BENNETT STREET FADE IN: INT.

DARKENED BEDROOM A young woman tosses and turns in her bed in a dark room, as the moon shines thr ough, providing the only illumination. INSERT dream sequences: She is walking through a park in a hazy glow like the sun on a hot summers day. She sees HIM walking towards her, his blonde hair flying in the wind. She catc hes her breath and starts to run towards him, but as she does, he fades and disa ppears. She stops and slowly begins to cry. He is on the old neighborhood street corner again, waving to her. As she approa ches, her heart beating wildly, her smile radiant, he turns his back on her and disappears. She glances around at the old buildings she used to know and see every day. Now in her dream they appear simply dark, menacing, almost Gothic. Except for him. GINA S VOICE OVER He would shine in the midst of all the darkness and old buildings and dirty side walks. He would glow even under the cloudy sky which threatened to engulf every one in its shadowy gloom. FADE OUT CUT TO: EXT. BENNETT STREET CORNER THOMAS JOSEPH MARINO, blonde blue eyed son of DOMINIC MARINO, of the MARINO crim e family, Is standing on the street corner, his hair long, and he is dressed in a leather jacket and leather pants. TOMMY stands here on a bright April morning, waiting for a sign from Dad, to go up the street to a pre-assigned building for pick ups in paper bags. He never q uestions anything, just does what he is told. PAN OUT to show neighborhood activity as TOMMY waits. Two ELDERLY LADIES in floral oversized HOUSE DRESSES walking by with their shopp ing, beaming at him and greeting him in Italian. OLD MEN IN SUITS SMOKING CIGARS standing nearby, gesticulating and talking loudl y PEOPLE LEANING OUT OF THEIR WINDOWS, calling out to one another and waving. CHILDREN RUNNING AROUND, darting in and out of the crowds of people in their way .

CLOSE UP ON TOMMY as he looks up and down the street, frowning. Then his face changes. He sees HER. He sees GINA CUT TO: GINA as she walks slowly down the street towards TOMMY, staring at the ground, l ost in her own thoughts. GINA is a slightly heavy small young woman with shiny black hair and a bump on her nose from when she had fallen down a flight of sta irs as a child. Her lips are small and childlike, a tiny red rosebud against th e pale backdrop of her skin. Today she wears dramatic, colorful makeup that exa ggerates her big brown eyes, her pale complexion and delicate lips. She picks h er head up and their eyes meet. TOMMY S V.O. (INNER THOUGHTS) Smile. Please. Say hi, Gina. I m here. See? Look at me. TOMMY’s lips curl in a tentative smile, his eyebrows raised. GINA slowly smiles back, a flicker moving over her lips, spreading through her f ace and up to her eyes. TOMMY S smile widens to a grin. So does hers. GINA says shyly, HI TOMMY answers Hi GINA walks by. These are the moments he is glad he is alive. CUT TO: EXT. BENNETT STREET, LATE AT NIGHT JACKIE, CARPENTER, HANDYMAN AND GOOD FRIEND OF THE MARINOS - an overweight man w ith wiry gray hair, round features and a throaty laugh. He is standing on the st reet with a walkie-talkie. He hears the static and then a young boy’s high pitche d voice: Hey Jackie JACKIE: I m here, Pepper PEPPER: Some asshole s been walking around, looking up at windows. Should I throw somet hing down on his head? JACKIE CHUCKLES. Naw. Naw. See what else he does. Keep an eye on him. I ll let Rico know. JACKIE CONTACTS RICO M., a steady, controlled, slender man, with bird like featu

res, very sickly and pale. Rico is the head of the family JACKIE: We got a visitor, Rico, staring up. Want us to scare him off or what? RICO I ll put some of our boys on the corner, that ought to do it. JACKIE radios PEPPER. JACKIE It s okay, kid. Rico s on it. PEPPER Just let me know, Jackie, and I ll crack the motherfucker s skull in. JACKIE CHUCKLES AGAIN but as the walkie talkie goes dead he winces These kids are a new breed for him. Getting younger by the day, and more vicious than the guys he grew up with. FADE TO: FLASHBACK: Teenagers coming by at night, slapping JACKIE on the shoulder and back, making k issing noises and faces at him, both boys and girls, calling him COKE MACHINE A YOUNG TEENAGER Yelling loudly, in between laughter from himself and his friends: HEY COKE MACHINE! WHERES OUR FUCKING COKE MACHINE? IS HE HERE? JACKIE looks around, puts a finger to his lips, although he knows it hardly mat ters when the cops do nothing. Not when it comes to the Marinos and their friends JACKIE laughs along with the kids, passing out whatever he has, mostly the white powder they love the best. Pills too. JACKIE (to the crowd) KEEP EVERYBODY HAPPY, RIGHT? ALRIGHT? GET THINGS DONE. THAT S WHAT ITS ALL AB OUT, REMEMBER THAT, YOU HEAR ME? A YOUNG BOY, the one known as PEPPER from the walkie talkie, is in the crowd, bu t he stands apart. He is a small kid, thin for his age. Dark hair, dark skin, a wide mouth. Sharp eyes and an even sharper tongue. He pushes his way through the bigger closer kids and takes his share of the coke . He barely glances at JACKIE, but when he does, it is a cold stare. JACKIE SHIVERS. PEPPER gives him a quick nod and begins to turn away with his p ayment, when JACKIE says LIKE MANNA FROM HEAVEN, HUH, PEPPER? PEPPER whirls around quickly and gives him a curious look, then nods, and breaks into a grin. PEPPER

Yeah, yeah, that s right. Like in the Bible I learned that in school from the nuns. PEPPER pushes his way back out of the crowd of teenagers, and disappears into th e night. CUT TO: PRESENT DAY, AFTER JACKIE IS DONE WITH THE WALKIE TALKIE CONVERSATIONS. He finds out later that the curious man in question goes away unharmed, apparen tly right after catching a glimpse of three burly men in leather jackets on a dark corner. Besides, he gets his tires slashed and his car scratched up pretty good for looking up at those windows. CUT TO: INT. TOMMY MARINO S BEDROOM TOMMY picks up the pills that always remain by his side, in his jacket pocket, o r on his bureau by his bed. He SMILES HE SHAKES THE PILLS out onto his trembling hands and stares at them for a long t ime. Then he glances up at the MIRROR over the BUREAU as though breaking a spel l. He sees a PALE TIRED scared face, young and yet aging fast. Receding hair l ine - it had started to recede when he was only 21. TOMMY feels a bone-wearying fatigue that aches constantly. HE WHISPERS: God, are you there? Do you care at all? He hesitates, and swallows hard. Then do something, will you, please? FADE OUT CUT TO: EXT. DAY TIME ON BENNETT STREET THERESA MARIE CARELLI, a redhead, GINA s older sister by 3 years, is coming home from work and it is still light outside. She has bright hazel eyes and is slend er and petite. TERRY, as she is also called, walks by the Marino men and their associates, she smiles politely. They flirt with her, call out to her, touch her arm. She shake s her head and moves on, still smiling, and murmuring regrets. She walks into their building and up the stairs to their small apartment, sighin g loudly and swearing a little under her breath. MARIA CARELLI, a short, heavy set woman with thick dark hair, is cooking dinner. She turns as Terry walks through the door. MRS. CARELLI HEY, home from work - good! I m making your favorite - beef stew. THERESA LAUGHS. They re ALL my favorites, Ma MRS. CARELLI

I would never know that by looking at you. You re so damn skinny. She glances at TERRY and shakes her head. TERRY Nerves, Ma. MRS. CARELLI You wanna see nerves? Take a look at your father. Or GINA. THAT S a nervous pe rson. A wreck. MARIA CARELLI Chuckles and so does Terry. She goes over to her mother and kisses her on the cheek, and whispers. He s in the room? MRS. CARELLI Where else? TERRY peeks into her father s bedroom, where he lays on the bed, watching his sm all TV. PASQUALE CARELLI, or PAT, as he is known, is a quiet gentle balding man with watery gray green eyes, similar to Theresa s. TERRY Hey, dad, what are you watching? MR. CARELLI glances up, his head turning on the pillow at an awkward angle. Hey, kiddo, you re home? So how was the boss? TERRY A jerk as usual. MR. CARELLI IM watching Bonanza. I like that show. TERRY Jesus, that show s older than me! MR. CARELLI IT s good though. TERRY smiled, leaned over and kissed her dad on the head. Let me go see Gina. MR. CARELLI Yeah, she got her music on loud again, I can hear it through my wall PAT chuckles softly and shrugs.

Her and that crazy music. Eh, what are you gonna do? She likes it . TERRY I know. She must be deaf by now. Or we will be soon, anyway. THERESA turns and goes into the other room to check on her sister. GINA is sitting on the bed near the window, her head bent over a book, reading a s the music blares. TERRY frowns and swears a little She steps into the room How in God s name do you read, Gina? GINA looks up . I can. No problem. TERRY glares at her, then looks around at the room they share, and shakes her he ad. She steps outside as Gina goes back to reading her book. TERRY and GINA do not talk much and have very little in common. TERRY humors, p rotects,resents and ignores GINA, in turn, whatever she feels is required at the time. FADE TO FLASHBACKS from TERRY TERRY IS A little girl of about 10, and Gina is 7. Even at that age, Terry is s erious and calm. Gina rushes up to her one day after school to tell her in a tor rent of words about the fuzzy orange and black caterpillar she saved from a pass ing car, and how she believes in angels because of something somebody said in cl ass that she already KNEW they were going to say, and right before they said it she felt someone touch her shoulder and whisper in her ear. TERRY REMEMBERS the kids at school teasing GINA and calling her names,and how GI NA would come home and tell her mother everything. And how GINA starts to stay home more and more and hate to go out, which everybody thinks is even weirder. But all GINA would say is, It feels funny to walk. Like my legs are made of lea d. And there is too much noise around me. Too much going on. It s easier just to stay home. Yes, TERRY AND GINA are separated in age by 3 years, but it may as well be a cha sm. FADE OUT CUT TO: EXT. AT THE MARKET AT CLOSING TIME, IT IS DUSK PAT is finished working in the MARKET making SAUSAGES for the crowd of people th at shop at the outdoor stands. He likes the guys, their easy banter and joking, their slaps on the back. Always a quiet shy man, he sparkles whenever he is a round these men, and even manages a joke or two. They in turn call him St. PAT . He would do anything for his friends, he would patiently stand all day and night and take over their pushcarts if they had to

go home early or do some errands. He always smells of smoke and oil and onions, and no amount of washing could tak e it away. Mrs. CARELLI complains and swears about it all the time, but he know s she is happy. That is just her nature. Maria means no harm. He lets it go i n one ear and out the other. As he carries his bags home he smiles . The guys had given him fresh fruits an d vegetables to take to his wife. THAT LL KEEP HER QUIET one of them says with a grin and a wink. PAT CARELLI (V.O.) INTERNAL THOUGHTS Boy, I must be getting old, I m only 54 but these bags feel like they weigh a to n. Sweat breaks out on his forehead. SUDDENLY, from out of nowhere, it seems, TOMMY appears. His blonde hair shining in the light of the street lamps. His eyes hooded in shadow. TOMMY Hello, MR. CARELLI, can I help you with your bags? TOMMY is waiting for this chance. He knows that SATURDAY NIGHT is MARKET NIGHT for Mr. CARELLI and that he almost always comes home laden with produce. MR. CARELLI Oh - sure. Sure Tommy, thanks, PAT stammers out. He doesnt know the boy well, but he has heard good things about him, and he kn ows instantly that he liked him. PASQUALE CARELLI lives by his intuition and in stinct and it has done him well so far. Hasn t he found and married the best wo man in the world and had a good peaceful life? TOMMY I ll carry them upstairs for you. PAT No, just up to the building. They re too heavy, son TOMMY BLUSHES I ll be okay. He enters the building and faces the steep stairs. He sighs and waits for Mr. C ARELLI to come in. TOMMY S muscles ache and cramp, his breathing is shallow, his head hurts from th e weight of these bags. He has never been a strong or healthy boy. Still he ha s to do this. TOMMY gives a bright smile and says, Lead the way, sir PASQUALE smiles back, more like a twisted grimace - his idea of a smile. They slowly climb the stairs, Tommy in the rear.

TOMMY S heart races, his head pounds, and he shakes all over. What if GINA ans wers the door? What if she s standing there? Then - WHAT IF SHE S SLEEPING? PAT opens the door and waves TOMMY in shyly. TOMMY hesitates for just a moment, then crosses the threshold. Mrs. CARELLIi is at the kitchen table reading a book and drinking some coffee. She glances up, startled. TOMMY comes forward and puts the bags on the table . TOMMY: Hi. Just wanted to help. MARIA regains her composure. Thank you, sweetheart. You re a doll TOMMY turns and then he sees HER. Hiding, peeking out from a bedroom door, her hair in curlers, in a long white bathrobe. He flushes and turns away. Well, goodnight. TOMMY walks out, his eyes filling with tears. . As TOMMY reaches the street once again, he LOOKS UP at the WINDOW on their SECON D FLOOR apartment. He feels a surge of REGRET AND LONGING. TOMMY (V.O.) THOUGHTS . Why don t they like me? Why didn t they ask me to stay or have a glass of wat er, at least? TOMMY walks away into the night. CUT TO: INT. CARELLI HOME MRS.. CARELLI turns to her husband, hands on hips. Why did you take him up here? PAT I didn t. He offered to carry my bags. MARIA But he came in! Look! The house is a mess! MARIA sweeps her arm to encompass as much as she can. PAT

He doesn t care MARIA (LOUDLY) AND HOW DO YOU KNOW? That s Dominic Marino s son, for God s sake He s used to fancy people, a fancy life, we live in this tiny hole. PAT It doesn t matter, MARIA. He s a nice kid. GINA comes out of the room, her cheeks flushed, her eyes shining. MRS. CARELLI turns to GINA And look at the poor girl. She s a mess. Her hair all in curlers, she s in paj amas. Oh please! I hope he didn t see her! GINA rolls her eyes. That makes two of us, Ma MARIA LOWERS HER VOICE, BUT IN A WAY THAT IS FAR FROM PLEASANT PASQUALE CARELLI, don t you EVER do that again, you hear me? We re not his type of people, you understand? They never like our kind. MR. CARELLI Okay, okay PAT shrugs his shoulders and sighs. He would avoid a confrontation at all costs , angry words make him sick. MRS. CARELLI And I don t wanna hear He s a nice kid - you don t know that. He s a stranger , remember. PAT nods and walks into his ROOM, shrugging off his jacket and closing the door softly behind him. GINA sits on the COUCH, then pops up again MA, I can t believe he came in here MRS. CARELLI Maybe he s just curious GINA About what? MRS. CARELLI (exasperated) GINA, I am not a mind reader, I can t say, honey. Now go to bed, it s getting l ate. GINA reluctantly stops talking and goes to her ROOM, throws herself on the BED a

nd crosses her arms behind her head. She STARES UP at the CEILING, her mind spu ttering and sparking with emotion and excitement. She d ask TERRY. TERRY would know. Maybe - was he looking for TERRY? GINA sit s up, her chest aching. Oh God, was that it? Did he come up just to see if TERRY were home? Then HIS smile flashes into her mind, that slow beautiful smile and the look he had given her. She shakes her head to dispel the image, because although it giv es her joy it also reminds her of things she could not have, a world she could n ot be a part of. GINA doesnt hear her sister come in an hour later. She is fast asleep. GINA ha d never gone on dates. She had never had a boyfriend. She has problems, and th ey stood in the way of so much. THERESA shrugs off her dress and puts on her robe. Soon she would join her moth er for a while at the kitchen table and discuss things that Gina knew nothing ab out. TERRY glances once more at her sister. She smiles and whispers, I love you, kid. FLASHBACK TO EARLIER IN THE NIGHT A YOUNG MAN, AN ACCOUNTANT with a GOOD FIRM, proposes marriage to THERESA at a f ancy RESTAURANT. She politely but firmly tells him no. She says she is not rea dy for this, she cannot do this right now, her family needs her. He PROMISES to keep in touch and see how she feels in a few months or a year, maybe things wil l CHANGE. But they both leave the restaurant sad and sure that this is the end o f their RELATIONSHIP. TERRY will never mention this to her MOTHER or GINA. GINA shifts in her sleep and sighs. TERRY tightens the belt on her robe so MRS . CARELLI wouldn t see how much weight she had lost. She quietly leaves the bed room they share, leaving the door a little open so some light would come through . GINA has always been AFRAID of the DARK FADE OUT CUT TO ANOTHER DAY, IN THE AFTERNOON, INT. BEDROOM OF GINA S AND TERRY S.

