beauty chair with 
               BONNIE, her hairdresser about to start. Bonnie is a little 
               bored.

                                     BONNIE
                         So? You want the usual?

                                     LORETTA
                         I want you to get rid of the grey.

               TRANSFORMATIONAL MUSIC STARTS HERE AND CONTINUES THROUGH THE 
               FOLLOWING SCENES. This music should convey that Loretta is 
               turning from a frumpy pumpkin into a sleek and beautiful 
               coach. Bonnie wakes up upon hearing this startling news and 
               gets very excited.

                                     BONNIE
                         I've been wanting to do this for 
                         three years! Let me show you some 
                         magazines! You've got to get a 
                         manicure! And your eyebrows! Sheila! 
                         I'm gonna need help!

               SHEILA, another beautician, joins Bonnie, and they both get 
               very excited and start showing Loretta and each other 
               magazines. They argue merrily about what they should do, 
               leaving Loretta far behind. A MANICURIST joins them, with 
               her stuff and starts soaking Loretta's nails.

               A MONTAGE FOLLOWS

               They're plucking her eyebrows.

               They're cutting and dying her hair.

               They're painting her nails.

               EXT. CINDERELLA BEAUTY SHOP-DAY

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

               EXT. A DOWDY DRESS SHOP - DAY

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

               EXT. A BOLD DRESS SHOP - DAY

               A stylish dress shop called INSINUATION. Loretta looks in 
               the window, is intimidated, and walks on. A moment passes.

               She reappears. Tentatively, she enters.

               INT. INSINUATION - DAY

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

               There follows a MONTAGE of Mer showing Loretta various 
               dresses, some outlandish, some beautiful, some 
               incomprehensible. Loretta tries on several of the dresses in 
               a big triple mirror. Some horrify her, some frighten her 
               because they're so sexy, one bores her. We don't see the 
               dress that she ultimately does buy.

               EXT. INSINUATION - DUSK

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

               WE FOLLOW Loretta away down the street. She comes to a BRIDAL 
               SHOP with a big bride dummy shown off in the window She stops 
               and looks at the bride. She walks close to the window and 
               stares in hard. Then she slowly backs up from the bride.

               Two NUNS are walking by. Loretta, backing up from the dummy, 
               bumps into the Nuns. She's flustered, makes a brief apology, 
               and hurries away, casting a furtive last glance at the shop 
               window.

               END OF MUSIC

               THE TRANSFORMATIONAL MUSIC COMES TO A CLOSE.

               EXT. THE CASTORINI HOUSE - DUSK

               Night is falling. Loretta appears and enters the house.

               INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT

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

                                     LORETTA
                         Ma! Grandpa! No? Okay.

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

               A WOODEN ACCORDION GATE SEALS OFF THE TOP OF THE STAIRS

               Visible behind the gate are a couple of dogs.

               INT. THE CASTORINI HOUSE - KITCHEN - NIGHT

               Loretta goes through a door and into the kitchen. She opens 
               the refrigerator and a cabinet, and makes herself a scotch 
               on the rocks. She sips it and starts to HUM in an understated 
               way. She takes her drink and wanders out of the kitchen.

               LORETTA WALKS INTO THE LIVING ROOM

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

               LORETTA IS LIGHTING THE FIRE

               Which was already built in the fireplace. It catches on 
               nicely. She puts her drink down and gets a big standing 
               antique mirror on rollers from its place against the wall.

               She wheels it to a central place in the room. Satisfied, she 
               picks up her drink again, leaves the room for a moment, and 
               then returns with her shopping bag. She throws it on a chair. 
               Then she goes to the stereo and looks through the albums. 
               She selects one and puts it on.

               MUSIC

               Loretta waltzes around in front of the mirror, flirting with 
               herself in a very serious way. She starts to unbutton her 
               blouse.

               EXT. THE CASTORINI HOUSE - NIGHT

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

               INT. THE CASTORINI LIVING ROOM - NIGHT

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

               WE SEE THE LIPSTICK KISS ON THE MIRROR

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

               EXT. EAST RIVER NIGHT

               The moon is reflected in the water as WE SEE the dock of the 
               night before. We can SEE Jersey lit up across the river.

               But then something starts to replace Jersey. It's a huge 
               white liner coming down the river now, all of her lights 
               burning, heading back out to sea. FLASHBULBS go off along 
               the deck. We watch the length of the great ship pass as the

               MUSIC PLAYS

               END OF MUSIC

               EXT. LINCOLN CENTER PLAZA - NIGHT

               LINCOLN CENTER - LORETTA'S POV

               CROWDS OF PEOPLE in beautiful clothes fill the plaza created 
               by the three great buildings. A glorious fountain filled 
               with lights forms the centerpiece. Behind the fountain, grand 
               and splendidly lit, is the magical Metropolitan Opera House. 
               Two huge Chagalls, one to the right and one to the left, 
               inhabit the face of the building, filling it with marvelous 
               color.

               LORETTA COMES TO THE FOUNTAIN

               The fountain is quiet and dark now. Loretta is puzzled.

               She remembers that it was going. While she looks, it lights 
               up. Then small jets of water begin to appear. Then larger 
               jets.

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

               FROM OVER LORETTA'S SHOULDER WE SEE THE RUSHING WATER

               Forming an opaque wall before her. Then the fountain, for 
               its next piece of aquatic choreography, drops away to nothing 
               quite suddenly. And there, facing Loretta, on the opposite 
               side of the fountain, is Ronny.

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

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

                                     RONNY
                         Hi.

                                     LORETTA
                         Hi.

                                     RONNY
                         You look beautiful. Your hair...

                                     LORETTA
                         I thought I'd try it.
                              (qrudgingly)
                         You look good.

                                     RONNY
                         Thank you.

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

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

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

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

               Ronny and Loretta looking up at it.

                                     LORETTA
                         Who painted that?

                                     RONNY
                         Marc Chagall. A Russian.

                                     LORETTA
                         Kinda gaudy.

                                     RONNY
                         He was having some fun. Yeah, well 
                         he's dead.
                              (he smiles)
                         Come on, let's go in.

               Ronny and Loretta join the crowd streaming into the building.