GINA sits mesmerized by the MUSIC. She longs to escape into that world, she lo ngs for a WORLD like that sound. She SINGS her heart out but feels LOST and EMP TY. As GINA sits by the WINDOW, she pulls open the lace curtains and peeks out. She loves to hear the men talk, their rough and tumble speeches, their shouts and r emarks. It makes her feel safe somehow, knowing they were out there. There. There they were. She could hear them now, TOMMY and his father DOMINIC, TOMMY murmuring and DOMINIC yelling in his inimitable bellow.

TOMMY Dad, I told you I ll do it later DOMINIC MARINO I want it done now! You hear me? NOW! TOMMY (keeping his voice soft) ASAP! That s what you re here for!

Can I at least go wash up - shave or something? I need a shave. DOMINIC Go ahead, don t take all goddamn day, we got work to be done. G.G. s expecting you. DOMINIC MARINO is a SHORT HUSKY MAN OF ABOUT 60 - SALT AND PEPPER HAIR SLICKED B ACK, A PUGILIST S NOSE. DOMINIC STRUTS when he WALKS and his enemies like to NICKNAME him THE LITTLE RO OSTER. HE is PROUD of his position in the neighborhood. HE is a GENEROUS AND JOVIAL MA N at times, PASSING OUT STEAKS AND CHICKENS to LOCAL FAMILIES that are in need. Yet his TEMPER IS LEGENDARY and his VICIOUS TIRADES are much FEARED, even by th e toughest wise guys. He is known as the JEKYLL AND HYDE OF THE MOB - PLAYFUL A ND FUNNY AND BENEVOLENT when he wants or needs to be, but displaying a CRUEL STR EAK when things don t go his way. GINA watches TOMMY walk away with that proud walk of his, studied and measured, a walk that seems to say to the world, Here I am, and I am fantastic! At leas t SHE thinks he is. GINA turns away from the window to change the radio station, being one of those dial changers who get impatient to hear THEIR songs. Hey Tommy! A LOUD FEMALE VOICE calls out. GINA peeks out again. A PRETTY YOUNG GIRL comes towards TOMMY with a sexy strut and swagger that GINA knows she will never poss ess. The GIRL casually drapes one arm around his shoulder and draws him to one side, Hi sweetie She laughs. GINA lets the curtain fall back, and feels a shiver run through her . GINA V.O. TOMMY can have anybody he wants. Girls throw themselves at him all the time. W hy do I even care? He probably likes the loud sexy types and I m nothing like t hat. I wish he liked me. I wish he would notice me. Jesus, why is he so damn COLD?

GINA bangs the stereo as she thinks these last few words. She feels like crying, and her vulnerability makes her angry. GINA S V.O. CONT D You stupid jerk, what are you thinking? He s probably conceited anyway. I bet h e s not even worth it. GINA turns back to her music and doesnt look in time to see TOMMY shrug away fro m the budding sexpot and wave her off. As she walks away, waving coyly to him, with a backwards glance, TOMMY glances up at GINA S window. He sees a flicker o f movement, sees the curtain part and then quickly close. TOMMY S V.O. I wish she liked me. I wish she would at least say hi Why is she always mad? She always seems so mad. Is there a problem? I KNOW she likes me, I can feel i t . TOMMY AND GINA both turn away from each other and go back to their separate worl ds. FADE OUT FLASHBACKS TO TOMMY S CHILDHOOD, HIS MEMORIES TOMMY being taken to the DOCTOR S OFFICE at the age of 12, with serious bowel tr oubles and constant diarrhea. He is put on a regimen of pills and has to wear protective underwear, just in case, which embarrasses the already shy and shamefilled young boy. The doctor tells his mother and father, in a whisper, but TOMMY still can hear, THIS MAY BE PSYCHOSOMATIC, due to some kind of stress or nervous disposition, he cant really say for sure. TOMMY goes home and looks up the word PSYCHOSOMATIC. Now he knows what it means . .FADE OUT - FADE IN TO ANOTHER FLASHBACK MR. AND MRS. MARINO, DOMINIC and his wife LUCY, engaging in loud physical shouti ng matches. When DOMINIC is done, he turns to his boys and lavishes his affecti on on them, TOMMY, the OLDER, and PAUL, the YOUNGER., PAUL with his dirty blonde hair and green eyes..Endless hugs and kisses as well as slaps, curses and tirad es. FADE OUT - FADE IN TO ANOTHER FLASHBACK DOMINIC is piling his children s plates high with DELICIOUS HOME COOKED MEALS SPAGHETTI AND MEATBALLS, LASAGNA, all kinds of specialties. Anything that disp leases DAD that is said or done and he DENIES them this food and sends them to b ed hungry. The boys remember. The BROTHERS associate FOOD with LOVE and LACK O F FOOD as loss of affection and approval. PAUL becomes overweight from excessiv e eating, and although THOMAS eats to excess sometimes way into the night, he re mains slender, also due to his bowel problems. FADE OUT - FADE IN TO ANOTHER FLASHBACK

.LUCY MARINO- a LARGER THAN LIFE, TAKE CHARGE, NO NONSENSE WOMAN. With bleached blonde hair, piercing blue eyes and glasses that magnify her stare. TOMMY feels smothered and PAUL learns at an early age how to wriggle away from h is parents grasp. One night, at bed-time, on the rare nights when they talk to each other, TOMMY turns to PAUL and asks, How do you do it, Paulie? Doesn t everything get to you? PAUL instantly knows what he means. He has GROWN UP with the HURRICANE swirling all around, a maelstrom of emotions and tempers, a cauldron of INSTABILITY. PAUL You just do it, TOMMY. You just shut up and play the game. You gotta know how to play the game TOMMY’s V.O. What game? This is no game, this is my life. These are my parents. He hates this about his brother - this glibness, this superficiality. TOMMY doesnt press the ISSUE, or ask for pointers. He figures the GAME will jus t continue to elude him and so would the fine art of playing it. As fearsome as his FATHER is, TOMMY also knows the damage his MOTHER ct. For as surely as the sun rises in her, it sets just as quickly. on a dime and displays a brittle devastating temper. Not physically ore like a constant harangue that wears the listener down and drives despair. could infli She turns harmful. M him to deep

TOMMY REMEMBERS ONE PARTICULAR DAY. FADE OUT - FADE IN TO ANOTHER FLASHBACK. He runs to her to show her a picture he had drawn of an animal. He is a fine a rtist, and loves to sketch. TOMMY Can I show Dad? LUCY MARINO Honey, your Dad is busy today. He s off working - making money. For us. So we can have these nice things and have a nice life. Something about the way she said the word money made TOMMY think that this cou ld be a bad thing, a source of contention between the two. TOMMY Dad works too hard. LUCY Yes, he does. TOMMY

Can I help him sometimes? . LUCY hesitates and a spark comes into her eyes. No dear, you don t have to do that. Daddy has Uncle RICO to help and all these other people he hires. He doesn t need you. You re gonna be somebody special, remember? Remember what we talked about? LUCY leans forward in her chair, staring into Tommy s eyes with such intensity i t is as though her eyes are holding him to her TOMMY vaguely remembers a conversation about doctors, and him wanting to be an a nimal doctor, or work with animals in some way. TOMMY You mean me being a veterinarian? LUCY frowns Are you sure you want to be that, sweetheart? Why not a real DOCTOR? Work with PEOPLE? Now that s a worthy profession. You make lots of money, you get respe ct TOMMY Ma, I don t have a way with people. You know me. And I hate the sight of blood . I get sick. RIGHT AWAY, as TOMMY says this, he realizes his mistake, and his face flushes re d at his own lack of sense. LUCY laughs loudly, her laughter echoing through the house and bouncing around in his head. LUCY (a little too loudly) -You hate the sight of blood? TOMMY, honey LUCY stands up and speaks as though something is wrong with TOMMY S hearing will you just use your head? You re gonna see blood all the time if you work w ith animals. They have blood too you know. Don t you get it? TOMMY But not as much as people. TOMMY flushes even deeper at his words and stammers out, I mean, they’re different to take care of, it’s simpler than with people, it has to be - it s not the same - it’s harder when it’s people you have to take care of LUCY keeps laughing. TOMMY (muttering quietly in defeat) I mean , it won t be as bad. I can learn to deal with the blood and all as long as it s not people. I m not good with people, Ma.

LUCY Sweetheart, don t you get it? It s practically the same thing. PLUS you have to go to school for a long time, now you know how much you hate going to school. You might as well go to all that trouble for something worthwhile - like I told you TOMMY is confused. HIS MOTHER is pushing for him to be some kind of a physicia n, yet here she is telling him all about the obstacles of being a veterinarian, so TOMMY will decide to be A REAL DOCTOR! . TOMMY feels all his hopes and dreams being sucked right out of him, and him not being able to defend them.. Still TOMMY struggles I can make this happen, Ma. I m only good with animals. I love them. LUCY HOW? How are you gonna make this happen? Blood is blood, TOMMY. THINK ABOUT IT She taps the side of her head with her finger. THINK TOMMY turns away, but she will not let him off that easily. LUCY Now, if you were to become a REAL DOCTOR - all that time and effort wouldn t be wasted - come on, honey, people’s shitty pets? why bother? You see? You’ d make all your money back and then some. Honey, you would be respected and admired who in God’s name admires a frigging animal doctor? you know Dad and I would sup port you in this. We’ d give you all the help and money you need, baby. TOMMY suddenly feels exhausted, as though he has been in the boxing ring with a heavyweight champion and lost. TOMMY Look, I m gonna go lie down, I m a little tired. LUCY steps back a little. TOMMY could tell she feels slighted and dismissed, n ot heard, Tommy could always tell. He is EXTREMELY SENSITIVE to the expressions and nuances and tones of every living person. LUCY (A LITTLE HARSHLY SPOKEN) Well, then before you go take your nap, take the garbage out. It s over there. It s garbage day today. PAULIE comes by just as TOMMY is lugging out the heavy bags of garbage. PAULIE Bye, MA, just wanted to tell you I gotta run. I m going to meet some of my frie nds.

Before LUCY could even open her mouth, PAUL grabs something from the counter and pushes ahead of Tommy. PAUL turns and smiles See you later, Tom TOMMY Yeah TOMMY watches him leave. The BROTHERS are close in age but miles apart in terms of emotions and temperame nt. A chasm had been placed between them by 2 parents who often times force them to compete for love and relief from angry tirades. PAUL moves away at a young age to find his fortune in New York, with DAD s bless ing. He goes to work for a successful law firm. TOMMY chooses to stay and help out as needed. Somehow he doesnt feel right leaving his parents when he knows there is work to be done. FADE OUT - FADE IN TO FLASHBACK DAD is teaching TOMMY how to drive. TOMMY asks for someone else to show him, one of Dad s friends, but Dad wont hear of it. He is the BOSS and TOMMY is HIS son . TOMMY is so nervous his hands tremble on the wheel. DOMINIC MARINO sees this and quickly slaps him, mostly on the side of his head w hich is the only part he could reach right then. The expression on DAD S face s eems strange, almost like he is going to cry but instead he gets angry. TOMMY DAD, I m going to screw this up I just know it DOMINIC So what? You re a new driver, you re learning. We all screw up Sounds good to TOMMY- it actually sounds like DAD understands and is going to b e reasonable. In reality, however, things are different. DAD leans forward an d pounds on the dashboard with his fists, hurling a stream of invectives. TOMMY forces himself to perform better, he forces himself with all his might to remem ber things. He knows in some bizarre way that DAD could actually be good for hi m. In a painful awful way, Dad s harangues and insults make him learn even bett er and faster, so he will not have to listen and suffer any longer than he needs to.

FADE OUT - FADE IN TO ANOTHER FLASHBACK ONE EVENTFUL DAY IS SEARED IN TOMMY S BRAIN FOREVER, ALMOST AS THOUGH BY THE SUN . TOMMY has a new motorcycle as a present from MOM and DAD, mostly Dad s idea, bec ause MA is afraid he ll get hurt. He completed his driving lessons, also took m otorcycle driving lessons. TOMMY has just gone down the street when the MOTORCYCLE skids on something, CRAS HES and lands on its side, throwing him off. LUCY has been in front of RICO S building, in a loud argument with DOMINIC, gest uring frantically. It is almost like Lucy senses the crash rather than sees or hears it. She turns and then sees.

She RUNS, as large as she is, VERY QUICKLY to where her son lies Some people co me over. TOMMY lies there for a few minutes, stunned but not hurt. Then he hears his MOTHER from a few feet away, WAILING and CALLING to him He cr inges, and tries to get up. His leg is twisted. LUCY (loudly crying out almost like she is weeping as she speaks) TOMMY MY BABY! Honey, are you alright? TOMMY I m fine, MA, I m okay, it s nothing. TOMMY tries again to get up. Somebody grabs his arm to hoist him onto his feet . His face is bright red. God, he hates this attention. He is 17. LUCY keeps stroking his head, his body, kissing him and checking for injuries. O nlookers seem amused or puzzled, but TOMMY is deeply ashamed. LUCY seems obliv ious to the crowd. TOMMY feels as though they are laughing at HIM. People re spect his MOTHER for her charity work and social connections, for her COLORFUL P ERSONALITY TOMMY is the one who will bear the brunt of this - he will be the object of thei r jokes. No one dare laugh at or criticize LUCY anyhow. She slashes with her r azor of a tongue and her piercing wit. TOMMY pushes her away. MA, please, I m okay LUCY Honey she glances around at the crowd, her eyes glistening, taking it all in. They ca n see how much she loves him and what a good mother she is. So what she had nev er given birth. She is still a REAL mother, a natural mother. Everybody can see . LUCY Honey, are you okay? Let Ma see TOMMY I m fine. he blurts out. He eludes her grasp, something he could never have done when he was little, at least not with the finesse of his brother. LUCY seems HURT, but most of all ANGRY - the dominant emotion in the MARINO hous ehold. She tries to hold his arm and he struggles to get free. She has even left a red mark by holding on too tight to his flesh. He can feel it. This hurts him mor e than the fall.

Then her eyes glaze over, and a veil passes over them. No harangue this time, n ot for him, not in public. To attack Dad is perfectly acceptable, but never the kids. Not in front of her fans and judges. LUCY speaks in a cold flat tone, so unlike her usual ebullient dramatic voice. I ll see you when you get home. Be careful next time. TOMMY feels like crying. He knows he has wounded her. A wall has come between them now. It will never again come down. When he gets home, she is there, still cool and remote. TOMMY wishes he could c ajole her out of her bad mood, but somehow he knows this isnt just a bad mood. Not a mood at all. Something different. Something worse. LUCY (IN A COLD FLAT TONE OF VOICE) I m going to visit one of my friends. I ll be back later. TOMMY (IN A LIGHTER MORE EXPRESSIVE TONE) Okay, Ma. Perfect. He would bake her a coconut cake, her favorite. One with 3 layers. I t is TOMMY’S way of apologizing. That s how he would make it up to her. Then he makes a huge pot of coffee for everybody. Everyone in their house loves coffee. He waits anxiously for the door to open. He watches TV, then he shuts it off. He paces up and down, then he lies on his bed. The silence of the house feels s oothing to him, never sad or scary. IT is a welcome change. Yet he misses his mother s smile and he regrets hurting her. Finally LUCY walks in. More like bustles in, everything a grand noisy productio n. The CAKE sits on the TABLE in full view. TOMMY smiles. LUCY stares at the CAKE then at HIM. Something flickers in her eyes. LUCY (in a tired voice) I m going upstairs to take a bath. I m beat TOMMY Ma - wait - don t you want LUCY keeps walking towards the stairs . TOMMY (in a frustrated, louder tone) I made you a cake, Ma. And some coffee. LUCY turns and smiles. The smell of COFFEE fills the air.

I m on a diet, honey. I just started today. MA is too fat. LUCY climbs the stairs. TOMMY stares at the CAKE. He wants to throw it against the perfect white walls. Maybe DAD and him can eat it later. DAD isnt as big on sweets as Ma but he m ight eat it if it was there. Should TOMMY lie and say he made it especially for him? NO. Because if MA ever said the truth, Dad would hit the roof. Better to be honest. Dad would always find out if you re hiding anything, anyway. DOMINIC MARINO doesnt come home until 9 at night TOMMY has the CAKE for breakfast in the morning, and then his lunch. PAULIE enjoys the rest later.

FADE IN TO GINA S FLASHBACKS It is another school day like so many others. Bullies taunt and tease GINA, in t he way they would tease a child while pretending to like the child, with winks a nd secret sly glances given to one another. Her legs feel heavy like lead and s he can hardly make it up the hill to her school, so short of breath, her chest aching, her eyes stinging. FADE OUT - FADE IN TO A LATER TIME As she goes to work she can already feel the effort of every step as she walks, she can see the cars whizzing by and hear and notice every little thing going on around her, scattering through her brain, hissing and sparking. She d be in a daze, like a fragile porcelain doll afraid to move or speak or even breathe too much FADE OUT - FADE IN TO INT. CARELLI APARTMENT - ANOTHER TIME GINA turns to her MOTHER. I don t feel so good, ma. Can I go out later maybe? MRS. CARELLI Forget about it, will you please? I ll go myself, Gina. Jesus, when are you go nna stop this? GINA I don t know, I m just MRS. CARELLI What? WHAT? her mother puts her hands on her hips in exasperation. MA doesn t understand, she has never heard of anything as dumb as this. It see ms yet another shameful weakness Gina possesses, a foolish embarrassing flaw. GINA MA, I m sorry. Maybe Terry can go later on her way home.

MRS. CARELLI Sure, TERRY, always TERRY! She works hard, hon, she s busy. You re home all da y, you have the time GINA MA - Please? MRS. CARELLI go ahead, go lie down, go listen to your music, go do something. MARIA WAVES HER HAND IN DISMISSAL. HOME Is the only place GINA feels safe. She loves her MOM, too too much, every one says, even in her grade school days, she rushes to her mom s side, sitting o n the COUCH next to my best friend as she would proudly call her. GINA longs to DRIVE a CAR, to go out on long walks by herself, even to travel. She feels like an incompetent basket case, and in everyone s eyes she is. Why cant she be normal, like TERRY or the girls from her neighborhood - smart, self -assured, able to negotiate and navigate through the LANDMINES and VALLEYS and HUSTLE and BUSTLE of ordinary life without getting overwhelmed or afraid? FADE OUT - FADE IN TO FANTASY SEQUENCE - NOT A FLASHBACK GINA is imagining ending her life. As she lies in the coffin, looking more beaut iful and peaceful than she could ever be in life, people who used to make fun of her and despise her now throw themselves on her coffin and beg forgiveness. Th ey cry and all say what a wonderful girl she had been. If they had only treated her better, if they could only have seen. As silly as her fantasy was, it stil l brings tears to GINA S eyes and a sad smile to her lips. FADE OUT CUT TO: EXT. STREET SCENE IN THE OLD NEIGHBORHOOD SOPHIA, the same NEIGHBORHOOD GIRL who is hanging all over TOMMY when GINA looks near the WINDOW, is now strutting by groups of men. She knows that most of th em are married, but she is BORED and besides she looks so HOT in her YELLOW TWO PIECE SHORTS SET. SOPHIA is raised to be pretty. She has been strutting around the NEIGHBORHOOD since she was old enough to walk, assured of her PETITE CHARM INTERSPERSE SCENES OF SOPHIA AS A YOUNG GIRL, TAKING CLASSES IN THE DANCE STUDIO Taking BALLET LESSONS and DANCE CLASSES, to ensure a fluidity and grace of moti on, she learns at an early age how to POSE, to sit, to stand, to walk, for maxim um effect. INTERSPERSE HERE SCENES OF SOPHIA IN THE TANNING SALON, THEN AT HOME APPLYING MA KUP, GETTING PEDICURES, ETC. SOPHIA spends hours at a tanning salon, studies how models put on MAKEUP in maga

zines and copies them step by step at home, she has her hair styled, PERMED, HI GHLIGHTED and BLOW DRIED. Her NAILS are always done LONG and RED, and she has P EDICURES and BODY WAXING. Her appearance is her greatest asset, along with her bright personality and flashing dimples. In SOPHIA S world, getting a special guy is more important than getting a great job. Still, she dreams of being famous in some vague way, like a MODEL or an ACTRESS, maybe even a SINGER, although SOPHIA doesnt have much of a singing voice. She just knows she is as sexy as some of those other girls, and she can have the life they have too. She wants a GLAMOROUS LIFE and all it has to offer. A CORE OF STEEL runs through her, a HARDNESS that causes her parents to despair at times. Beneath the DIMPLES and the MAKEUP and CLOTHES that bare her midriff, SOPHIA will always get what she wants, no matter what it takes. And what she w ants right now is TOMMY MARINO. Or at least his attention. She isnt getting it . Not at all. SOPHIA knows TOMMY is the prize - a distant goal she has to achieve, sparkling w ith promise, yet so remote. Just like her dreams of being a MODEL or an ACTRESS . So far away, yet infusing her every waking moment. SOPHIA HAS TO GET HIM TO NOTICE HER. SHE HAS TO. FADE OUT - FADE IN TO SCATTERED SCENES WITH SOPHIA, GINA AND TOMMY THE DAY SOPHIA drapes herself around TOMMY S neck and he shrugs her away. - the day GINA sees her from her WINDOW - this is the beginning of an all out CAMPAIGN . A CAMPAIGN waged largely behind the scenes, unnoticed by many, a FURTIVE UND ERGROUND burst of activity and best laid plans. SHOW ANOTHER SCENE OF TOMMY BEING SUBJECTED TO ENDLESS ACCIDENTAL MEETINGS, BU MPING INTO SOPHIA OR HER FRIENDS WHEREVER HE GOES. SOME OF HER GIRL FRIENDS STO P TOMMY AND MENTION LOUDLY HOW GOOD SOPHIA IS LOOKING, HOW HOT SHE IS, WHAT A GO OD CATCH SHE WOULD BE. TOMMY doesn t seem to respond or answer, he just makes a face and turns away, he has an INTUITION that can see well beyond what others see, he sees an ICY COLD NESS underneath the dimples, a CALCULATED motivation inside the DOE LIKE BROWN E YES. TOMMY doesn t like being manipulated. He gets that from his parents, so TOMMY l ongs for something different from another. BESIDES, SOPHIA is too full of herse lf. Too sure of her appeal. To people like TOMMY, who DOUBT their very EXISTEN CE, such SELF ASSURANCE AND EGO is ARROGANT and INCOMPREHENSIBLE, to say the le ast. FADE OUT - FADE IN TO INT. SCENE IN SOPHIA S BEDROOM - ALL PINKS AND WHITES SOPHIA flings off her YELLOW OUTFIT. Her TANNED SLEEK LEGS kick off the backless matching yellow pumps she wears Her eyes fill with tears. SOPHIA (ALOUD) I m gonna leave this friggin place. I swear. I hate it. I m going as soon as I can. What s here for me? SOPHIA asks the dainty FLOWERED WALLPAPER in her roo m. She has to get a good job soon. Maybe be a receptionist at a law firm or insur

ance company. Her heart sinks. All those lessons -for nothing. What a waste. Then she brightens. SOPHIA V.O. I might take acting or modeling classes in my spare time. I know I d be awesom e! Look, I m acting already, arent I? I m pretending I actually like that pric k Tommy. SOPHIA MAKES A FACE. V.O. CONTINUES Is he a fag or what? I bet he is. SOPHIA GIGGLES. V.O. CONTINUES I m gonna find out one way or the other. SOPHIA rubs body lotion on her legs and arms, until they gleam. SOPHIA S V.O. I look good. I mean, I REALLY look good. Did you see some of what s out there? Fat asses, pimple faces, ugly hair, jeez. Thank God I take care of myself. SOPHIA fluffs her hair until it is a wild mess like a LION S MANE THE LIONESS. LEO. Sultry like her. THAT S HER SIGN. . Born in August, a bright fiery month.

SOPHIA CHECKS HERSELF OUT IN THE MIRROR AND FROWNS AT HER NOSE. SOPHIA has her father s aquiline nose and sees it as a curse. But somehow it s uits her heart shaped face. SOPHIA S V.O. You believe One guy called my nose regal ? Said it made me look elegant or so me shit like that.. The idiot. SHE GIGGLES. SOPHIA S V.O. CONTINUES I love when the guys talk like that Why shouldn t I use what I got? Hey, you think any of those bozos would even care to give me the frigging time of day if it wasn t for the way I work it? SOPHIA hears a knock at the door. Her MOTHER peeks in. CARLA BRUNO is a tall e legant woman with dark brown hair, a long sad face, and warm brown eyes. The onl y features that brighten and add contrast to her reserved appearance are her dim ples. . MRS. BRUNO Hey, chickie, it s almost time for dinner. SOPHIA

MA, I m going out tonight. I might be late. MRS. BRUNO FROWNS Again? What is this? SOPHIA I want to go out I m old enough. Her tone of voice is the verbal equivalent of stamping her feet. MRS. BRUNO BACKS RIGHT DOWN AND SOFTENS HER VOICE AND APPROACH I know, honey, I just want to actually see you once in a while. SOPHIA S MOTHER smiles and ruffles her daughter s hair . SOPHIA MA, STOP! She yells, shaking her mom s hand away. YOU LL RUIN MY LOOK! MRS. BRUNO RESPONDS IN AN EQUALLY LOUD TEASING VOICE RUIN IT? How could I do that? It s a BIRDS NEST, for Chrissake! MRS. BRUNO GRINS and they both burst out LAUGHING SOPHIA stops laughing to say in a lecturing voice Well sorry that s the style, Ma. Dear old Ma, old lady MRS. BRUNO stops laughing and turns serious So you re not staying for dinner at all? SOPHIA shakes her head I ll grab something later on, okay? Don t worry, Ma, I ll eat. Sophia peers into her mothers face reassuringly. MRS. BRUNO Okay, have fun. And Be careful. HER MOTHER gives her a warning look. There s a lot of nuts out there. SOPHIA draws back in mock surprise Are you kidding? We re as safe as babies with all these mobsters here

MRS. BRUNO draws back in imitation of her DAUGHTER Oh yeah? Well, THOSE are the nuts I m talking about, kiddo! SOPHIA FROWNS instead of the expected laugh

. They re okay guys, Ma. Really MRS. BRUNO looks down and fingers her SOPHIA S bedspread and a loose thread. Honey, stay away. They re not for you. SOPHIA puts her hand up in a STOP gesture Ma, no more lectures, please. I gotta change. Now go. Go get dinner HER MOTHER blows her a kiss and closes the door behind her. MRS. BRUNO leaves the room, her V.O. The object of the game is to let SOPHIA do whatever she wants. That s how we al l stay happy and sane. Right? Right! Well, don t worry, Carla, Sophia can take care of herself. She ll go far, you never have to worry about that. Besides, I m just too goddamn tired to fight anymore. FADE OUT - FADE IN SOPHIA gets her golden opportunity. PAUL, TOMMY S younger brother, has come in from New York on a long weekend. PAU L is a hand shaker and a baby kisser, convincing the person he is with that he R EALLY, REALLY LIKES THEM, even though nothing could be further from the truth. SOPHIA receives a phone call from one of her connections, saying that PAUL has i nvited her to the most popular disco in town. SOPHIA hangs up and dances around the room. Then she stops . SOPHIA SPEAKS ALOUD Now if only I can get PAULIE to take TOMMY with him, everything would be so aw esome. FADE OUT - FADE IN TO SCENES OF SOPHIA ON THE PHONE AT DIFFERENT TIMES, WITH PAU L. With each conversation, SOPHIA would plant a seed.. She even gives suggestions as to HOW to invite TOMMY, what to SAY to get him to go Just don t mention me, Paulie, he s really shy.. He might chicken out. THE NIGHT OF THE DATE, SOPHIA GETS A PHONE CALL . SHOW INT. SOPHIA S BEDROOM Hello. PAULIE? A pause as she listens. TOMMY s coming, too? He DID? SOPHIA squeals with delight. SOPHIA You are kidding? You ve got to be! Are you sure? SHE GIGGLES.

OH MY GOD, PAULIE, you are AWESOME. THIS IS SO FUCKING AWESOME! SOPHIA swallows hard and changes her tone, trying to sound concerned and therap eutic. This will - this will really help bring him out of his shell, you know, he needs that, he s such a stick in the mud SOPHIA PAUSES, LISTENS, THEN CONTINUES Yeah, I know. I know. Nothing like you She flashes a smile at the phone . SHE LISTENS ONCE AGAIN, THEN ANSWERS. Well then I shall see you two handsome boys tonight. Bye bye, she purrs SOPHIA hangs up, and lets out a delighted scream. MRS. BRUNO runs in. What? What happened? SOPHIA says proudly I m going out with the Marino boys tonight Ma. Two! Two of them,Ma! SHE grabs her mother’s arm and squeezes it MRS. BRUNO You mean that kid PAULIE SOPHIA NODDED Yep, him. And his brother. They are so cute. HER MOTHER stares at her, her arms folded . So what s all this about? Are you interested in one of them or both, what is th is? SOPHIA smiles a secret smile Not really. No. Just going to have some fun, that s all MRS. BRUNO sits on the bed. Where? SOPHIA A disco MRS. BRUNO Don t drink too much, you hear me? Try to come home in one piece

SOPHIA I will Ma. As a matter of fact, I m gonna come home in better shape than I left MRS. BRUNO frowns and stands up Oh? And what the hell does THAT mean? SOPHIA SHRUGS and flashes her dimples I don t know. Just crazy talk. Just - I ll come home happy. Happy, okay? Rea lly happy. SHE pats her MOTHER on the cheek . You better stop worrying, mother dear, or your hair s gonna turn even more gray. MRS. BRUNO pulls HER DAUGHTER S hand off her face. Right. I ll stop worrying when you re nice and safe and married. Then I ll sto p. SOPHIA LOOKS UP AND FOLDS HER HANDS IN PRAYER Well, from your lips to God s ears . MRS. BRUNO BEAMS AT HER AND GIVES HER A PLAYFUL PUNCH. YOU pain in the ass! So you want me to help you pick out a dress? SOPHIA now since when have I needed you to do that? Not since I was about 2 SOPHIA sticks her tongue out and crosses her eyes. HER MOTHER WHISPERS, PUNK SOPHIA WHISPERS BACK NAG This is their affectionate way of saying I love you, you re a pain, but I still love you. Her mother throws her a kiss, her daily habit, and leaves the room. SOPHIA knows just the dress she wants to wear. HOT, HOT, HOT! FADE OUT CUT TO INT. DISCO The STROBE LIGHTS flash and pulsate, RED, BLUE, YELLOW, the music pulsates too , shaking the floor and reverberating.

DANCING COUPLES, girls with guys, girls with girls, guys with guys, all caught u p in the music and their own dancing. Their eyes closed, focusing only on thems elves, or engaging in SEXY DANCES with their partners, touching, feeling, bumpin g and grinding. TOMMY moves through the crowd. The air is SMOKY, THICK, HOT FLASHBACK FROM TOMMY PAUL ,TALKING TO TOMMY BEFORE THIS EVENT, words echoing in TOMMY S head - Old ma n, washed up, boring, dull, dead, pedantic, errand boy. Because of what little pride TOMMY has left, he lets the NAMES get to him and s uccumbs to his BROTHER S combination of sarcastic put downs and boyish charm. TOMMY knows nothing about SOPHIA being invited.. TOMMY pushes past the crowd, walking behind PAUL, murmuring excuse me time he bumps into someone or someone is in his way. PAUL LOUDLY SHOUTS IN HIS EAR, POINTLESS! DUMB! JUST MOVE, FORGET ABOUT BEING POLITE., OKAY?. PAUL shakes his head at his BROTHER. PAUL reaches the table first and motions for TOMMY to sit. It IS then that he S EES SOPHIA. PAULIE QUICKLY ASKS which drinks they want. SOPHIA wants a Kahlua mudslide, TO MMY a Diet Coke, and Paul loves margaritas. TOMMY STOPS AND STARES, his spirits, already low, plummeting even further. TOMMY S V.O. Oh shit. It s HER. The TOWN SEXPOT. Should I fall on my knees now or later? At these remarks in his head, so unlike him, except when he is angry or under st ress, TOMMY grins. SOPHIA mistakes his grin for a sign that he is happy she is there SOPHIA (waving coyly) Hey, TOMMY. Nice to see you. TOMMY Hey. You know my brother? SOPHIA I met him a couple of days ago. He invited me. He s so sweet. TOMMY (smiles) Yeah. That s him. Sweet. every

SOPHIA So how are things going with you? TOMMY Okay, I guess. Same old thing. SOPHIA glances around idly, checking things out. She sees a beefy cute guy walk ing by in a TANK TOP, a drink in each hand. He smiles SOPHIA V.O . .Forget about it, mister. I m with 2 of the best guys around. I got my hands f ull. The guy hesitates, starts to come over, as though he wants to say something. SOPHIA GLANCES AWAY DISCREETLY The GUY gets the message, shrugs and disappears again into the crowd. PAUL RETURNS WITH THEIR DRINKS PAUL (TO SOPHIA) So, where have you been hiding all my life, beautiful? TOMMY S V.O . OH BROTHER! PAUL S eyes glisten as he turns his full attention towards Sophia. She feels PA UL S hand on her knee, rubbing it SOPHIA Reaches under, squeezes his hand and winks. TOMMY remains oblivious. He drinks his Diet Coke and glances around briefly. TOMMY (asking his BROTHER AND SOPHIA) What s that song? PAUL stares at him, his eyes glazed. TOMMY frowns TOMMY (TO PAULIE) how many of those did you have? PAUL Just one, what are you, BLIND? TOMMY Are you sure you didn t have any before? you already look drunk . PAUL (SNEERS AND TURNS HIS FACE) Yeah, I look drunk, right. So what? Who cares?