               INT. THE OPERA HOUSE - NIGHT

               Ronny and Loretta enter, giving tickets to usher.

               INT. OPERA HOUSE - COATCHECK - NIGHT

               Ronny and Loretta checking their coats. Ronny's coat is 
               already off, and he's helping Loretta off with hers. He hands 
               her coat to the CHECKER and pockets the check. Then he turns 
               and sees Loretta in her dress for the first time.

               He's stunned by her beauty. He's at a loss. He mumbles.

                                     RONNY
                         Thank you!

                                     LORETTA
                         For what?

                                     RONNY
                         I don't know. For your hair. For 
                         your beautiful dress. For... you 
                         know, I feel like a man again. You 
                         know I love the Opera. You know it's 
                         been a long time since I've been to 
                         the Opera.

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

                                     LORETTA
                         So. Where are we sitting?

                                     RONNY
                         Come on.

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

               THE OPERA HOUSE - NIGHT

               THE CAMERA PICKS OUT A SERIES OF COUPLES

               The first couple is PEGGY and CLIVE, a very distinguished 
               pair of silver-haired lovers dressed magnificently. They are 
               in their seats, delighted to be where they are, holding hands.

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

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

               Next is Ronny and Loretta. They are sitting in the first row 
               of the First Circle; in other words, very good seats.

               They are holding their programs. Loretta opens her program.

               THE OPEN PROGRAM - LORETTA'S POV

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

               WE SEE RONNY AND LORETTA FROM BEHIND

               Ronny leans his head toward her and whispers.

                                     RONNY
                         Here we go.

               As the lights come up in the orchestra pit. The CONDUCTOR 
               takes his place. The AUDIENCE APPLAUDS. He bows and turns to 
               the orchestra. The OVERTURE begins and PLAYS UNDER NEXT.

               EXT. THE GRAND TICINO - NIGHT

               The OVERTURE PLAYS THROUGH this ESTABLISHING SHOT and then 
               FADES AWAY at the start of the NEXT SHOT. WE SEE Rose enter 
               the restaurant.

               INT. THE GRAND TICINO - NIGHT

               The dinner crowd is in and most of the tables are occupied.

               The entranceway door opens and Rose enters.

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

                                     JIMMY
                         Hello, Mrs. Castorini. Who's coming?

                                     ROSE
                         It's just me. I want to eat.

                                     JIMMY
                         Okay.

                                     JIMMY
                         I got a table for you right now.

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

                                     JIMMY
                         This alright?

                                     ROSE
                         Fine.

               He seats her.

                                     JIMMY
                         Enjoy your meal.

               Jimmy breezes off. There's another table-for-two against the 
               wall to Rose's front. WE SEE a woman's back from Rose's POV, 
               and a pretty head of hair. This woman, whose name is SHEILA, 
               is having an argument with the man across from her.

               But the man's face is blocked by Sheila's back and head, and 
               the argument is too low to be made out. Bobo approaches Rose's 
               table.

                                     BOBO
                         Good evening Mrs. Castorini. You 
                         eating alone tonight?

                                     ROSE
                         Hello, Bobo. Yes. Let me have a 
                         martini, no ice and two olives.

                                     BOBO
                         Very good.

               Bobo heads off for the bar. The couple at the next table 
               catches Rose's attention again, and their argument becomes a 
               little louder.

                                     SHEILA'S VOICE
                         I'm trying to explain to you how I 
                         feel. Every time I try to explain 
                         how I feel, you explain how you feel. 
                         I don't think that's really much of 
                         a response.

                                     UNSEEN MAN'S VOICE
                         Well, its the only response I've 
                         got.

               Bobo reappears with the martini and serves it.

                                     BOBO
                         You wanna see a menu?

                                     ROSE
                         Not yet. I'll wave.

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

                                     SHEILA'S VOICE
                         I really do hate it though, when you 
                         take that tone with me. Like you're 
                         above it all and isn't it amusing.

                                     MAN'S VOICE
                         But it is, isn't it?

                                     SHEILA'S VOICE
                         Not to me! This is my life, no matter 
                         how damned comical it may seem to 
                         you. I don't need some man standing 
                         above the struggle while I roll around 
                         in the mud!

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

               Sheila stands up abruptly and flings a glass of water in the 
               man's face. She pulls her coat off the back of her chair and 
               stalks off. This whole operation took about two seconds.

               When she stalks off, the face of the man becomes visible to 
               Rose for the first time. It's Perry, the professor in his 
               50's, who appeared and was treated in a similar way in the 
               earlier scene in this restaurant. His face is covered with 
               beads of water. He pats his face with his napkin and 
               apologizes to CUSTOMERS at neighboring tables.

                                     PERRY
                         Sorry about that, folks. She's a 
                         very pretty mental patient.

               The Shy Waiter arrives to assist Perry in drying himself.

                                     PERRY
                         Don't mind about me. But could you 
                         do me a favor and clear her place 
                         and take away all evidence of her, 
                         and bring me a big glass of vodka?

                                     SHY WAITER
                         Absolutely!

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

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

                                     PERRY
                         I'm sorry if we disturbed you.

                                     ROSE
                         I'm not disturbed. By you.

                                     PERRY
                         My lady friend has a personality 
                         disorder.

                                     ROSE
                         She was just too young for you.

               The Shy Waiter serves Perry his drink.

                                     PERRY
                              (to the Waiter)
                         Thanks, comrade.

                                     SHY WAITER
                         It's nothing!

               The Shy Waiter goes.

                                     PERRY
                              (Rose's comment strikes 
                              home)
                         Ouch. Too young! I just got that. 
                         You know how to hurt guy. How old 
                         are you?

                                     ROSE
                         None of your business.

               He drops his posturing.

                                     PERRY
                         Sorry. That was rude.

                                     ROSE
                         Will you join me for dinner?

                                     PERRY
                         Are you sure?

               She nods.

                                     PERRY
                         Then I'd be delighted. I hate eating 
                         alone, and it's amazing how often I 
                         end up doing just that.

               ROSE AND PERRY ARE HALFWAY THROUGH THEIR DINNER

                                     ROSE
                         What do you do?