SOPHIA INTERRUPTS. The song - that s Simple Minds - Don t forget about me TOMMY It s great - I like it SOPHIA TOMMY, do you dance? TOMMY BLUSHES No,I have 2 left feet. Clumsy. All over the place. SOPHIA FROWNS AND V.O. Great - You re in the perfect place then. A frigging disco. You don t dance, you don t drink, and you don t even talk much. What DO you do? SOPHIA SIGHS. . TOMMY feels his stomach kicking. He rubs his forehead nervously. TOMMY S V.O. God, please don t do this to me now. . SOPHIA BRIGHTENS AND LEANS FORWARD So do you guys like my dress? TOMMY GIVES HER HIS FIRST LONG THOUGHTFUL LOOK OF THE NIGHT It s nice - really pretty He smiles. She has taken such care of herself, all made up, dressed to perfect ion, a beautiful girl. But why doesnt it matter to him? SOPHIA Do you wanna dance with me, Tommy? I can show you how it s done, I m a great da ncer. She stands up. PAUL FROWNS Go ahead, TOMMY, dance with her. She ll show you a thing or two. Live a little . TOMMY No, no thanks, Paulie, you go. You dance with Sophia . PAUL (stares at his brother.) She s asking you. Not me.

TOMMY feels sick. He makes a face . PAUL What s wrong? TOMMY i’ll be back, PAULIE. You sit there, keep SOPHIA company TOMMY turns and disappears through the room. TOMMY returns about 15 minutes later . SOPHIA Hey SOPHIA leans forward, staring at him. PAUL has told her a little about his BROT HER S condition, because PAUL has too much to drink (2 more drinks since TOMMY was gone) SOPHIA doesn t know whether to feel repulsed or sorry. SOPHIA gives TOMMY a sad smile. TOMMY stares at her, and then at his brother PA UL, who is looking down at his drink. Suddenly TOMMY knows what PAULIE has done , and why SOPHIA is looking at him like that. TOMMY guys, I m gonna leave now. stay here, enjoy yourselves. I m going to call mys elf a cab. I have the money. I ll be fine. Stay PAUL Tommy - Wait TOMMY (in a firm tone of voice) Paulie, stay here. Have fun. . TOMMY nods at them both, smiles, gives his familiar wave I ll catch you both later PAUL shrugs . Okay then. Take it easy, bro . SOPHIA feels a MATERNAL TENDERNESS towards TOMMY, something new and unfamiliar f or her. This IS something different. HE IS DIFFERENT. This is a whole new bal l game. She doesnt know what to make of it, or even whether she likes it. All she knows is TOMMY is beautiful. SWEET. In an ANGELIC kind of way. And she likes him. But there is that flaw. A really bad one. A real turn off. She turns her attention back to PAUL and s miles SOPHIA .Shall we dance, sir?

Yes, ma am. Let s They go out on the dance floor. FADE OUT TO CLOSE UPS OF SOPHIA AND PAUL DANCING. FADE IN to scenes on Bennett Street TOMMY is on the street corner, turning away from SOPHIA whenever she comes near. He pushes her away even harder now, even more determined to avoid her. Could she tell? TOMMY S V.O. Damn you, PAULIE. You come in, do your damage and then run back off to New York , leaving me to pick up the pieces. As usual. SOPHIA is frustrated and enraged at TOMMY s indifference SOPHIA S V.O. How can he be so cold? So stand-offish? Who does he think he is? . Maybe TO MMY just has higher standards than the other guys, maybe he is a gentleman, and he knows I m no lady. My nose is way too big. I knew it. I should have had it fixed. I told Ma that the other day. Why wont she listen to me? SHIT, SHIT, SHI T!. TOMMY sees the hurt in her eyes. He opens his mouth once to say he is sorry, but she walks away before he can. TOMMY S V.O. She knows how beautiful she is, she could have any guy she wanted, what differen ce do I possibly make to her boundless ego? SOPHIA begins to hate him. To hate the very sight of him. One day she sees the truth behind everything. GINA walks by while Sophia and h er friends are around TOMMY stares with open hearted naked affection and longin g at GINA CARELLI. SOPHIA feels a lump in her throat and a shivering feeling run through her. She doesnt know , but it is the feeling of shame and rejection coursing through her body. An unfamiliar sensation. SOPHIA shakes her head as though to dispel an annoying mosquito buzzing near her ears. SOPHIA S V.O. So thats it!. It ISNT because he s afraid of girls. And it isnt because of his frigging problem. He just doesn t want ME. He likes GINA. The loser who had n ever even had a date, or a friend, never even looked all that good. SOPHIA feels like screaming, crying, cursing. Instead, she does nothing. She s miles at GINA, and then at TOMMY. TOMMY gives her an obligatory glance and the n continues staring at GINA. Drinking her in, probing the

depths of her face and her eyes. FADE OUT FADE TO Int. SOPHIA S bedroom SOPHIA IS RANTING OUT LOUD IN HER ROOM You PRICK. You LOSER. WHY? Why her? Of all people. Couldn t you have picked someone pretty, with a better body? A personality? The whole fucking neighborhood must know about this now. I can just picture them laughing behind my back, saying I deserve it. From her window, SOPHIA catches a glimpse of FRANKIE. FRANKIE is a short stock y young man in his 20s, with curly brown hair, and brown eyes that always seem to be hiding a smile . FRANKIE IS BEST FRIENDS WITH JIMMY, another wise guy. Jimmy is a tall, attract ive man in his 30s with a Roman profile and thick full lips. SOPHIA is afraid of JIMMY, Not because he is in the Mob, but because of stories she hears of his violent temper and the crazy things he could do to you. She stays away from him . But FRANKIE, now here is a piece of work. He could prove to be useful. the se guys she grew up with dont think much of Tommy. That s what she needs. Part iality. Someone on HER side. SOPHIA SNEERS and mutters Well, guys, let me tell you, you ain t heard nothing yet! SHE feels a twinge in her heart, something vague and remote, just like her dream s of being a movie star. Something pulling her back from this, calling her away . But she is determined. Angry and determined. FLASHBACK TO THE EXT. SCENE WITH GINA AND TOMMY, and SOPHIA LOOKING ON All she could seem to remember is the fast glance TOMMY gives her and the way h e turns back to plain scared little GINA. And the gleam in GINA S eyes. FADE OUT - FADE IN BACK TO INT. BEDROOM SOPHIA continues to talk out loud Am I just imagining it or did that little bitch smirk at me, gloating? SOPHIA stands in front of her bureau mirror, bowing her head and then raising it to stare at her angry tear stained face. SPOKEN ALOUD Well, honey, gloat no more. Your fairy tale prince has a serious doo doo proble m, and I am about to make sure everyone knows. FADE OUT CUT TO: INT. COFFEE SHOP SCENE WITH SOPHIA TALKING TO FRANKIE SOPHIA regales FRANKIE with stories of GINA in her school days.

SOPHIA cornering FRANKIE in a coffee shop, sitting close and whispering and gigg ling non-stop as FRANKIE half-listens, drinks his coffee, and smirks SOPHIA I mean, this poor pathetic girl, Frankie. You should have seen her - always call ed to the principal s office, and the nun was one of those strict Irish bitches, you know the type, you grew up with them too, huh, FRANKIE? SOPHIA drawls out his name in an exaggerated style of the neighborhood. FRANKIE NODS, SMIRKS AND SIPS HIS COFFEE, NOT ONCE MEETING SOPHIA S EYES. SOPHIA continues, not stopping for breath . The nun called her a dreamer. You know what that really means, right, Frankie? She was trying to say the chick was a fucking weirdo SOPHIA laughs loudly I mean, listen to this SOPHIA leans even closer to FRANKIE, until he shifts to make room for her with a frown . SOPHIA CONTINUES, not noticing she was caught talking to the wall in an empty classroom one day, and singing an d dancing with an invisible fucking person! How do you like that, huh? . SOPHIA mentions the disco and what PAULIE had told her about TOMMY. FRANKIE lau ghs so hard and so long at this one he chokes on his cappuccino. SOPHIA asks FRANKIE to make sure that the Marinos never find out who started the story about TOMMY. . FRANKIE promises. SOPHIA sits back in her chair and looks out the window on a beautiful sunny day with a smile on her face. She pushes back a lock of hair from her face and cros ses her arms over her chest. She glances around but finds it hard to meet anyon e s eye. FADE OUT FADE IN to int. at Club on Bennett Street where some mob guys are gathered, sitt ing around, talking, smoking and drinking coffee. FRANKIE walks in, goes up to JIM and the others. FADE OUT as the guys gather around FRANKIE TO listen to what he has to say. FADE IN DOMINIC hears about GINA. DOMINIC V.O. in his private back room office. I NEVER liked this girl. Never, never, never. I never liked this family. Never , never, never.. Who the Christ can understand people like them, tell me?

FADE TO FLASHBACK OF INCIDENT WITH RICO AND GINA Here she comes, RICO THOUGHT. , stiff, cool. Walking with that proud walk of hers, head high

RICO, Dom s OLDER BROTHER, is standing near his doorstep, the building next to G INA S. RICO smiles and nods RICO Aren t you working yet, honey? GINA looks at RICO quickly I m self employed, can t you see? She gives a knowing smile and a wink and vanishes into her building with a wave. Once GINA was in her building it took her a few minutes to calm down her shaking and cool down her flushed face. Guys have been killed for less than that. But RICO shrugs it off.. Women who d ont answer back strike RICO as even more strange and disturbing than those who d o. Fresh remarks are common in the neighborhood. As a matter of fact, RICO enj oys it. He never feels threatened by a female. FADE OUT-FADE IN TO PRESENT TIME DOMINIC boils inside, just remembering what his elderly brother tells him of thi s. DOMINIC speaks aloud, as he paces his office. I want these people OUT of our fucking building. I m gonna make sure they re go ne by this time next year, I swear to Jesus Christ in Heaven.. Now how the fuck do I do it? FADE OUT - FADE IN TO FRANKIE AND DOMINIC . the video surveillance and bugging is a combination of FRANKIE and DOMINIC S ide a. DOMINIC loves the expression I d like to be a fly on the wall and see what s going on One day he mentions this in FRANKIE S earshot, and an idea begins to gestate in FRANKIE S mind. CUT TO: INT. CLUB WITH RICO AND DOMINIC ARGUING RICO I don t see the point, Dom. Why go to all this trouble for this frigging girl a nd her lousy family? Why waste all this precious time and money? We got better things to do. Jesus Christ, let it go. Unless it s gonna pay off for US and h elp the Family, what s the use? DOMINIC Listen, Rico, Listen to me RICO begins to say something

DOMINIC continues talking no wait a minute now, just shut your fat mouth and listen to ME for a change, al right? How come she s always home, huh? Answer me. She s nosy, she s always b y that goddamn window, something s not right here, Rico. They re a strange fami ly, something s not right here. Why the fuck are we leaving them in OUR buildin g and giving them a break on the goddamn rent? Tell me. We re losing money, we re the ones suffering. They don t even like us, they don t respect us, I mean, look at the way this bitch is acting. The rest of them aint so hot, either. .RICO raises a hand Alright, all of that may be true, but what the fuck does it have to do with surv eillance? What do I give a shit what they say and do in their apartment? DOMINIC comes close and says softly Cos they might be listening to the wrong things. You understand me? How do you know what people will do for money? Or maybe cos they secretly hate our friggi ng guts and wish we d die in jail. See, you don t know these things, Rico, my m an, until and unless you are willing to do the hard stuff. Like this plan of mi ne. If a nice looking Fed from downtown gets a hold of this nitwit, who knows? He puts ideas in her head, he uses her to get to us, she thinks he s cute RICO snorts a laugh and DOMINIC chuckles too . DOMINIC Who knows, right? She s a lonely desperate little girl, she could be persuaded to check up on the nasty old mobsters once in a while, you see? DOMINIC lays a hand on RICO S chest, gently . That is why we have to do this and find out once and for all. I m still gonna t hrow them out of that building, mark my words, Rico, but before I do I wanna kno w what the fuck s been going on. All the better if they ve been messing with us . RICO grudgingly consents Just leave me out, he grumbles, and goes back to his book FADE OUT FADE IN - INT. CLUB FRANKIE rushes in, carrying a small case The game is on, boys! FRANKIE opens the CASE, and shows them what is inside - the LATEST GADGETS, TOYS , LISTENING DEVICES, VIDEO CAMERAS, smaller than in days gone by. FRANKIE IT s all hot, you know that, right? But who cares? It gets the job done, that s all that matters. No one here s gonna talk . CUT TO

INT. MARINO BUILDING WHERE THE CARELLIS LIVE FRANKIE sneaks into the building with two other guys when the family is gone, vi siting an out of town relative that keeps in touch. The guys move quickly, plac ing cameras and microphones inside ceilings, bathroom fixtures, walls. . FRANKIE knows how to get in and out of apartments with ease. Before joining the Mob it is his livelihood. He teaches the boys some of his best tricks. JIMMY remains indifferent to all this fuss. He doesnt think much of the girl or the family He listens to these stories and becomes convinced that he is right not to care. JIMMY S V.O. PRIVATE THOUGHTS, AS FRANKIE comes back to the club to keep them up to date The Carellis can go straight to hell for all I care, they matter less than a coc kroach I step on with my fucking shoe and scrape off. But I m not about to say that to anybody here, I can t say that. Let these jerks be the ones to say what they feel, im keeping my mouth shut, like I always do. And look at TOMMY! Little spoiled TOMMY, the golden haired asshole who didn t d o a fucking thing to earn what he has in life. JIMMY smiles a small mean smile. But, out of respect for the Marinos, I m not gonna show an ounce of what I m fee ling or thinking. That s what we gotta do in this Life. WE gotta pay homage, s how respect, keep our mouths shut and show some loyalty. I just keep thinking, Anyone who cant control his own bodily functions like TOMMY BOY, or some screw ball who talks to herself and wont go out cos she s afraid - that s detestable. Why did God make such failures? I thought God didn t make mistakes. How does H e explain this one? JIMMY laughs softly to himself, and FRANKIE looks over eagerly, smiling uncertai nly and glad to see his friend so happy. FADE OUT FADE IN TO A BACK ROOM WITH DOMINIC AND SOME OF THE BOYS the back room is equipped with a stove, microwave, fridge, all the conveniences of home. ONE OF THE GUYS - sitting in a corner She s singing again, Dom. Got a hell of a voice! Look at her! spazzing all ove r the place. She s hysterical! DOMINIC Hey, what do you expect, she s cuckoo. The sterile cuckoo, that s what we call her around here! Is that the right expression i’m using here, i dont even fucking know, i dont know, maybe Im stupid! DOMINIC LAUGHS heartily and stirs the SPAGHETTI SAUCE. He always makes a huge po t of spaghetti or something home cooked for his brother Rico and the guys that h ang out.