                                     PERRY
                         I'm a professor. I teach 
                         communications at N.Y.U.

                                     ROSE
                         That woman was a student of yours?

                                     PERRY
                         Sheila? Yes she was. Is. Was.

                                     ROSE
                         There's old saying my mother told 
                         me. Would you like to hear it?

                                     PERRY
                         Yes.

                                     ROSE
                         Don't shit where you eat.

                                     PERRY
                              (taken aback, then 
                              recovering)
                         I'll remember that. What do you do?

                                     ROSE
                         I'm a housewife.

                                     PERRY
                         Then why are you eating alone?

                                     ROSE
                         I'm not eating alone. Can I ask you 
                         a question?

                                     PERRY
                         Go ahead.

                                     ROSE
                         Why do men chase women?

                                     PERRY
                              (considers)
                         Nerves.

                                     ROSE
                         I think it's because they fear death.

                                     PERRY
                         Maybe. Listen. You wanna know why I 
                         chase women? I find women charming.

                                     PERRY
                         I teach these classes I've taught 
                         for a million years. The spontaneity 
                         went out of it for me a long time 
                         ago. I started off, I was excited 
                         about something and I wanted to share 
                         it. Now it's rote, it's the 
                         multiplication table. Except 
                         sometimes. Sometimes I'm droning 
                         along and I look up, and there's 
                         this fresh young beautiful face, and 
                         it's all new to her and I'm this 
                         great guy who's just brilliant and 
                         thinks out loud. And when that 
                         happens, when I look out among those 
                         chairs and look at a young woman's 
                         face, and see me there in her eyes, 
                         me the way I always wanted to be and 
                         maybe once was, then I ask her out 
                         on a date. It doesn't last. It can 
                         go for a few weeks or a couple of 
                         precious months, but then she catches 
                         on that I'm just a burnt out old 
                         gasbag and that she's as fresh and 
                         bright and full of promise as 
                         moonlight in a martini. And at that 
                         moment, she stands up and throws a 
                         glass of water in my face, or some 
                         action to that effect.

                                     ROSE
                         What you don't know about women is a 
                         lot.

               INT. THE OPERA HOUSE-LOBBY-NIGHT

               INTERMISSION. THRONGS OF PEOPLE talking, talking, talking.

               Piled up at the bars to get drinks.

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

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

               INT. OF THE WOMAN'S BATHROOM

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

               INT. OF THE OPERA HOUSE - LOBBY - NIGHT

               MANY PEOPLE pressing to the bar to buy drinks. Cosmo and 
               Ronny achieve the bar's perimeter at the same moment, and 
               start to order.

               INT. OPERA HOUSE - LOBBY - NIGHT

               A CONCESSIONAIRE selling special glossy LA BOHEME programs.

               ELSEWHERE IN THE LOBBY DURING INTERMISSION

               Ronny and Loretta are standing by a column holding drinks.

               Loretta is looking around.

                                     LORETTA
                         They get some turnout for this stuff.

                                     RONNY
                         It's the best thing there is.

                                     LORETTA
                         I like parts of it, but I don't really 
                         get it.

               IN ANOTHER PART OF THE LOBBY DURING INTERMISSION Cosmo and 
               Mona are sitting on a bench.

                                     MONA
                         You haven't once said you like my 
                         dress.

                                     COSMO
                         I like your dress.
                              (he thinks)
                         It's very bright.

               He looks around.

                                     MONA
                         Why you looking around so much?

                                     COSMO
                         I don't know. I got a feeling.

                                     MONA
                         I'm wearing your bracelet.

               He nods, still looking around.

               CHIMES SOUND THROUGHOUT LOBBY

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

               EXT. THE GRAND TICINO - NIGHT

               Rose and Perry emerge from the restaurant.

                                     PERRY
                         May I walk with you a ways?

                                     ROSE
                         Sure.

               They set off to the left.

               EXT. THE CASTORINI HOUSE - NIGHT

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

               EXT. STREET I - NIGHT

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

               They continue walking.

               EXT. STREET II - NIGHT

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

               EXT. STREET I - NIGHT

               Rose and Perry walking. They exit camera left.

               EXT. STREET II - NIGHT

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

               EXT. STREET I - NIGHT

               Rose and Perry walking to the left.

               EXT . STREET II - NIGHT

               The Old Man and the Dogs walking to the right.

               EXT. STREET I - INTERSECTION

               OUTSIDE LAUNDROMAT - NIGHT

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

               EXT. STREET II - INTERSECTION OUTSIDE OF LAUNDROMAT - NIGHT

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

               EXT. STREET III - INTERSECTION OUTSIDE LAUNDROMAT

               Perry and Rose face the Old Man and the dogs.

               In a silent standoff. Perry is puzzled, but has the sense to 
               say nothing. After a long moment, the Old Man silently steers 
               his dogs past them. He walks away down the dark street, 
               silently disappearing into the gloom. Perry and Rose never 
               move, but follow his slow progress until he disappears.

                                     PERRY
                         You knew that man?

                                     ROSE
                         Yes.

               INT. OPERA HOUSE - NIGHT

               THE STAGE - THE OPERA IS IN PROGRESS

               It's the SCENE in which MIMI is standing in the falling snow.

               She SINGS to RUDOLPH. It is a beautiful, poignant moment.

               The snow is falling, falling. Mimi is SINGING her 
               heartbreaking aria of farewell. The lighted tavern window is 
               behind them, glowing with a golden light.

               WE SEE RONNY'S FACE

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

               WE SEE LORETTA'S FACE

               A single tear trails down her cheek. Otherwise, she is almost 
               succeeding in hiding that the opera is moving her. She notices 
               Ronny's hand creeping towards hers, but makes no move towards 
               it.

               THE STAGE - MIMI STILL SINGING SADLY IN THE SNOWFALL

               She and Rudolph join hands.

               RONNY AND LORETTA

               grab each other's hand fiercely.

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

               INT. OPERA HOUSE - AUDIENCE — NIGHT

               Audience exits.

               INT. OPERA HOUSE-LOBBY - NIGHT

               The lobby overflowing with the AUDIENCE coming out.