DOM TURNS as he stirs the sauce. Tell me, did we get lucky or what? Hours of entertainment. Better than HBO. A nd cheaper! ANTHONY Just don t tell your kid, DOM He might misunderstand, you know what I mean? Som etimes he has a big mouth, too, not for nothing DOMINIC WAVES HIS HAND IN DISMISSAL, slowly stirring the thick sauce No, I know, I know. Don t worry,. He ain t gonna know a thing. The less we sa y the better . ANTHONY S BEST FRIEND MARK speaks up from the back of the room, leafing through a newspaper You know, Dom, I think he may like this bitch .. ANTHONY snickers You ve got to be kidding me! MARK No, really, I mean, he mentioned her once or twice. For Tommy, that s gotta be close to love! Mark LAUGHS AND they all join in . DOMINIC Yeah, well, discourage him. Tell him she s a lesbian, or mental or something which may not be far from the truth. Again a hale of laughter. DOM SNORTS and POINTS his finger at the DOOR . If that kid of mine ever takes home a loser like that he s out of my life. I me an, he wont get a dime. Not even a friggin penny . ANTHONY SAYS GENTLY He s a good kid, Dom DOMINIC (HIS VOICE and TEMPER RISING) yeah, yeah, he s a good kid, so what good does that do any of us? Huh? He s a bum, that s all he is. When is he gonna be a man? he got nothing to offer , nothing to say, he ain t strong, he ain t smart. All he s good for is doing wha t i tell him and being a lookout.. That s it! ANTHONY You re too hard on him, Dom DOMINIC whirls around and steps too close to ANTHONY, jabbing his FINGER into A

NTHONY S CHEST repeatedly. Fuck you! Too hard on him! And what do you know about my kid and how to raise him, huh?. This is my kid, and I raise him the way I want, I know what s best. . ANTHONY I didn t mean nothing by it, Dominic, but the kid is like almost 25 years old no w. DOMINIC BELLOWS SO WHAT? HE S UNDER MY CONTROL AND HE LL STAY THAT WAY, UNDERSTAND? ANTHONY sinks back in his chair, sighs and says Sure, alright. Sure.So how s the sauce coming along? DOMINIC It s coming, it s coming

FADE IN TO INT. CARELLI HOME GINA stands by the sink, talking to her mom about clothes and men and how to loo k good even though you were 20 pounds overweight. They laugh and share ideas an d stories. MRS. CARELLI goes downtown shopping, her usual routine every morning. Gina sta ys home and puts on a pot of coffee. An eccentric woman from down the street had once given Mrs. Carelli a bottle of white wine, made by monks in Italy. They had all loved the wine so much that th ey continued to buy it. GINA and MR. CARELLI are the only ones in the family wh o drink at all. MRS CARELLI. does not know, nobody does, how GINA drinks the s weet amber wine during the day when she is alone, and how this has become a dail y habit. Maria blames the disappearance of the wine on her husband. But GINA C ould never get drunk enough GINA dusts the furniture in her MOM and DAD S bedroom, and polishes the mirror. SHE hears voices laughing outside on the street. She doesnt pay attention, the street is noisy and busy with traffic and people coming and going. But this ti me is different. She hears bits of conversation that strike her speechless and leave her shaking ONE TEENAGE GIRL IN SCHOOL UNIFORM Yeah, so she said to her mom, Ma, I m 20 pounds overweight, where am I ever gon na find clothes that make me look good? and her mother said, Did you ever think of trying to lose the weight? The two girls giggle and keep walking. Gina rushes to the window in time to see two school age girls drifting by, walki ng close to each other and laughing.

She turns away and sits on her mother s bed. GINA V.O. What is going on? Can I be dreaming? That was what me and Ma were just talking about. My God! Then it hits her. s. GINA MOANS OUT LOUD GINA S V.O. Oh my God, all the things we said in here, She begins to cry. She quickly grabs a pen and paper and writes things down for her mother to see. V.O. CONTINUES Mustn t let them know you heard, Gina. You hear me? You have to keep quiet . She paces up and down like a restless panther, not knowing yet that they could a lso see her every move and gesture. GINA S V.O. I have to warn my family, I have to let them know. Write it down, GINA, write everything down. Gina s plan would soon fail. FADE OUT FADE IN TO SCENES OF SOPHIA WITH MOB GUYS SOPHIA hangs with the guys who are doing things to GINA and her FAMILY. She ent ertains them with bright gossip and charm. They tell her SOME of what they are doing. She STAYS HOME a lot during the day, ONLY going out at NIGHT. MRS. BRUNO catches her crying once in a while. She never eats DINNER at home an ymore. SOPHIA avoids TOMMY. When she bumps into him, she doesn t look him in the eye. SHE never sees GINA anymore. She is thankful for that. SOPHIA begins to snort cocaine, something she swore she would never do, because SHE knew it would mess with her LOOKS and RUIN HER NOSE. FADE OUT FADE IN - INT. TOMMY S SMALL APARTMENT TOMMY loves to BAKE and COOK for FRIENDS and FAMILY ONE AFTERNOON he gets out all the INGREDIENTS AND TOOLS for making a DELICIOUS A PPLE CRUMB PIE. FLOUR, EGGS, WATER, SUGAR, CINNAMON - TOMMY PEELS and CORES the APPLES - he FEEL A betrayal so strong, so fierce that it leaves her breathles

S like a KING! LIKE A PRIZE WINNING CHEF! TOMMY HUMS as he works. THIS is something he is good at doing, THIS is how HE s hows HIS LOVE when words fail him, as they often do. AFTER some HOURS IN THE OVEN, the PIES are done. THE AROMA of BAKED APPLES AND CINNAMON fill his tiny APARTMENT. TOMMY carefully removes the pies and LETS them COOL. . Now to get them ready fo r his friends. JIMMY AND FRANK. TOMMY couldn t technically call them his best FRIENDS, but at least they are decent to him. They swear at him less than the others do - that was a plus - and they pay attention to him - another important point that never goes unnoticed in Tommy s eyes. AFTER the PIES had COOLED, he gently PLACES them in some PASTRY BOXES he has ta ken from one of his uncle s shops. FADE OUT FADE IN - INT. CLUB - GUYS ARE HANGING AROUND AS TOMMY WALKS IN TOMMY Anybody see JIMMY AND FRANKIE? TOMMY asks as he steps into the club, boxes in h is arms. ONE MAN Yeah, I think they re in the back, playing pool. Where else? TOMMY GOES INTO THE BACK ROOM Hey. TOM CALLS OUT. JIM AND FRANKIE are the only ones there playing pool JIM LOOKS UP . . JIM how s it going, kid? TOM Good - how goes it with you? JIM Not too bad. One day s pretty much like another TOM Same here TOM flushes. JIM always makes him nervous, more than usual, in that overly eage r to please way that comes across as school kid infatuation. FRANKIE comes over . . FRANKIE

TOMMY, what do you have there? TOMMY looks at the boxes he is holding Some pies. Apple FRANKIE GRINS Great. JIM GLANCES QUICKLY AT FRANK THEN AT TOMMY I gotta have some of these tonight after dinner JIMMY taps the boxes and GRINS - a dazzling display that almost takes TOM S bre ath away. TOMMY knows such smiles and displays of affection are rare for men lik e JIM, and he feels flattered. TOMMY Sure. Hope you like them TOMMY puts the BOXES on the POOL TABLE and quickly TURNS and LEAVES the ROOM. H e hears LAUGHTER behind HIM. FADE OUT TO THE SOUNDS OF THE MEN S LAUGHTER FADE IN TO INT. TOM S DARK BEDROOM THOMAS cant sleep. 3:30 am. HE keeps CHECKING the CLOCK and PLUMPING his PILLO W HE hates this time of morning, IT ALWAYS reminds him of bad things. HE hears LOW MURMURING VOICES and SHUFFLING. He goes to the WINDOW and picks up the shade. ONE of the MEN huddled on the SIDEWALK looks a lot like JIM. TOMMY can t be sure . He squints. Then he hears FRANKIE S HIGH PITCHED VOICE: FRANKIE He gave us pies, man. He made them himself TOMMY freezes. His body turns COLD and he feels UNREAL, suspended in time, as though he is still asleep . He doesn t like the tone of FRANKIE S voice . Another YOUNG MAN he doesnt recognize says You think you should eat them? JIM (speaking clearly and smoothly, in the voice that TOMMY always finds so bea utiful) I don t think I m gonna touch them. He probably puts his shit in them, who know s? I don t want to catch anything. They all LAUGH loudly. THOMAS slowly SINKS to his knees. This is a familiar position for TOMMY, He lik

es to pray a lot, especially at night..But right now TOMMY isn t praying. FADE OUT FADE IN SOMEONE is using a spare key to open TOMMY s door at 5AM after banging on his do or repeatedly. The ATMOSPHERE IS TENSE and HURRIED. This is TOMMY S usual time to wake, and he almost never deviates from this pattern. DOMINIC, himself an E ARLY BIRD, gets suspicious. The MAN that DOMINIC has sent rushes IN to the APARTMENT and TOMMY s bedroom TO FIND him LYING unconscious, an empty bottle of PAINKILLERS NEXT to him on the N IGHTSTAND. FADE OUT CUT TO: EXT. OF TOMMY S APARTMENT BUILDING AN AMBULANCE ARRIVES IN FRONT OF TOMMY S BUILDING, AND HE IS RUSHED OUT IN A STR ETCHER. TOMMY S stomach has to be PUMPED. No one ever finds out why TOMMY did this. He NEVER tells a soul. . LATER, after TOMMY has gone to the HOSPITAL, crumpled notes are found in the was tebasket in his BEDROOM, NOTES he has written and discarded. Over 20 of them. Not one of these notes ever mention Frankie and Jim, and what TOMMY had overhear d that morning Fade out Cut to - INT. MARINO BACK ROOM YOUNG BLACK HAIRED MAN- (waving the older man over) JACKIE. COME HERE! . JACKIE COMES OVER AND LEANS OVER THE DESK TO PEER AT THE SCREEN. DARK HAIRED YOUNG MAN Loony tunes is talking to herself again -she’s such an idiot JACKIE (OR JJ, as he is known) ruffles a thick hand through his wiry gray mass o f hair. He looks around and whispers She s a kook, right, RITCHIE? I mean, tell the truth . RITCHIE (snorts derisively) Yeah, you got that right. She s a certified nut case. JACKIE LAUGHS TOO, BUT HE IS UNEASY

JACKIE V.O. How did things get this bad? Sometimes all it takes is one wrong word, one funn y look you give, one lousy answer, not saying hi, not showing respect, and bang, you re as good as dead in their eyes. They will make your life a fucking living hell. JACKIE SIGHS AND V.O. CONTINUES Do they really believe this girl is helping give information to the Feds? JACKIE SHAKES HIS HEAD V.O. CONTINUES I don t think she s all that smart and she sure as hell cant be that devious, th ank God, or we would have all been screwed by now. So then why bother to do this ? JACKIE hears her THROATY VOICE rising and falling, and he turns away. He used to like the kid. How quickly affection can become something else, something ugl y and mean. FADE OUT CUT TO

INT. DOMINIC S BEDROOM DOMINIC SITS ALONE IN THE DARK, DRINKING A BEER. HE SAYS ALOUD, SOFTLY My kid tried to kill himself again. His eyes burn and he rubs them roughly. SHOW FLASHBACKS OF DOMINIC S CHILDHOOD, HIS PARENTS, ETC. DOMINIC s v.o. AS HE RECALLS JESUS CHRIST, our parents beat us with sticks, spoons, anything they could get t heir hands on, just for peeing the bed, breaking a rule, talking back. And we m ade it. That s what it s all about - discipline. Teaching your kids to follow o rders, do what they re told, show some respect, not be crybabies.. We WORSHIPPE D our parents, Rico and I. Especially Mama. DOMINIC NODS TO HIMSELF, LEANS HIS HEAD BACK AGAINST THE CHAIR,CLOSES HIS EYES. FADE TO: A TIME PAST, BEFORE DOMINIC WAS BORN: EXT. SICILIAN COUNTRYSIDE, A YOUNG DARK HAIRED GIRL DOMINIC S MOTHER IS A GIRL OF 14, being married to an older white haired man. ` At the reception CONCETTA is staring up at her NEW HUSBAND with TREPIDATION and a NERVOUS SMALL SMILE.. He looks down on his bride with a hard cold stare and f orces a smile.

FADE OUT CUT TO INT. BEDROOM AND HOME OF CONCETTA AND HER HUSBAND He BEATS THE YOUNG GIRL AND WATCHES HER EVERY MOVE, killing her in both body an d spirit. HE breaks dishes, goes into rages, and locks her in her room. CONCETTA knows she has to either FIGHT BACK or WITHER AND DIE She CHOOSES TO FIGHT BACK. FADE OUT CUT TO: INT. COFFEE SHOP CONCETTA WITH TWO MEN AT A TABLE -SHE HAS GONE A ROUNDABOUT ROUTE WITH THE HELP OF HER AUNT IN ORDER TO MEET THESE TWO MEN THEY ARE LOCAL MAFIA HOODLUMS . SOON THE MATTER IS RESOLVED.. CONCETTA S HUSBAND IS GONE FOR GOOD . SHOW INT. OF CONCETTA S HOME AS SHE IS PACKING TO LEAVE, LOOKING AROUND WITH A SMILE AND CLOSING THE DOOR BE HIND HER FOREVER FADE OUT FADE IN AS THE DOOR OF ONE HOME CLOSES, THE DOOR OF ANOTHER IS OPENING AS A WIRY LEATHER FACED MAN IS CARRYING A SLIGHTLY OLDER CONCETTA OVER THE THRESHOLD. She is 16 now. Her new husbands face is parched from the sun, as he works in the fields. He is the future father of DOMINIC AND RICO FADE OUT FADE IN - INT. THE MARINO BOYS SMALL BEDROOM THEY SHARE AS CHILDREN THE BOYS share a single bed in a cold dark flat, as their parents struggle to ma ke money, buy up property, cleaning and fixing stores in order to sell their goo ds. FADE OUT CUT TO INT. OF AN ORNATE CATHOLIC CHURCH, WITH SAINTS, LIT CANDLES, ORGAN MUSIC DOMINIC AND RICO are there in body,not in spirit. They bow and kneel and mutter prayers they do not understand nor wish to say. They make the sign of the Cross , then run out to join their young friends, boys who hang with the Mafia big shots and do errands for them. CUT TO: SCENES OF DOM AND RICO AS OLDER MEN, 38 AND 45 RESPECTIVELY EXT. SCENES OF THE BROTHERS SHOWING THEIR PARENTS A BEAUTIFUL BIG WHITE HOUSE IN THE COUNTRY, AND 2 CARS WAITING IN THE DRIVEWAY

CUT TO: INT. OF ONE OF THE PARENTS STORES, AS DOMINIC AND RICO SIT WITH A LAWYER AND SI GN PAPERS TO TAKE OVER THE BUSINESSES AND PROPERTIES. FADE OUT FADE IN: RICO IS TAKING A PRETTY YOUNG WOMAN OUT ON THE TOWN. As they step out of a limou sine, he is pulling on a fur coat for the woman that he has bought as a surprise . She puts her hands to her mouth and begins to cry and laugh at the same time. He also takes out a jewelry box with a necklace inside, and opens it to show her. He then places it around her neck. FADE OUT FADE IN TO DOMINIC, and SCENES WITH LUCY, at a restaurant, at his LUXURY APARTM ENT, they are yelling passionately, hitting each other, then making up, with PAS SIONATE KISSES. DOMINIC LOVES HER. SHE IS HIS SOUL MATE, HIS MATCH. FADE OUT CUT TO SCENES AT THEIR NEW HOME, A FEW YEARS LATER, WHEN THEY ARE MARRIED. LUCY S face is set in stone, and DOMINIC is angry as well. He is in the kitchen starting dinner, when LUCY BEGINS TO get annoyed with him at something he drops in the kitchen. He yells back The fight escalates, and LUCY SUDDENLY makes a cutting remark about their not being able to have kids because of DOMINIC S LOW SPERM COUNT, AND DIDNT THAT MEAN SOMETHING WASNT RIGHT WITH HIM?. They stop making love, and DOM S bellicose manner becomes even worse. FADE OUT CUT TO: TWO LITTLE BOYS, LIGHT HAIRED LIGHT EYED ANGELS, ARRIVING HOME WITH LUCY AND DOM INIC. DOMINIC wants them to look like LUCY, even though her HAIR COLOR is from a bott le, and because HE has always loved BLONDE BLUE EYED people. LUCY tells her fri ends how her sons are the most important people in her life and that adopting th em has been the best thing she has ever done. Where had it all gone wrong? FADE OUT FADE IN TO DOM S BEDROOM, AS HE OPENS HIS EYES AND PUSHES THE BEER CAN AWAY . He stands, WALKS OVER TO THE WINDOW. Never a man to question himself or analyze his motives, Dominic sinks into a depression. He believes in action not feelin gs. DOMINIC SPEAKS ALOUD IN A LOW INTENSE VOICE

I m gonna toughen that sonofabitch if it takes me the rest of my life That s all the kid needs - be strong, face life, get a thicker skin. Arent I doing that, aren t I teaching him right? DOMINIC HAS A PLAN AND INTENDS TO CARRY IT OUT SOON. FADE OUT FADE IN - EXT. SCENES OF TOMMY WITH JIM S YOUNGEST BOY STEPHEN THOMAS doesn t have a way with kids, he believes. He is too self conscious, too dumbstruck by their naked honesty and emotions. But kids seem to like him anywa y, much to his delight .. THOMAS, in turn, treats them with GENTLE RESPECT AND COMPASSION, GIVING THEM the kind of ATTENTION USUALLY RESERVED FOR ADULTS. . SHOW INTERSPERSED SCENES WITH STEPHEN STEPHEN STOPPING BY AFTER SCHOOL TO SEE HIS DAD AT THE CLUB. He has serious CHO COLATE BROWN EYES AND COAL-BLACK HAIR, LIKE HIS FATHER . He speaks in a quiet v oice, hardly above a whisper, and clings to THOMAS as soon as he sees him. CUT TO A SECOND SCENE TOMMY takes STEPHEN for a ride in his Jeep CUT TO A THIRD SCENE INT. TOMMY S APARTMENT STEPHEN IS looking at TOMMY S pets - two hamsters, some goldfish, and a parakeet . TOM doesnt want to have any cats or dogs living there because the apartment i s so tiny. FADE TO: EXT. BENNETT STREET HI TOMMY! STEPHEN waves from across the street. He stands next to his dad and Tom think s he looks extra small and helpless He waves back. TOMMY Hey, kid! STEPHEN Can I come see your hamsters? THOMAS (looking at Jim) Sure. If it s okay with Dad. JIM SMILES AT STEPHEN