               INT. OPERA HOUSE - COATCHECK - NIGHT

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

                                     LORETTA
                         That was just so... awful!

                                     RONNY
                         Awful?

                                     LORETTA
                         Beautiful. Sad. She died!

                                     RONNY
                              (giving the check to 
                              the checker)
                         Yeah.

                                     LORETTA
                         I couldn't believe it! I didn't think 
                         she was going to die. I knew she was 
                         sick...

               Ronny gets the coats and helps her on with hers.

                                     RONNY
                         She had TB.

               Ronny is putting on his coat.

                                     LORETTA
                         I know. She was coughing her brains 
                         out. And still, she had to sing all 
                         the time...

               Loretta has stopped suddenly, transfixed by the sight before 
               her.

               Loretta and Ronny are standing face-to-face with Cosmo and 
               Mona. Mona's wearing a coat like a wrapper for hard candy.

               Cosmo is wearing his coat and has his hat in his hand.

               Stunned at seeing Loretta, he unconsciously puts his hat on.

               Then he thinks about it and takes it off again. He looks at 
               Ronny. Then he looks at Mona.

                                     LORETTA
                         Pop?

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

                                     COSMO
                         Wait for me by the doors, Mona.

               Mona obeys after looking curiously at Loretta.

                                     LORETTA
                         Pop? What are you doing here?

               Cosmo approaches Ronny.

                                     COSMO
                         Excuse me.

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

                                     LORETTA
                         Mona?

                                     COSMO
                         What'd you do to your hair?

                                     LORETTA
                         I got it done.

                                     COSMO
                         What are you doing here?

                                     LORETTA
                         What are you doing here?

                                     COSMO
                         Who is this man? You're engaged!

                                     LORETTA
                         You're married.

                                     COSMO
                         You're my daughter. I won't have you 
                         acting like a tramp!

                                     LORETTA
                         You're my father.

                                     COSMO
                         Alright. I didn't see you here.

                                     LORETTA
                         I don't know whether I saw you or 
                         not.

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

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

               LORETTA LOOKING AFTER THEM, STRICKEN

               Ronny appears at her side, solicitous.

                                     RONNY
                         Let's get outta here. I'll buy you a 
                         drink.

               Loretta, still looking after, slowly shakes her head.

                                     LORETTA
                         That wasn't my mother.

               EXT. CASTORINI HOUSE - NIGHT

               Rose and Perry stand on a sidewalk under a street light dimly 
               shining. About half a block away stands the Castorini house.

               They regard it. Over the house hangs the moon, cut through 
               now with a sharp grey cloud. Rose and Perry's VOICES can be 
               heard.

                                     ROSE'S VOICE
                         That's my house.

                                     PERRY'S VOICE
                         You mean the whole house?

                                     ROSE'S VOICE
                         Yes.

                                     PERRY'S VOICE
                         My God, it's a mansion!

                                     ROSE'S VOICE
                         It's a house.

                                     PERRY'S VOICE
                         I live in a one-bedroom apartment. 
                         What exactly does your husband do?

                                     ROSE'S VOICE
                         He's a plumber.

                                     PERRY'S VOICE
                         Well. That explains it.

               The SOUND of the WIND can be heard rising up.

               NOW WE SEE ROSE AND PERRY CLOSE UP

               The rising cold wind stirs their hair. They both shiver 
               slightly.

                                     PERRY
                         Temperature's dropping.

                                     ROSE
                         Yes.

                                     PERRY
                         I guess you can't invite me in?

                                     ROSE
                         No.

                                     PERRY
                         People home.

                                     ROSE
                         No. I think the house is empty. I 
                         can't invite you in because I'm 
                         married and because I know who I am.
                         You're shaking.

                                     PERRY
                         I'm a little cold.

                                     ROSE
                         You're a little boy and you like to 
                         be bad.

                                     PERRY
                         We could go to my apartment. You 
                         could see how the other half lives.

                                     ROSE
                         I'm too old for you.

                                     PERRY
                         I'm too old for me. That's my 
                         predicament.

                                     ROSE
                         Good night.

               She kisses him on the cheek.

                                     PERRY
                         Good night. Can I kiss you on the 
                         cheek, too?

                                     ROSE
                         Sure.

               He kisses her on the cheek.

                                     PERRY
                         I'm freezing

                                     ROSE
                         Good night.

               She walks away, towards the house. Perry, shivering, looks 
               after.

               INT. THE BOERUM CAFE - A BROOKLYN BAR - NIGHT

               Ronny and Loretta sit at the bar. They are just finishing a 
               couple of Old-Fashions. The barman, AL, inspects their drinks.

                                     AL
                         Another Old-Fashion?

                                     RONNY
                         Loretta?

                                     LORETTA
                         No thanks.

                                     RONNY
                              (to Al)
                         I think that's it.

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

                                     RONNY
                         What do you want to do now?

                                     LORETTA
                         I wanna go home.

               EXT. A COLD AND EMPTY MANHATTAN STREET - NIGHT

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

                                     LORETTA
                         It's really cold.

                                     RONNY
                         Yeah. It smells like snow.

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

                                     LORETTA
                         My mother guessed that my father was 
                         seeing somebody and I told her she 
                         was crazy. She looked like a real 
                         piece of cheap goods. But who am I 
                         to talk?

               Her eyes are full of tears.

                                     RONNY
                         What's the matter?

                                     LORETTA
                         How can you ask me that?

                                     RONNY
                         You're making me feel guilty again.

                                     LORETTA
                         You are guilty. I'm guilty.

                                     RONNY
                         Of what? Only God can point the 
                         finger, Loretta.

                                     LORETTA
                         I know what I know.

                                     RONNY
                         And what do you know? You tell me my 
                         life? I'll tell you yours. I'm a 
                         wolf? You run to the wolf in me, 
                         that don't make you no lamb! You're 
                         gonna marry my brother? Why you wanna 
                         sell your life short? Playing it 
                         safe is just about the most dangerous 
                         thing a woman like you could do. You 
                         waited for the right man the first 
                         time, why didn't you wait for the 
                         right man again?

                                     LORETTA
                         He didn't come!

                                     RONNY
                         I'm here!

                                     LORETTA
                         You're late!

                                     RONNY
                         We're here.

               EXT. RONNY'S APARTMENT BUILDING - NIGHT

               She looks. It's Ronny's building.

                                     LORETTA
                         This is your place.

                                     RONNY
                         That's right.

                                     LORETTA
                         This is where we're going!

                                     RONNY
                         Yeah.

                                     LORETTA
                         The deal was if I came to the Opera 
                         with you you'd leave me alone forever.

               She looks for his response. He makes none.

                                     LORETTA
                         I went with you.
                              (pause, nothing)
                         Now I'm gonna marry Johnny and you're 
                         gonna leave me alone.
                              (pause, nothing)
                         Right?
                              (nothing)
                         A person can see where they've messed 
                         up in their life, and they can change 
                         how they do things, and they can 
                         change their Luck. Maybe my nature 
                         does draw me to you, but I don't 
                         haveta go with that. I can take hold 
                         of myself and say yes to some things 
                         and no to something that's just gonna 
                         ruin everything! I can do that. 
                         Otherwise, what is this stupid life 
                         that God gave us for what?
                              (pause, nothing)
                         Ronny? Are you listening to me?

                                     RONNY
                         Yeah.

                                     LORETTA
                         I'm really afraid.

                                     RONNY
                         Why?

                                     LORETTA
                         I'm afraid of who I am.

                                     RONNY
                         I was.

                                     LORETTA
                         And you're not now?

               He shakes his head.

                                     LORETTA
                         Why not?

                                     RONNY
                         I don't know. Everything seems like 
                         nothing now against that I want you 
                         in my bed. I don't care if I burn in 
                         hell. I don't care if you burn in 
                         hell. The Past and Future is a joke 
                         to me now. I see that they're nothing, 
                         I see they ain't here. The only thing 
                         that's here is you. And me. I want 
                         you to come upstairs. Now. I tried 
                         to take everything last night, like 
                         you told me, but I couldn't. I 
                         couldn't take everything in a hundred 
                         years. It's the way we are. We 
                         compound each other.

                                     LORETTA
                         Let me go home.

                                     RONNY
                         No.

                                     LORETTA
                         Let me go home.

                                     RONNY
                         No.

                                     LORETTA
                         I'm freezing to death.

                                     RONNY
                         Come upstairs. I don't care why you 
                         come. No, that's not what I mean. 
                         Loretta, I love you. Not like they 
                         told you love is and I didn't know 
                         this either. But love don't make 
                         things nice, it ruins everything, it 
                         breaks your heart, it makes things a 
                         mess. We're not here to make things 
                         perfect. Snowflakes are perfect. The 
                         stars are perfect. Not us. We are 
                         here to ruin ourselves and break our 
                         hearts and love the wrong people and 
                         die! The storybooks are bullshit. 
                         Come upstairs with me, baby! Don't 
                         try to live your life out to somebody 
                         else's idea of sweet happiness. Don't 
                         try to live on milk and cookies when 
                         what you want is meat! Red meat just 
                         like me! It's wolves run with wolves 
                         and nothing else! You're a wolf just 
                         like me! Come upstairs with me and 
                         get in my bed! Come on! Come on! 
                         Come on!

               Loretta follows Ronny into his building.

               NOW WE SEE THE STREET

               Just as the door shuts. A moment passes. Lights go on in 
               Ronny's apartment. Out of a doorway on the opposite side of 
               the street steps the figure of a woman. She walks to the 
               middle of the deserted street and looks up at the lighted 
               windows.

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

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

               MUSIC

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

               WE SEE THE STREET WITH THE FIGURE LOOKING

               At the lighted window above. "MIMI'S ARIA" PLAYS. This tableau 
               reminds us of the scene in the opera where MIMI stands in 
               the snow. The MUSIC PLAYS and the WOMAN SINGS for a long 
               moment. Then, the lights in the apartment go out. Chrissy 
               shudders almost imperceptibly. Her heart has broken. She 
               hangs her head. Then she lifts her head and slowly walks 
               away down the street.

               EXT. KENNEDY INTERNATIONAL AIRPORT - RUNWAY - NIGHT

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

               INT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT

               PASSENGERS are pouring into the terminal from the plane.

               Most of them are Italian or Italian-Americans. Suddenly, Mr. 
               Johnny appears out of the shifting crowd, up very CLOSE to 
               the CAMERA. He looks alert, determined, geared up for action.

               MR. JOHNNY AT THE LUGGAGE CAROUSEL

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

               EXT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT

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

               INT. OF THE CAB

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

                                     MR. JOHNNY
                         19 Cranberry Street.

               EXT. KENNEDY INTERNATIONAL AIRPORT - NIGHT

               The cab rushes off into the night.

               EXT. CASTORINI HOUSE - NIGHT

               The cab pulling up to the Castorini house. The living room 
               windows are all lit up. VICKI CARR can be made out SINGING 
               "IT MUST BE HIM". Mr. Johnny gets out of the cab, gets his 
               luggage, and heads for the front door. He RINGS THE BELL.

               The door opens. It's Rose. MUSIC floods out around her.

                                     MR. JOHNNY
                         Hello. I'm sorry to call so late...

               Rose is a little tipsy.

                                     ROSE
                         Moving in?

                                     MR. JOHNNY
                         I came right from the airport.

                                     ROSE
                         Come on in.

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

               INT. CASTORINI HOUSE — THE FRONT HALL - NIGHT

                                     MR. JOHNNY
                         Can you wake up Loretta? I need to 
                         talk to her.

                                     ROSE
                         She's not home yet. Take off your 
                         coat and come in the living room. 
                         I'll make you a drink. I wanna talk 
                         to you.

               INT. CASTORINI HOUSE - LIVING ROOM — NIGHT

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

                                     MR. JOHNNY
                         Thank you.

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

                                     ROSE
                         So.

                                     MR. JOHNNY
                         Where is she?

                                     ROSE
                         Out. I don't know where. I was waiting 
                         up for my husband.

                                     MR. JOHNNY
                         It's late.

                                     ROSE
                         Yes.