Yeah, go ahead, don t get lost. STEPHEN runs over to him, breathless and excited. Can I see your pictures, too? TOMMY loves to draw cartoons of pigs and squirrels, cows and other animals. TOMMY smiles Sure Maybe I can draw you one today. STEPHEN (whispering, looking back at his father) Awesome I like staying with you . SHOW AS TOM ENTERS BUILDING WITH STEPHEN AND OPENS APARTMENT DOOR. HE HOLDS THE DOOR AND USHERS STEPHEN INSIDE. The little boy runs over to the hamster cage, running his fingers along the edge , cooing and murmuring to the little animals. HE GLANCES UP AT TOM Can I hold them? TOM opens the cage door and gently grasps one of the hamsters, a chubby black and white one. He holds it out to Stephen s waiting cupped hands . TOMMY says quickly Be careful now, don t squeeze him STEPHEN takes the hamster . Okay. Is this one Buddy? TOMMY Yeah. The other one is Guy STEPHEN WHISPERS AGAIN, RUBBING HIS NOSE AGAINST THE HAMSTER S FUR. He holds one then the other.. After he is done, he runs over to the bird cage STEPHEN What s his name again? TOMMY Pete STEPHEN GRINS Cute name. He looks like a Pete TOMMY goes into the KITCHEN AND TAKES OUT A PLATE OF COOKIES he has made that mo

rning . You want a glass of milk with these? STEPHEN answers loudly , SURE! He throws himself on the sofa while grabbing 2 cookies. THOMAS SITS DOWN next t o STEPHEN and SWITCHES ON THE TV These are good, THE BOY SAYS WITH HIS MOUTH FULL . TOMMY Thanks, STEPHEN lets out a high pitched laugh whenever something strikes him as funny on the TV, and TOMMY smiles. SUDDENLY the BOY TURNS BEET RED and says softly , Uh-oh. . THOMAS SITS UP STRAIGHT . are you okay? STEPHEN . I think - I think I did something TOM smells rather than saw the problem He instantly feels a familiar wave of compassion. THOMAS Let s get you cleaned up, ok, kiddo? STEPHEN (staring at him in wonder) You re not mad? TOMMY No way. You just need to be cleaned, that s all. TOMMY LEADS the boy into the bathroom You want me to help? STEPHEN No, I can take off my own pants and stuff . TOMMY I ll get you some towels and some soap and water . STEPHEN You had an accident.

Okay. STEPHEN is still RED AND TREMBLING. He steps out of his pants and underwear and gingerly tosses them in the corner of the bathroom. Tommy gets a basin from under the sink, then stops Would you rather take a shower, Stephen? Or a bath? STEPHEN Naw, I ll be okay. TOM fills up the basin with hot soapy water, then gets some towels . He stops and smiles It s okay, Stephen. No problem. STEPHEN I wish Dad felt that way . TOMMY holds a wet soapy towel out . You want me to leave? STEPHEN You can stand outside if you want TOMMY hears the boy s voice from behind the door . Sometimes when I have an accident like this, Dad - he gets really mad - I mean , he goes crazy. Calls me a disgusting pig, and a baby. TOMMY FLUSHES. You re not a pig or a baby, no way. Sometimes things just happen STEPHEN FALLS SILENT. THEN SAYS , Thanks, Tommy - so what am I gonna do with my dirty clothes? TOMMY I ll rinse them out and then put them in the washing machine and the dryer. Won t take too long . STEPHEN (his voice rising in a panic) What if Dad s looking for me?. TOMMY I ll just tell him you took a nap . STEPHEN (pleading)

Don t - don t tell Dad about this. Please Tom, you won t will you? THOMAS feels tears springing to his eyes and he quickly blinks No way! I ll never tell anyone, Stephen. Don t worry. STEPHEN (VISIBLY RELAXING, HE SMILES) Thanks. I m all done . THOMAS wraps STEPHEN in a huge clean towel and rinses out his clothes and throws them in the machine . STEPHEN WHISPERS, YOU re awesome, Tommy He wraps the towel tight around him and grabs another cookie with his free hand. TOMMY smiles so are you, kiddo TOM grabs a cookie himself to cover his embarrassment. Just then the boy s towe l slides off onto the floor, leaving him almost naked. CUT TO TOMMY S APARTMENT DOOR FRANKIE DEE silently walks into the apartment. He has knocked but no one answers. FRANKIE S V.O. Maybe they cant hear over the TV. FRANKIE looks around the room, then at the boy, and then at TOMMY. His eyes stare with a strange gleam. FRANKIE CREEPS BACKWARDS towards the door, opens it and slithers out as quietly as he comes in. The BOY pops the rest of the cookie in his mouth. STEPHEN Do you like Dad, Tommy? TOM S memory flashes back to that morning when he overdosed. Yeah, he s a pretty good guy TOMMY suddenly claps his hands together and gets off the sofa. Let s check on those clothes He glances over his shoulder at the raucous TV show and grins You like this stuff, huh? STEPHEN

Yeah, all the kids at school watch it. Dad hates it THOMAS pours himself a cup of coffee and stirs in cream and sugar. He checks th e clothes, sees that they are done, and throws them in the dryer. He feels exhi larated. It is going to be a great day after all. FADE OUT FADE IN TO INT BACK ROOM OF CLUB JIMMY (shouting in a rage) I KNEW there was something about that kid. He never had a girl in his life, nev er even looks at women. FUCKING FREAK! FRANKIE JIMMY, CALM DOWN! I m just telling you what I saw, man, I could be wrong. JIMMY turns to face FRANKIE WRONG? MY KID HAD NO GODDAMN CLOTHES ON! EXPLAIN THAT TO ME FRANKIE Ask your kid what happened JIMMY Like he s gonna fuckin tell me! JIM has a violent temper, hot and explosive even in the best of times. Frankie knows he has to think fast. FRANKIE JIM, wait. Just wait a minute. Let s go to Dom. JIM AND THEN WHAT? The old man wont believe this, HE LL STICK UP FOR HIS KID! SO WH AT? HUH, FRANKIE? JIM S face is contorted and ugly with rage He slams his fist down on the table over and over. I GOTTA DO SOMETHING ABOUT THIS, YOU UNDERSTAND? FRANKIE (IN A SOFT VOICE) I do, just wait. Wait. Ask your kid. Stephen will tell you, you re his dad. H e wouldn t lie to you, he knows better than to lie to you, Jim. FRANKIE PUTS A HAND ON JIM’S SHOULDER AND LOWERS HIS VOICE So ask. Find out what really happened, see if what I saw wasnt what i thought i t was, okay? Do it.

Frankie IS beginning to panic. he resents THOMAS, behind his toothy grins and fr iendly conversation a part of him secretly hates the proud, almost arrogant walk , the cool demeanor, who does he think he is? In Frankie’s opinion, Tommy has no right or reason to be proud. And yet FRANKIE doesnt want this to get out of han d. He grimaces . JIMMY CONTINUES TO PACE UP AND DOWN AS HE TALKS That smelly dirty sonofabitch. He makes me sick. He always made me sick. I ju st had to keep quiet about it because of his family . and now this . He glares at FRANK . FRANK SAYS Let s go get something to eat, calm down, okay, Jimmy? Please JIMMY STOPS PACING AND FALLS SILENT. HE STARES AT THE WALL, AT SOMETHING only h e can see. His eyes are glazed over and bloodshot. . FRANKIE S V.O . Is he doing coke again, or does he look like that cos he’s all worked up? That’s all we fucking need, it’ll be like lighting a gasoline tank with a flame thrower . JIMMY PUTS HIS HAND UP after what seems like forever. I don t want anyone to know about this, understand? He looks at FRANKIE, his eyes clearer. FRANK THEN sees he is using the sharp, m anipulative brilliance that has made him top enforcer in the Mob. Cunning. Cle ver. He can hide his feelings when he needs to, pretend he is your best friend, then boom you re dead. JIMMY S Voice turns quiet, polite and calm. in a way FRANK believes this is dead lier than his temper. Let s wait, Frankie, okay? Let s just keep this to ourselves. For now. Give it time. See what happens FADE OUT FADE IN TO INT. DOMINIC’S OFFICE DOMINIC has enough. His desire to control and manage his son boils over into so mething resembling rage, and no matter how much pain it inflicts, it has to be d one. Nip it in the bud before it gets out of hand, he reasons, the girl will be moving out soon anyway . DOMINIC calls out to his son Hey, Tommy get over here! THOMAS obediently leaves his spot on the corner where he is chatting with one of Dad s friends, a BALDER OLDER MAN IN AN EXPENSIVE SUIT. . TOM WAITS

Yeah, Dad? . DOMINIC Come in here, I want to show you something . DOM LEADS THOMAS TO ANOTHER ROOM, way in the back of the building, hidden by a maze of corridors and rooms. THOMAS GLANCES AROUND What s this? DOMINIC (lowering his voice) This is something you don t tell nobody. Just the people in this room know abo ut it. You understand?

TOM nods, swallows hard and coughs . DOMINIC Come here, sit down. DOMINIC pulls up a chair and switches on what looks like a small TV. The images are black and white, and TOM sees DAD fiddling with the dials . DOMINIC (pointing to the screen and raising his voice) You see this? This is that broad in building 210. You know the one next to Ric o s? THOMAS Yeah, I think so. THOMAS feels a little light-headed and weak DOMINIC (SHOUTING) What do you mean you think so? you know the one, you see her every fucking day walking by, her sister’s the skinny redhead. You think so. DOMINIC GIVES HIS SON A GLARE AND SHAKES HIS HEAD . TOMMY S V.O. Why are they watching her on TV? DOMINIC SO you know now who I’m talking about, right, you goddamn nitwit! He laughs and slaps his son’s head playfully Gina, right? TOMMY Gina. That’s the name.

Yeah, Dad, I know THOMAS feels a wave of nausea overtake him and he puts a hand to his forehead. HE asks quietly So what s all this about? Why is she on surveillance?

DOMINIC says with a smile in his voice as he emphasizes every word Because she pisses us off that s why. Because she never works or leaves that fr igging apartment, AND because she s a freak. You understand? DOM puts his hand on his son s shoulder. THOMAS grimaces She s a loser, Tom, she ll be gone pretty soon. We re throwing them out. tion, baby! He gives a nasty laugh. TOMMY Dad you don t think she s doing anything up there that we should know about DOMINIC Well, we sure as hell intend to find out . THOMAS stares at the screen. GINA is undressing slowly, staring in the mirror, t urning this way and that, picking up her breasts with her hands, smoothing hands over thighs. Then she makes a face and an exasperated noise of disapproval, an d turns from the mirror. Her figure - rounded and pale on the video - looks so young and helpless. THOMAS feels like putting a blanket around her or a robe. He turns his face. N ever show Dad weakness, Tom. Never show it. He knows if he does DAD would bera te him mercilessly. DOMINIC nudges him. Terrible shape she s in, huh, Tommy? That s all the pepperoni and sausage she s been sneaking late at night . He snorts. Thomas winces SUDDENLY DOMINIC looks over TOMMY S shoulder and yells out , Hey MARCO, ANTHONY, JACKIE - come in, here, have a seat, watch the show! THOMAS looks up to see his father s friends approaching. He smiles thinly and r eturns their handshakes. ANTHONY (smiling at DOM and glancing at TOMMY) So you finally got Tommy to see the action, huh, Dom? What does he think? DOM (fixing his son with a laser beam stare) I don t know, ask him . TOMMY S eyes flicker away then back again . Evic

ANTHONY THUMPS Tommy on the back you like this girl, huh, kid? You see her in all her glory, acting like a screw ball, she ain t so hot, right? She ain t even worth a second look DOMINIC beams. ANTHONY has said just what DOM wants him to say. THOMAS seems p uzzled. TOMMY S V.O. Screwball? What are they talking about? She undressed and lay down, that was a ll I saw. THEN THOMAS SEES. Her mouth moving, her arms gesturing wildly, she is engaging in a deep conversation with someone, but she is the only one there. Then another camera follows her as she goes into the kitchen . She returns to the bedroom and sits on the bed, transfixed. She says something softly, to TOMM Y S ears, it sounds like, God help me GINA lays back on the bed for a long time, her arms crossed over her chest. Tho mas holds his breath. He sees her body shake. She is crying. ANTHONY See what I mean, kid? . THOMAS FLUSHES. No wonder why she doesn t work

Well, if you knew that, then why do you still videotape her and listen to her? MARK (sarcastically) Because it s fun? THOMAS glares at him. THOMAS stands up. Listen, guys, I gotta go, I got errands to do . DOMINIC stands up too . This is more important. Sit down. THOMAS stares at him . Dad, please . DOMINIC (harshly) I SAID SIT DOWN! WATCH THE SHOW . THOMAS stays and watches for hours with his father and his father s friends. Peo ple come and go - even his old pals FRANKIE and JIM seem to know about this secr et room and what goes on. The guys feel closer to him now, he could tell. Slapping him on the back, huggi ng him, sharing stories with him. He wants them to like him so much, he needs t

heir approval. As TOMMY basks in the glow, he knows how wrong everything is. He knows. But he can never say it, he can never reveal his true feelings. THOMAS leaves late that night, goes back to his apartment, and throws up.

FADE IN - INT. CARELLI APT, WITH EXT. BENNETT STREET AND ALLEY IN BACK OF BUILD ING GANGS OF TEENAGERS OUTSIDE CAUSING TROUBLE As the days and weeks go by, things become worse. The girl and her family have sometimes made comments on people in previous times, both in and out of the Mob, not realizing that they were heard, and these remarks had infuriated those who listened. Now that a slip of the tongue from Gina tips them off that the famil y knows about the eavesdropping, they are out for blood now. They begin to get kids involved, eager, energetic bold kids, who can stay up and all night and do whatever these men want. Gina at first becomes the sole and convenient target o f most of their frustrations and cruelty, and unfortunately, her family suffers the same fate. GINA cries deep shaking SOBS NEIGHBORHOOD KIDS call out names from the ALLEY behind the BUILDING, and ON BENN ETT STREET in front of the BUILDING, ordering the family to MOVE OUT.. MR. AND MRS. CARELLI get sick from the STRESS. TERRY throws up. MOM has nosebl eeds and chest pains. DAD has chest pains as well

DOMINIC knows the whole thing is out of hand. DRUG ADDICTS and TEENAGERS are no w involved, not just mobsters. DOMINIC shrugs and sighs. He MUMBLES under his breath They ll be out of here soon. Maybe the whole family can move to Hawaii. Sit under the nice sun on a beautiful beach, sipping pina coladas. DOM chuckles. THOMAS bursts into his father s office . A HUGE MAN built like a WRESTLER stands close to DOMINIC MARINO, talking to him when TOM comes in.. DAD, we have to talk DOMINIC What the fuck do you think you re doing? DOM asks in a strangely Quiet voice.. TOMMY DAD, Please - now! THOMAS sits down and turns his face to the WALL. The BODYBUILDER MAN shrugs an d says, I ll see you later, DOM waves HIM away and GLARES at his SON. DOM: So talk THOMAS (voice rising) The family in 210, GINA- and TERRY - and - they know, DAD, they know! And what is this with the kids listening in? I thought it was just us. I mean, that s bad enough but now it s like - the whole friggin neighborhood?! DOMINIC (in a low voice) Things got out of hand, the guys told their kids, the kids told their friends, T ommy, these kids, they work for us too. It ain t like they re strangers. No one s gonna talk to the Feds, believe me. TOMMY (his voice still loud) When is this going to stop, Dad? DOMINIC shrugs When they move . TOMMY (lowering his voice, but still has an angry tone) Help them find a place. Please. ophones. Tom stands up. Preferably one without video cameras and micr

DOMINIC STANDS UP TOO Listen, you sonofabitch. Tommy blurts out Dad I like this girl. I like this family . He stops and looks around. They don t deserve this. No one does. DOMINIC addresses the walls sarcastically No one does. Listen to this will you? Listen to this saint, here, this priest. Holier than thou bullshit . He turns back to Tommy with fire in his eyes. WE decide who deserves what. This ain t a social club, or a group of monks, d id you know that? Are you aware of that? The Mob operates under its own rule s and laws, you understand? DOMINIC thrusts his finger into his son s face and raises his voice. We call the shots, we make the rules. We answer to no one. Understand? DOMINIC BREATHES HEAVILY AND STARES AT HIS SON FOR A MOMENT OR TWO. HE SPEAKS IN A QUIETER TONE Let me tell you something else, TOMMY HE TWISTS THE KNIFE EVEN DEEPER. This bitch has a crush on you. Did you know that? THOMAS stares at him, his eyes open with something like horror. He can hardly breathe and tears come to his eyes. He doesnt even try to blink them away. DOMINIC Lowers his voice in a conspiratorial tone. And I ll tell you one more thing, while I m at it - We do this to more than one family. He nods and says in a mocking voice, Oh yeah! Fine upstanding people, what a shame! He puts his hands together in a prayer position. Father, forgive me for I know not what I do. DOMINIC laughs bitterly. THOMAS feels like getting violent for the first time in his life. His breathing is worse, labored and heavy, his chest burns, his eyes sting

DOMINIC CONTINUES . And you know what, Tommy boy? These people, all of them, they dont even deserve your pity You know that? They re pigs, they re freaks, you should see the things they do behind closed doors, I ll tell you HE SHAKES HIS HEAD IN AMAZEMENT. TOMMY STORMS OUT AND SLAMS THE DOOR BEHIND HIM.