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

                                     MR. JOHNNY
                         Maybe I should go?

                                     ROSE
                         What are you doing here? You're 
                         supposed to be in Palermo.

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

                                     ROSE
                         A miracle. Well, that's news.

                                     MR. JOHNNY
                         My mother's recovered.

                                     ROSE
                         You're kidding?

                                     MR. JOHNNY
                         The breath had almost totally left 
                         her body. She was as white as snow. 
                         And then she completely pulled back 
                         from death and stood up and put on 
                         her clothes and began to cook for 
                         everyone in the house. The mourners. 
                         And me. And herself! She ate a meal 
                         that would choke a pig!

                                     ROSE
                         That's incredible.

                                     MR. JOHNNY
                         Yes.

               The front door can be HEARD SLAMMING, out of view, and then 
               Dogs can be HEARD BARKING. Mr. Johnny and Rose look to the 
               entranceway. The Old Man appears there, holding the Five 
               Dogs.

                                     ROSE
                         Hello Pop.

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

                                     MR. JOHNNY
                         Who was that?

                                     ROSE
                         That was my father-in-law, who has a 
                         wrong idea in his head. Listen, 
                         Johnny, there's a question I want to 
                         ask you. And I want you to tell me 
                         the truth if you can. Why do men 
                         chase women?

                                     MR. JOHNNY
                         Well. There's the Bible story. God 
                         took a rib from Adam and made Eve. 
                         Maybe men chase women to get the rib 
                         back. When God took the rib, he left 
                         a hole there, place where there used 
                         to be something. and the women have 
                         that. Maybe a man isn't complete as 
                         a man without a woman.

                                     ROSE
                         But why would a man need more than 
                         one woman?

                                     MR. JOHNNY
                         I don't know. Maybe because he fears 
                         death.

               Rose leaps up, very excited.

                                     ROSE
                         That's it! That's the reason!

                                     MR. JOHNNY
                         I don't know.

                                     ROSE
                         No, that's really it. Thank you for 
                         answering my question.

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

                                     COSMO
                         Hi.
                              (taking in Mr. Johnny)
                         Hi.

                                     MR. JOHNNY
                         Hello, Mr. Castorini.

                                     ROSE
                         Where you been?

                                     COSMO
                         I don't know, Rose. I don't know 
                         where I've been, and I don't know 
                         where I'm going.
                              (to Mr. Johnny)
                         You should have your eyes opened for 
                         you, my friend.

                                     MR. JOHNNY
                         I have my eyes open.

                                     COSMO
                         You do, huh? Stick around. Don't go 
                         on any long trips.

                                     MR. JOHNNY
                         I don't know what you mean.

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

                                     MR. JOHNNY
                         You haven't said anything.

                                     COSMO
                         And that's how much I'm saying.

                                     ROSE
                         Cosmo?

                                     COSMO
                         What?

                                     ROSE
                         I just want you to know. No matter 
                         what you do. You are going to die, 
                         just like everybody else.

                                     COSMO
                         Thank you, Rose.

                                     ROSE
                         You're welcome.

                                     COSMO
                         I'm going to bed now.

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

                                     MR. JOHNNY
                         I'm going.

                                     COSMO'S VOICE
                              (from top of stairs)
                         Good!

                                     ROSE
                              (to Mr. Johnny)
                         He doesn't like you. Thank you for 
                         answering my question.

                                     MR. JOHNNY
                         You don't know where Loretta is?

                                     ROSE
                         No idea.

                                     MR. JOHNNY
                         Then tell her I'll come by in the 
                         morning. We need to talk.

                                     ROSE
                         Okay, I'll tell her.

               EXT. THE CASTORINI HOUSE - DAWN

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

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

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

               EXT. STREET - DAY - LORETTA IS WALKING

               Along a sidewalk a couple of blocks away. She is a wreck.

               She's still in her clothes of the night before. She hasn't 
               slept. Her hair's a bit funny. And she's tormented by the 
               complications in her life. And, at the same time, she looks 
               great. She looks like she's been loved up and down. She has 
               a hickey on her neck. Her eyes are dreamy and her walk is 
               slow, utterly careless, and sexual. She's carrying, crunched 
               in her hand, her program from La Boheme. She starts SINGING. 
               We follow her as she SINGS and walks.

               WE WATCH LORETTA WALKING FROM THE BACK NOW

               She's still muttering. She comes to a tin can. She kicks lt. 
               She comes to it again. She kicks it again.

               EXT. THE CASTORINI HOUSE - DAY

               Loretta appears kicking her can. She abandons the can and 
               enters the house.

               INT. THE CASTORINI HOUSE - KITCHEN - DAY

               Rose is at the stove. The kitchen is filled with steam and 
               sunlight. Rose is stirring a pot filled with oatmeal.

               Another range has the coffeepot heating. Loretta shuffles 
               into the kitchen, goes to the tin table, and sits down.

               There are red roses on the table. Rose sees Loretta.

                                     ROSE
                         What the hell happened to you?

                                     LORETTA
                         Well. I don't really know where to 
                         start.

                                     ROSE
                         Your hair's different.

                                     LORETTA
                         Everything's different.

                                     ROSE
                         Are you drunk?

                                     LORETTA
                         No. Are you drunk?

                                     ROSE
                         No. But I have a hangover.

                                     LORETTA
                         Where's pop?

                                     ROSE
                         Upstairs. Johnny Cammareri showed up 
                         last night.

               Loretta is suddenly electrified.

                                     LORETTA
                         What? He's in Sicily!

                                     ROSE
                         No more he's not.

                                     LORETTA
                         He's with his dying mother!

                                     ROSE
                         She recovered.

                                     LORETTA
                         WHAT!! She was dying!

                                     ROSE
                         It was a miracle.

                                     LORETTA
                         A miracle? This is modern times! 
                         There ain't supposed to be miracles 
                         any more!

                                     ROSE
                         I guess it ain't modern times in 
                         Sicily. He came right from the 
                         airport. He wanted to talk to you. 
                         You got a love bite on your neck. 
                         He's coming back this morning.

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

               EXT. STREET - DAY

               Ronny is walking along the same stretch of sidewalk as Loretta 
               just was. He looks like hell, too. His hair is wild and he 
               hasn't slept. He's thrown on an old leather jacket and brown 
               leather gloves. He has a love bite on his neck, too. He starts 
               to SING "O SOAVE FANCIULLA". He SINGS it any old way, 
               occasionally getting a good attack, occasionally just 
               muttering his way through. SINGS as much of it as he 
               remembers, which is a lot.

               WE WATCH RONNY WALKING FROM THE BACK NOW

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

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

               EXT. THE CASTORINI HOUSE - DAY

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

               INT. THE CASTORINI HOUSE - KITCHEN

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

                                     ROSE
                         It's not Johnny.

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

                                     LORETTA
                         Ronny!

                                     RONNY
                         Is Johnny here?

                                     LORETTA
                         He's coming.

                                     RONNY
                         Good! We can get this out on the 
                         table.
                              (to Rose)
                         I'm Ronny, Johnny's brother.
                              (Shakes her hand)

                                     ROSE
                         Nice to meet you. You've got a love 
                         bite on your neck. Your mother's 
                         recovered from death.

                                     RONNY
                         Oh. Good. We're not close. I'm not 
                         really moved.

                                     LORETTA
                         You've gotta get outta here.

                                     RONNY
                         No. I'm gonna wait.

                                     LORETTA
                              (arguing with Ronny)
                         Ronny, please...

                                     ROSE
                         Would anyone like some oatmeal?

               LORETTA continues arguing.

                                     RONNY
                              (ignores Loretta)
                         Yes, I would like some oatmeal.

               Ronny and Loretta sit down and Rose serves them oatmeal.

               COSMO WALKS IN dressed for business. He regards the trio, 
               puts on his hat in shock and then takes it off again.

                                     ROSE
                         Cosmo, this is Ronny, Johnny's 
                         brother.

                                     COSMO
                         His brother.

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

                                     COSMO
                         You're Johnny's brother?

                                     RONNY
                         Yeah.

               Cosmo picks up his spoon and they all eat silently once more.

               The SOUND OF DOGS BARKING comes up and then fades away.

               THE OLD MAN WALKS IN

               He looks at the assemblage. The assemblage looks at him.

               He points at Rose. Then his pointing drifts to Cosmo and his 
               hand opens in a gesture of supplication.

                                     OLD MAN
                         I am old. The Old are not wanted. 
                         And what they say has no weight. 
                         But, my son, I must speak. You should 
                         pay for the wedding of your only 
                         daughter. You are breaking your house 
                         through pride. There. I've said it.

                                     COSMO
                         It's okay, Pop. If she gets married, 
                         I'll pay for the whole thing.

               The Old Man lets go a great noise of relief, sits down at 
               the table, and waits. Rose brings him a bowl of oatmeal.

               He is content now, and eats his oatmeal with great relish.

               The others eat with a more meaningful silence. Rose puts 
               down her spoon. She looks at the table, but she is speaking 
               to Cosmo.

                                     ROSE
                         Have I been a good wife?

                                     COSMO
                         Yes.

                                     ROSE
                         I want you to stop seeing her.

               Everyone stops eating. A tremendous silence falls. An old 
               clock goes tick, tick, tick. Suddenly Cosmo smashes his fists 
               to the table and stands. He doesn't look at Rose during this. 
               Then slowly, he sits down.

                                     COSMO
                         Okay.

                                     ROSE
                         And go to confession.

                                     COSMO
                              (still not looking at 
                              her)
                         A man... under stands one day... 
                         that his life is built on nothing. 
                         And that's a bad, crazy day.

                                     ROSE
                         Your life is not built on nothing. 
                         Ti amo.

               She puts her hand across the table to him.

                                     COSMO
                         Ti amo.

               He slides his hand out and takes her hand. Slowly, he lifts 
               his eyes. Their eyes meet. It's the first time he's been 
               able to hold her gaze in this whole story. The DOORBELL RINGS.

                                     LORETTA
                         It's Johnny. I'll get it.

               Loretta's tone is fatal.

                                     RONNY
                         I'll get it.

               Rose gets up.

                                     ROSE
                         I'll get it.

               She goes to answer the door.

                                     RONNY
                              (goes for the door)
                         No, I'll tell him.

                                     LORETTA
                         No, I'll tell him.
                              (to her father)
                         What am I going to tell him?

                                     COSMO
                         Tell him the truth, Loretta they 
                         find out anyway.

               Loretta looks at her father.

                                     LORETTA
                         I love you Pop.

               It's a private moment.

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

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

                                     RITA
                         Hi Loretta.

                                     LORETTA
                         Hi.

                                     RAYMOND
                         Hi, Loretta.

                                     LORETTA
                         Hi. Why ain't you at the store?

                                     RITA
                         Is there anything you want to tell 
                         us, honey?

                                     LORETTA
                         You? No.

                                     RAYMOND
                         We just come from the bank.

                                     LORETTA
                         The bank. OH MY GOD, I FORGOT TO 
                         MAKE THE DEPOSIT!

                                     RITA
                              (to Raymond)
                         She's got it.

                                     RAYMOND
                         I knew she had it.

               Loretta runs out of the kitchen and reappears with her 
               everyday bag. She takes out the night deposit bag and hands 
               it to Raymond.

                                     RITA
                         We didn't know what to think. You 
                         were so weird yesterday, and then 
                         this morning, we go to the bank and 
                         no bag.

                                     RAYMOND
                              (a sudden outburst to 
                              Loretta)
                         WE NEVER SUSPECTED YOU!

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

                                     ROSE
                         Listen. Who wants coffee?

               There is a general acknowledgment. Everybody wants coffee.

               Rose passes out white mugs and begins pouring steaming drafts 
               of coffee. Raymond and Rita are standing. The rest are 
               sitting.

                                     RITA
                         So what are we doing?

                                     ROSE
                         We're waiting for Johnny Cammareri.

               Rita nods. A silence.

                                     RONNY
                         I'm his brother.

                                     TA
                              (taking and shaking 
                              his hand)
                         Nice to meet you. I'm Rita Cappomaggi.