Chapter 30 CUT TO INT. TOMMY S BEDROOM THOMAS furiously scribbles a note to his parents, figuring it to be his last. H e crumples it up and throws it in the wastebasket. Nothing can ever express how he feels. The years of shame, of agony, of self-loathing. The humiliation. The look in G ina’s eyes, the way she tries to hold her head up as she walks down the street one day with her mom, when she sees Tom she freezes and turns her face. He wants to reach out, to hold her hand, take her away from all this. God, she must hate them. She must hate him now too. He has to save her. That is the way Thomas keeps thinking, not help, but save . He gets the strangest feeling that by doing this in some inexplicable way he

is also saving himself. It all seems to be now so final , so simple and clear, small, though, as if it is contained in a special box. He sees for the first ti me everything beginning and ending in her sad brown eyes.

FLASHBACKS TO JIM S CHILDHOOD INT. JIM S HOME JIM is about 10 years old, walking into the crowded tiny smelly apartment he sha res with his brothers, sisters and mother. It has been a tough day at school for the serious young boy, another day when the kids snicker behind his back and he strains to control his temper. Another day of watching his mother dress and ge t ready for her first job of the night, spraying that awful perfume that he hate s. It always makes him choke. JIMMY Ma, do you have to wear that? I hate that smell JIM S MOTHER (a pale slender brown-haired woman) I know, but it s my favorite flower. Roses. You know that, Jimmy. She pats him on the shoulder . Don t wait up for me, go to bed early, you have school tomorrow, okay? Yeah, right JIM is a whiz in school, his mind alert and facile, picking up facts and figure s with ease and remembering them quickly.

Yet he hates school. He hates the kids. He hates the teachers, telling him what to do, using sarcasm and put downs as a way to control. JIMMY burns in side with an anger that never seems to leave him. It is a constant companion. Pain, hurt, these are not familiar concepts to JIMMY. Rather he TAKES the pain and the hurt - the pain of his father s early death from a massive heart attack, the pain of taking care of his brothers and sisters at a young age, of being la ughed at for one reason or another - he takes this pain and he lets it congeal i nside him. It TAKES form and grows a life of its own, until it is no longer pai n and hurt. It becomes instead a cold hard substance - a rage unlike any other. Yes, JIMMY knows at a young age what rage is and what it can do. It can make yo u throw temper tantrums and yell and scream and throw things and be nasty. IT can be hot and boiling and explode, it can quickly evaporate. Yet JIMMY also k nows a different kind of feeling. Like a cancer in your brain that infects ever ything you think and say and do. Twisting your feelings into knots, making you imagine doing the worst things in the world to anybody who even slightly pisses you off. JIM REMEMBERS. HE IS ONLY 12 but he remembers thinking that he has to deal with this. This ext ra arm, this third leg that keeps tripping him up and making movement impossible . JIM would go to FATHER O BRIEN. JIMMY likes FATHER O BRIEN. He doesn t like t he Irish, though, because of what his mother tells him. How they treat Italians like dirt, call them ginneys , and compete for every precious job. But FATHER O BRIEN is alright. JIMMY would ask for his help and his blessings. FADE OUT FADE IN TO INT. CHURCH JIM steps into the church. As he walks in, he BREATHES IN CANDLE WAX AND INCENSE. THE SIGHTS AND SMELLS BR ING UP ANCIENT MEMORIES he swears are real. DAYS GONE BY, MONKS CHANTING PRAYERS AS THEY WALK UP AND DOWN THE CHURCH AISLES JIMMY smiles and GENUFLECTS. . FATHER O BRIEN comes from behind the altar and spots JIMMY. Jimmy waves. FATHER KEVIN, as he asks the boys to call him, is a jovial red haired priest with freckles and a youthful grin. He has a belly and loves his beer. H e tells JIMMY once that he never gives up the beer, not even for Lent - then he winks and gives him a nudge. Now he strides over, light on his feet for a chubby man. FATHER KEVIN Hello there, Jimmy! Did you want to talk? JIMMY `

Sure Father FATHER KEVIN knows the boy to be troubled by many things, although he isnt much of a talker. Not due to shyness, but rather uneasiness at expressing himself. Perhaps he barely understands or can verbalize his own feelings. This will be d ifficult to deal with but not impossible. FATHER is above all else an eternal o ptimist. Father leads JIMMY into his rectory office. FATHER sit down son JIMMY looks around as he sits, at the huge WOODEN ROSARY that hangs from a blue and white statue of BLESSED MOTHER. One of his favorite statues. He loves Blessed Mother FATHER KEVIN So then, what would you like to talk about? JIMMY Taking in the SIGHTS, SMELLS AND SOUNDS and awesome majesty of statues and vario us RELIGIOUS ICONS AND RELICS, Jim is peaceful. Suddenly he blurts out, What is it like to be a priest? FATHER KEVIN DRAWS BACK IN HIS CHAIR . Well, it s - it s awesome, Jimmy. It s beautiful. You feel close to God, you g et to pray for people and help them. JIMMY So you feel special? Like God chose you and loves you the best? FATHER KEVIN Well actually, Jim, God loves all of us. But yes, in a way a priest is chosen. Men and women are chosen by God to become priests and nuns. This is considered their calling. JIMMY struggles for the right words Father I -I just want to be happy. FATHER KEVIN feels tears in his eyes. He blinks them away. Surely, James, God can bring you this happiness. If you turn to Him, follow His commandments, show him proper love and respect, your life will change. YOU wil l change. JIM frowns . Are you sure?. FATHER KEVIN

I m positive, son JIMMY So when - when kids call you names, or you get pissed off about something, do yo u do what Jesus says? Let it go? FATHER KEVIN Turn the other cheek, yes, JIMMY. As often and as best as you can. Now I m not saying you have to be perfect, mind you, but ask God for help with this. You m ay need it! FATHER KEVIN grins Forgive them. Always choose love over hate. JIMMY How, Father? Does anybody have a book I can read? JIMMY LAUGHS nervously FATHER KEVIN (laughing uneasily) Yes, in fact there is a book - it s called the Bible, Jimmy FATHER KEVIN S V.O. I know these pat answers will never be enough. But What can I say say to this g rowing, challenging mystery that sits before me? We were all mysteries, and non e of us or our problems can be fixed so quickly and simply. I know very well the frustration of my calling FATHER KEVIN leans forward. Son, you are special. Just remember that. God loves you, temper or not. God s till loves you. Even if the whole world hates you and makes fun of you, God is still there for you. Always JIM THINKS ON THIS FOR A WHILE, THEN SMILES. I like that to be true FATHER KEVIN Let the others call you names, Jim. Just let it go, let it fall off your should ers. In one ear and out the other, I always say. Ask God to give you the stren gth you need to deal with it. With all of life s problems.. He ll even help yo u control your temper if you ask Him! JIM (looking skeptical but managing another smile) Alright FATHER KEVIN winks So do you feel better at all? Have I helped? JIM

Sure. Sure JIM will go home now and face another day of dirty dishes and laundry and brothe rs and sisters that need attention. Another day of watching his mom get ready f or work and waiting for the time when she will return. Waiting for her embrace and a word that she is always too tired to give JIMMY S V.O . Thinking about God is always so good someplace like here, but once you got home and face things all over again, it isnt so good. JIMMY REACHES OUT AND TAKES FATHER KEVIN S OUTSTRETCHED HAND. AND SHAKES IT. . FATHER STANDS UP AND WALKS JIM TO THE DOOR. FR. KEVIN . let me know if there s anything else I can do for you JIMMY V.O. Can you take it all away, Father? Can you make it go away? Can you change my life, my headaches, the way I feel inside? HE ANSWERS ALOUD I ll let you know, thanks JIMMY steps out from the cool dark peace into the glaring warm sunshine. It is almost summer time. The end of school. He sees a LIMOUSINE with darkened windows drive slowly by. HE knows it is the m en his mother warns him to stay away from - men in expensive suits, wearing huge rings, smelling of fancy cologne. Some of them smoke cigars and swear all the t ime. JIMMY thinks they look cool. At least they dress good. He likes that. A nd people seem to respect them. JIM has some money in an old frayed wallet that he carries. His mother always gi ves him an allowance so he can buy what they need - milk, bread, eggs. He guard s this wallet dutifully, never losing it or forgetting it. He knows how hard sh e works for her money. As he walks down the street, 2 young guys in blue jeans and jackets bump right i nto him. Jim feels his anger rise in his throat. They are so much bigger than him. JIMMY S V.O. At least they can say they re sorry for bumping into me JIM glares at them but keeps walking. They turn and circle him, spying his wall et in his back pocket . ONE OF THE GUYS You got something there, kid?

JIM IS READY FOR A RIGHT. ALWAYS READY TO DO BATTLE . HE answers What do you punks want? THE SECOND YOUNG MAN Your money, asshole. Give it up JIM No way. I need it. Get lost HE TREMBLES NOT WITH FEAR BUT ANTICIPATION AND THE THOUGHT OF LOSING HIS MOTHER S ALLOWANCE. They push JIMMY against the wall and one punches him hard in the stomach. He dou bles over in pain. THE PUNK whispers harshly in JIMMY S ear Give us the fucking money, jerk FATHER KEVIN S church is close by, but JIMMY feels no comfort. He remembers Fath er Kevin’s advice and prays quickly to God and Blessed Mother to help him, prays t hat these guys will go away and leave him his money. JIM feels some hope. They havent taken his money YET. They TAKE THE WALLET out of JIMMY S pocket. They keep punching him hard, on h is face and his stomach, kicking his legs. JIMMY will not cry out. FATHER KEVIN runs down the street toward JIMMY You boys, there! What are you doing? At the same time, the LIMOUSINE cruises by, a beautiful sight, shining and glint ing in the sunshine. FATHER KEVIN gets close enough to see it is JIMMY being robbed. His eyes widen You boys, let him go. I insist ONE OF THE BOYS turns and punches the priest in the face. The blow knocks FATHER KEVIN to his knees. He does not rise up nor does he protest. A MAN GETS OUT OF THE LIMO - a WELL DRESSED GENTLEMAN WITH SNOW WHITE HAIR,, a CIGAR dangling from his lips. His COLOGNE precedes him. He has 2 other men wi th him - younger and stronger. For all his age and DIMINUTIVE SIZE, this man se ems the LEADER. He grabs one of the boys by the NECK AND SQUEEZES HARD. The b oy screams in pain. One of the other men grabs another kid who is punching JIM MY and takes him by the hair, pummeling him until he too is on the ground. The BOYS RISE AND FLEE The SMALLER WELL DRESSED MAN HELPS FATHER KEVIN TO HIS FEET. Father Kevin is bl eeding a little from his mouth He knows these men and he hesitates.

FATHER KEVIN (TURNING TO JIM) JIM - are you alright? JIM ANSWERING A LITTLE BREATHLESSLY Yeah - I m fine Father. JIM IS unsure of many things, but of this one fact he is convinced. These men kn ow just what to do. Deal with punks the way you re supposed to. On their level . You have to be like them and think like them to deal with them. Right now Jimmy feels old and wise and he almost feels sorry for FATHER KEVIN, i n his DUSTY CASSOCK.. He feels as though he now is the older of the two, and has lived the longer. FATHER KEVIN STANDS BY AND SEES THE GLEAM IN JIMMY S EYES, THE RESPECT AND ESTEE M WHICH HE NOW HELD FOR THESE MEN, THE SHEER GRATITUDE. He shudders and shakes the men s hands. FATHER KEVIN S V.O. They contribute mightily to the church coffers every week, and for that we are a ll eternally grateful. Yes, it is a strange world we live in, rarely black and white, just shades of gray. At least for today, FATHER. FATHER KEVIN COUGHS AND ASKS JIMMY, JIMMY, do you need any help getting home? JIMMY No, I m fine, Father . FATHER KEVIN Are you sure, JIM? THE WHITE HAIRED MAN STEPS CLOSER AND ANSWERS We ll take care of it, Father, thank you FATHER KEVIN FLUSHES A DEEP RED AND STEPS BACK A BIT . Dismissed politely yet firmly, FATHER feels shame well up in him. RESPECTED AS A MAN OF GOD, GIVEN PROPER PROTECTION AND CREDIT, HE IS NONETHELESS SEEN AS RELA TIVELY WORTHLESS WHEN PUSH COMES TO SHOVE, YOUR SERVICES NO LONGER REQUIRED, TH ANK YOU VERY MUCH, FATHER. COME TO THINK OF IT, THEY DIDN T DO MUCH GOOD IN THE FIRST PLACE, DID THEY? . FATHER S V.O. DO I dislike what these men stand for and do, or rather for how useless they mak e me feel? Did I do any good today, Father in Heaven? FATHER KEVIN walks back to the rectory, his eyes brimming with tears. THERE IS SOMETHING FATHER KEVIN, TOO, WILL NEVER KNOW - THIS DAY HAS BEEN A TURN

ING POINT FOR JIMMY. BECAUSE OF A COMBINATION OF EVENTS, NONE OF WHICH FATHER K EVIN COULD HAVE FORESEEN - A DEAD FATHER, A POOR FAMILY, A WALLET, AND A SHINY BRIGHT LIMOUSINE - THIS BOY S LIFE WILL SOON TAKE AN UNALTERABLE ROUTE.

Chapter 23 The MEN take the boy home in style. RALPH GIUSTO takes the boy under his wing. He becomes his father, his teacher, and his role model. RALPH TEACHES JIMMY how to dress, how to think, to walk and talk. Jim becomes a lover of fashion, luxury and working out . HE also cautions JIMMY about the perils of MAFIA LIFE. Women are easy to get. He advises Jim to stay away. Don t get caught in the trap. Besides avoiding ja il at all costs, a smart guy in the life avoids entanglements with women. RALPH IE extols the virtues and pleasures of the single life. No involvements, no pre ssures, no hassles. He would date, take a nice lady out to dinner or a movie, t hen he would return to his apartment and be alone. Peaceful. Safe. The only w oman in his life is his mother. He likes it that way. What harm could a mother do? CUT TO RALPHIE TALKING TO JIM If you are going to need a woman, Jim, get married, have the kids, do the whole nine yards. For the sake of propriety, to procreate, to look good. That was it . Remember, women are a man s biggest weakness and potentially his worst night mare. JIM DOES REMEMBER THIS. He only marries - twice - to have sex and to have children. Then he is done wit h it. They are of no further use to him emotionally. He will remain loyal to h is wife, bring her flowers, give her an occasional kiss. But something inside h im has closed the door and died. For JIMMY, the woman will forever remain a fig urehead and nothing more, more important for what she represents than for what s he means to him. No longer real or substantial. Never as real as the men with whom he shares his livelihood. He tells them things he would never tell his wife.

He shows them a side he could never let her see. JIMMY likes it this way. That is his life.