                                     RAYMOND
                              (taking and taking 
                              his hand)
                         I'm Raymond Cappomaggi. I'm Rose's 
                         brother.

                                     RONNY
                         Nice to meet you.

               Silence. Then the Old Man erupts.

                                     OLD MAN
                         Somebody tell a joke!

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

                                     RITA
                         I'll get it.

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

                                     LORETTA
                         I'm getting palpitations!

               She pushes away her coffee.

                                     RAYMOND
                         I thought he was in Palermo.

               RITA APPEARS WITH MR. JOHNNY IN TOW

               Rita continues into the room, leaving Mr. Johnny in the 
               doorway. He is in a dark, vested suit. He is a little 
               bewildered by the crowd of people, but succeeds in hiding 
               most of his discomfort.

                                     RITA
                         It's Johnny Cammareri.

                                     LORETTA
                         Johnny.

                                     MR. JOHNNY
                         Loretta...

                                     RONNY
                         Johnny...

                                     MR. JOHNNY
                         Ronny! Our mother has recovered from 
                         death!

                                     RONNY
                         Good.

                                     MR. JOHNNY
                         Have you come to make peace with me?

                                     RONNY
                         Well. Yeah. You may not want to.

                                     MR. JOHNNY
                         Of course I want to.

                                     LORETTA
                         I don't know. But Johnny, how did 
                         your mother recover? She was dying.

                                     MR. JOHNNY
                         We should talk alone.

                                     LORETTA
                         I can't. I need my family around me 
                         now.

                                     MR. JOHNNY
                         Well. I told my mother that we were 
                         to be married. And she got well. 
                         Right away.

                                     RONNY
                         I'm sure she did.

                                     MR. JOHNNY
                         It was a miracle!

                                     LORETTA
                         Johnny, I have something to tell 
                         you.

                                     MR. JOHNNY
                         I have something to tell you. But I 
                         must talk to you alone.

                                     LORETTA
                         I have no secrets from my family.

                                     MR. JOHNNY
                         Loretta, I can't marry you.

                                     LORETTA
                         WHAT?

                                     MR. JOHNNY
                         If I marry you my mother will die.

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

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

                                     RONNY
                         Loretta, what are you talking about?

                                     LORETTA
                         I'm talking about a promise. You 
                         proposed to me!

                                     MR. JOHNNY
                         Because my mother was dying! But now 
                         she's not.

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

                                     MR. JOHNNY
                         And you are a son who doesn't love 
                         his mother!

                                     LORETTA
                         And you're a big liar! I've got your 
                         ring here!

                                     MR. JOHNNY
                         I must ask for that back.

               Loretta struggles and pulls off the ring.

                                     LORETTA
                         Here! Take your stupid pinky ring.
                              (she throws it at 
                              Johnny)
                         Who needs it? The engagement's off.

               Mr. Johnny retrieves the ring.

                                     MR. JOHNNY
                         In time, you will see that this is 
                         the best thing.

                                     LORETTA
                         In time, you will drop dead, and I 
                         will come to your funeral in a red 
                         dress.

                                     RONNY
                         Loretta?

                                     LORETTA
                         What!

                                     RONNY
                         Will you marry me.

                                     MR. JOHNNY
                         What?

                                     LORETTA
                         Where's the ring?

               Ronny looks to Mr. Johnny a little sheepishly.

                                     RONNY
                         Could I a... borrow that ring.

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

                                     RONNY
                         Thanks.

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

                                     RONNY
                         Will you marry me, Loretta Castorini 
                         Clark?

                                     LORETTA
                         Before all these people, yes, I will 
                         marry you, Ronny Cammareri!

               She takes the ring. Ronny and Loretta kiss.

                                     ROSE
                         Do you love him, Loretta?

                                     LORETTA
                         Yeah, Ma, I love him awful.

                                     ROSE
                         Oh God, that's too bad.

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

                                     COSMO
                         What's the matter, Pop?

                                     OLD MAN
                              (Lifts his head and 
                              cries out)
                         I'M CONFUSED !

               Loretta pushes Ronny away, breaking the kiss. They have both 
               neglected to breathe the whole time they were kissing.

               They are both gasping for air, especially Loretta.

                                     LORETTA
                         Wait a minute! Wait a minute!

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

               MUSIC

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

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

                                                             DISSOLVE INTO:

               EIGHT FULL CHAMPAGNE GLASSES

               Glistening in sunlight on the white tabletop. Into each is 
               dropped a lump of sugar. A bottle of recently employed bitters 
               sits nearby with its cap off (like a respectful peasant in 
               aristocratic company. And the roses in the center.

               Now the CAMERA PULLS BACK. WE SEE the table is surrounded.

               Cosmo is dropping the last of the sugar cubes in the last 
               glass of champagne. Rose is by him. Rita and Raymond are 
               side by side, as are Ronny and Loretta. The Old Man sits, 
               staring at his son, intent and approving. But where is Mr. 
               Johnny?

                                     COSMO
                         Everybody take a glass.

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

                                     OLD MAN
                              (to Cosmo)
                         Wait.

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

                                     OLD MAN
                              (continuing; to Mr. 
                              Johnny, offering the 
                              glass)
                         Here.

                                     MR. JOHNNY
                         I don't want it.

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

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

                                     COSMO
                         To... the family. Right? Ti amo.

               They all lift their glasses.

               CLOSE-UP OF ROSE'S FACE

                                     ROSE
                         Ti amo.

               CLOSE-UP OF RAYMOND AND RITA

                                     RAYMOND
                         That's right.

               Rita nods.

               A CLOSE-UP OF RONNY AND LORETTA DRINKING THEIR CHAMPAGNE

               And looking into each other's eyes.

               CLOSE-UP OF THE OLD MAN

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

               MR. JOHNNY FROM THE OLD MAN'S POV

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

                                     MR. JOHNNY
                         To family.

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

               And he laughs his laugh. This laugh could kill him. The CAMERA 
               PULLS BACK a little. He pounds the table and knocks over the 
               roses.

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

                                                                  FADE OUT:

                                         THE END

Moonstruck



Writers :   John Patrick Shanley
Genres :   Comedy  Romance  Drama


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