Chapter 24 JIMMY has to kill his best friend by the time he is 20. The friend has stolen some drug money from the Mob, and JIM knows that is unforg ivable. JIM values his friendships and never takes them lightly. Still he will learn th e hard way that even friends have to die when the Mob has been betrayed. This thing of ours comes first. This has been drummed into his brain by Ralph. CUT TO SCENE WITH RALPH Jim, he has to go. He has to . RALPHIE says gently, putting a hand on Jim s shoulder , You want to live the life? You want what we can offer? RALPH knows that Jim has come from a poor family on the wrong side of town. They had been laughed at for wearing broken down shoes, patched up clothes, and bei ng perpetually dirty and grimy. They had an old rusty bathtub that leaked and a boiler that never worked right and no heat. He knows that JIMMY sees his dad die of a massive heart attack after working 3 s hifts in a factory. His mother takes care of all 5 kids by herself, young and h ungry and wild, all of them a handful. She works 2 jobs just to get by. Because JIM is the oldest, he ends up taking care of his 4 siblings - 2 boys and 2 giris. He is bossy, strict and harsh - yet he could be fun, too - playing ga mes with them way into the night, reading them stories and making them snacks. JIM always takes 2 showers a day once he gets his own apartment, and will on occ asion take an extra shower in the middle of the day or night.. He becomes a fan atic about cleanliness. He despises anyone that he feels is unclean or anyone w ho has grown up having things handed to them. JIM has a hatred of poverty, a love of money and all that it could buy and a com manding authoritative presence. He has to be the boss, he has to lead. His ambition knows no bounds. He reveals another side in his artwork, sketching portrait after portrait of old men and women, innocent children, and pretty old fashioned women with long flowing dresses - a fantasy of his from long ago. He d be the knight in shining armour, she would be his damsel in distress, his hard-earned fair lady. He soon finds out she doe

snt exist. At least not the way he has imagined her. JIM gets married to a neighborhood girl at 19, separated by 20. He has married her just like Ralph had advised him to, so he could have sex. His rigid Catholic upbringing has made him prudish and conservative about many things. This often times clashes with his powerful macho sexuality. He remarries at 25 to a classy dark haired young woman with gentle manners and a good upbringing. His best friend - Bobby - best man at his first wedding, friend since grade scho ol -the big grin, the crazy laugh and the silly jokes. Bobby never once laughs at his hand me downs. None of that seems to matter with Bobby. How could Jim ever forget? You just had to put it behind you, wise guys told him. But he knows better.

BOBBY S face would come into his head at night, sometimes smiling, sometimes mou rnful. His mouth moving the way it did the night he died, nothing coming out, n o sound. JIM begins to take pills so he can sleep. Then he needs pills to keep him awake . Soon he is doing cocaine and other drugs. Just to get by, he d say. He learns the lingo of the Mob, the curses and phrases that he has never liked, but knows are somehow required, as essential to the life as breathing. He has never gone to college, but he loves to read - Machiavelli, the Marquis D e Sade, the Art of War, Plato, philosophies and religions of all kinds. He find s out one important truth - No one has all the answers. You have to make your o wn as you go along. JIMMY never has a best friend again after BOBBY. No one ever gets close enough. He makes sure of that

Chapter 25 INT CARELLI HOME The WAR OF WORDS has taken a desperate turn. GINA IS NEVER ONE TO KEEP QUIET FO R LONG. She has begun to answer the taunting and the remarks, she has begun to taunt back and let them know in no uncertain terms that what they are doing is w rong and sick and disgusting. MRS. CARELLI knows this is getting to her, she can see the NERVOUS ENERGY AND PA CING UP AND DOWN, can see the strange and unnatural excitement in the household. It is like living in an alternate universe, a world of their own, that makes n o sense and has no rules, nothing to hold on to. Just a crazy life of its own.

MARIA HAS tried to get apartments in 3 different places, but all of her attempt s ARE rejected. The landlords and landladies cooly yet politely tell them they cannot give them rooms. MRS. CARELLI has the distinct feeling they know the Ma rinos and are told not to help the family out. Looking out of town is difficult because none . Yet MARIA knows if this has to be done she . CARELLI AND THERESA both have jobs here and ins close by in town . But they will somehow this. of the family owns or drives a car will do it. They will manage. Mr everything they love and need rema survive. Anything is better than

MARIA is familiar with the pattern of the harrassment. It starts out small, inn ocuous enough, petty remarks, easily tossed aside like so much garbage. Yet it just as easily escalates into something hateful, bitter and vicious, triggered b y what someone says or does, by something that has happened, or by too much dope and liquor. ONE NIGHT GINA struggles to deal with it, to be tough, yet it has become like a sick twisted game, and MRS. CARELLI knows that GINA would end up the worst for i t, worn down, beaten by what they ARE saying and doing, the nervous energy and s ick excitement eating away at her mind until it turns on her. She comes to her mother one night, her face haggard, her eyes dark and empty poc kets. She paces up and down before her mother, who sits on the couch . Ma, I can t sleep. It s been 3 nights. I still can t sleep. What ll I do?

Her mother pats the couch beside her. She hasn t been sleeping well either, looking at her daughters, seeing how they react to and cope with the eno rmous stress. A mother s heart. A mother s pain. A mother s love. She can ne ver express these things to them, she is never the type to do this. Gina s effo rts to deal with the harrassment are frantic, like a little wild helpless anima l in a trap, trying to get free. Terry s efforts are more stoic and grim, but she can no longer hide the pain and exhaustion in her eyes. Gina slouches down on the couch next to her mother and lovingly feels the uphols tery . I always loved this couch, Ma. I used to sleep on it with you when I was a lit tle girl. Remember? She sounds so sleepy, her voice distant like in a dream. Ma, I can t sleep anymore. I don t know what else to do Maybe it is the tone of her voice, reminding MRS. CARELLI of days gone by, maybe it is the frustration and helplessness, the vulnerability of the moment, that g ets to her. All she knows is that the dam that she has so carefully built and s hored up begins to crumble, and her emotions come pouring out. She grabs Gina to her and holds her there, and she begins to cry. Softly. She never likes her children to see her cry. Not even her husband would see her lik e that, ever. Then the sobs become louder.. She tells Gina sh and she strok

es her hair as though Gina is a child, , something she rarely does. Gina finall y closes her eyes and feels peace. She begins to sleep. MARIA (WHISPERING TO THE ROOM,THE UNSEEN PRESENCE THERE) Why God? why can t you do something? SHE KNOWS once again that her prayers will be met with silence. isnt that how i t has been? For in the face of cruelty, even God sometimes cannot speak. Even He has no answers. MARIA I can t lose my faith. It s all I have. My kids need me. God, I know you re he re. Help us. Do something. Stop these animals. She hears a brittle laugh outside on the street and a bottle being thrown and sh attering into pieces. She winces and closes her eyes. More laughter follows, ho oting, cat calls. Maria dreads the night. She used to love it, the end of the day, the blanket of restful peace descending on the house after a weary dull day . Now the night time signals the beginning of another onslaught - footsteps above them in the empty shelled out a partment upstairs, noises in the walls, yelling outside, music blaring. What wo uld happen next? What are they up to? None of the neighbors ever so much as complain or speak of this. Mrs. CARELLI c ould not know and never would know, but she could only guess. The neighbors hav e been told to be patient and wait. Not to complain or report these things to t he police, per Mr. MARINO S orders. Once these bad people move out - this tr ash , as they are called - the noise and harrassment will subside, never to retu rn, and the street will once again settle down into its usual routine.

INT OF RICO’S APARTMENT Tommy IS STANDING THERE, TALKING SOFTLY I will tell, Uncle Rico. Everything. RICO SNEERED. What are you talking about? . TOMMY (continuing in a soft voice) If Dad doesn t stop this, if you don t stop this, I ll tell Rico turns away to pour himself a glass of wine. Tell what? Tell your ass.. THOMAS takes a deep breath and stares at his uncle s back About my childhood, Uncle Rico, and when I was a teenager. What was done to me . Please don t pretend you don t know . THOMAS moves forward a few steps. Rico s back is still facing him.

Dad, you, your buddies - yeah, a real party, let s get everyone involved, right, Uncle? RICO WHIRLS AROUND AND HOLLERS OUT WHAT THE FUCK ARE YOU TALKING ABOUT? his eyes are scared and tired . THOMAS continues gently You know. He smiles a small unreadable smile. You know. Best kept secret of the Mob. NO, wait a minute, that must be the vid eos, bugging, and harassing of people. Or maybe it s both. What do YOU think? RICO drinks his wine, his hands shaking. THOMAS feels a surge of compassion. Th e man is old now, past 70. Uncle,I just want this to stop. eft alone. I want the girl left alone. I want everyone l

RICO MUTTERS, PUTTING HIS GLASS DOWN Go fuck yourself! Get out THOMAS TURNS TO GO RICO MUMBLES OVER HIS SHOULDER Say whatever the hell you want. No one s gonna believe you . THOMAS ANSWERS QUIETLY Someone will, I promise you that . He walks out. RICO STARES AT HIS WINE GLASS FOR A LONG TIME. Then he places a call.

Chapter 34

THOMAS feels strangely free and confident for the first time in his life. He al most runs to his apartment building with renewed energy and lightness. TOMMY S V.O. They ll have to stop now, they ll have no choice. All of this craziness will en d. THOMAS feeds his bird, his hamsters and his goldfish. He gently talks to them as he feeds them, in a soft soothing voice. His favorite song is on the radio Sailing by Christopher Cross. THOMAS has always loved that song. Music take h im to another place, another world, makes him feel and see things inside. He starts to switch on the TV when the phone rings - harsh and loud in his quiet apartment. Yo! He always answers the phone like that, he loves the Rocky movie and Sylvester St allone. Hey, Tommy THOMAS RECOGNIZES FRANKIE S VOICE THOMAS REPLIES Hey. FRANKIE sounds far away, TOMMY wonders why. He holds the receiver tightly to hi s ear. TOMMY You alright? FRANKIE Yeah, sure. Hey, Tommy, I was just thinking - well, me and Jimmy and a few of the guys - we want to get together and talk about this frigging thing - you know - with the girl and all that shit . THOMAS HESITATES. I really got nothing to say, Frankie. I mean FRANKIE Yeah, I know, but still - we feel bad about this, she s not a bad kid THOMAS It s not just her, it s everything. FRANKIE SIGHS. Tom, I know. I understand. So you want to get together and talk or what?

AS THOMAS THINKS ABOUT IT, FRANKIE ADDS Your dad wants us to do this . THOMAS NODS . Sure. Okay . FRANKIE Can we meet tonight? THOMAS I m not doing anything special, sure . FRANKIE How about on Jimmy s boat, you know the one, you know where it s docked, right? THOMAS The one with the tiger on it? FRANKIE That s it THOMAS Okay, then I ll be there . THOMAS hangs up and looks around his apartment. He instinctively thinks of baki ng a cake or a pie, then he remembers and smiles No, I better buy something th is time. He rubs his hands together, and grabs his leather jacket. First go to the pastry shop and pick up something special. He always likes to do that whenever he goes anywhere or someone comes to see him. Things are looking up. Dad has a change of heart. Looks like everybody did. M aybe Uncle Rico talked to them. He hoped so. He hates to threaten, of course, he would never use any such thing against his family, after all, they raised him and he knew they love him in their way. He loves them, too, more than he can s ay. Despite everything that has happened. He often thinks to himself, How could you go through such things and still love the people involved? There are many times he thinks he is some kind of a freak. Maybe he isnt smart enough or deep enough to hate - he guesses you have to be a strong person to have those kinds of feelings, and he always thinks of himself as weak. He shrugs on his jacket, gets some money, and leaves his apartment. He looks ar ound one last time. TOMMY WHISPERS TO HIS BELOVED PETS See you later, guys.

he walks out. CUT TO EXT. OF PASTRY SHOP THOMAS HAS DOUBLE PARKED TO PICK UP SOME CANNOLIS AT HIS FAVORITE PASTRY SHOP., RUNNING IN TO GET THEM, THEN RUNNING TO HIS CAR. He then rides down the street to the wharf .. THOMAS STOPS AND PARKS HIS JEEP, GETTING OUT SLOWLY. He looks around He spots JIMMY S BEAUTIFUL MAJESTIC BOAT bobbing in the water. He smiles. Just like JIM to have a boat like that. He goes over to the water s edge and waits, looking down at the inky black depth s, hearing the gentle laps as the water moves against the pier. TOMMY feels so peaceful, so right. Tommy? The voice startles him, breaking the silence. THOMAS turns around quickly and sees FRANKIE Hi, Frank FRANKIE The guys are waiting for you inside the boat. We saw you park THOMAS I just thought I d hang out for a while, look at the water . FRANKIE SHIFTS AND COUGHS . Yeah.. ITs nice out here. Nice and peaceful THOMAS Sure is. THOMAS holds out a box of cannolis to FRANKIE These are for you guys. I bought them at Marie s FRANKIE glances at him with a strange look and Thomas smiles She makes good pastry . FRANKIE GIVES A LITTLE SHAKE OF HIS HEAD AND SMILES BACK She does, right. Let s go inside THOMAS goes in first, sliding onto the boat, FRANKIE following gracefully As TO M enters the brightly lit cabin, he blinks and squints. About 5 guys are there, counting FRANKIE - there is JIM, a husky gray haired friend of Jim s, and 2 bod ybuilder types, one of whom THOMAS recognizes - the young man that had been talk ing with his Dad that day when Thomas had burst into the room, so angry. THOMAS SHAKES EVERYBODY S HAND AND SAYS SHYLY

I bought cannolis Help yourself FRANKIE holds up the box, slightly embarrassed. Everyone smiles, except for JIM MY. JIMMY steps forward . So how s everything, THOMAS? How are your pets? Everything alright? . TOM has never been a suspicious person, but suddenly the hair stands on his arms . He doesnt trust this friendly banter. TOMMY everything s good, thanks, Jim JIM FLASHES HIS GRIN, REPEATING TOMMY S WORDS So everything s Good. Good. let s talk, shall we? JIM waves THOMAS over to a chair with an elaborate motion. THOMAS sits down. No one else does . JIM I understand this - situation - with the Carelli family has been upsetting to yo u. Is that right? THOMAS MOUTH IS DRY. HE FORCES OUT I feel sorry for them. JIM stares at him, taking in every inch of TOMMY S face. So because of this - compassion you feel - you ve been making threats, is that right, Tommy? THOMAS stares at a spot on the floorboards. He figures UNCLE RICO would tell DAD, but not these guys THOMAS asks blankly, . Threats? . JIMS VOICE HARDENS . Yeah - threats.Like maybe telling somebody what s been going on with this famil y and what we do THOMAS feels a strange kind of relief. At least UNCLE RICO hasnt mentioned anyt hing else Thomas said. THOMAS I had no choice Jim, I wanted it to stop - I had to do something. JIM

What the fuck He grabs both sides of the chair and leans into THOMAS, staring inches away from his face. The other men seem uncomfortable and shift their gazes . JIM And who said you had to do something - who, huh? Who the fuck made you the boss of what goes on? THOMAS eyes fill with tears, almost by reflex JIM CONTINUES TO SHOUT You have no say here, you have no power here. THOMAS nods and closes his eyes. He wants to escape, to go into another world, another time. When he opens his eyes Jim is still there, breathi ng over him, spitting angrily with every word. Suddenly the room seems to explode. But it is only Jim, combusting with his own inner rage and hatred. JIM SCREAMS You dirty ungrateful spoiled sonofabitch! With every word JIM punches him in the face, hard. Then he stops for a moment, panting for breath. JIM You like Daddy s money, though, huh? You like all the perks that go with it. THOMAS face is bleeding, but he cant move, he cant even wipe the blood off. JI M has him by the arms, holding tight. THOMAS SHAKES VIOLENTLY, EVEN HIS HEAD IS SHAKING . TOMMY S V.O . Dear God, please help me. What s happening? This has to be a nightmare. This cant be really happening to me. The voice in his head wouldnt stop. JIM You like secrets, Tom? HE STARES INTO TOMMY’S TERRIFIED WIDE EYES. . JIM PAUSES. well I have one of my own.. My kid. What about my kid? Huh? TOMMY asking weakly Stephen?

His head aches, his face throbs, he tries to think, to focus. JIM SPITS OUT THE WORDS That s right. , Stephen - my son! I know what you ve been doing to my son, you fucking fag . THOMAS SHAKES HIS HEAD FIERCELY. No! I like Stephen JIM I bet you do He grabs TOM by the collar and dragged him up out the chair, throwing him on th e floor. THOMAS CANT think straight . TOMMY S V.O . Damnit, Tom, think, think please What is he talking about?. JIM LEANS OVER TOM AS HE LAYS ON THE FLOOR , Frankie boy walked in on you when my son had no clothes on. . THOMAS suddenly remembers . THOMAS looks at FRANKIE helplessly and FRANKIE LOOKS AWAY. Frankie was there? How? I didn t see him TOMMY S V.O. I promised Stephen I would never tell. I promised.. TOMMY BLURTS OUT Jim, the boy spilled some milk on his pants and - I had to wash them Jim glares at him. You expect me to believe that? THOMAS says as calmly as he can manage . It s the truth - Stephen was afraid you’d get mad at him so he asked me not to tel l JIM hesitates. Then he smirks You re not bright enough to be a good liar, God knows, Tommy. He turns away for a few moments and seems to be thinking. JIMMY

Then he says from behind his back See, now, there s another little problem we have here - your mouth . He looks back at Tom . Your mouth is too big. We have to shut it for you . THOMAS is breathing hard and looking around at each of the men TOMMY’S VO . DAD AND MY UNCLE would never do this to me, would they? He coughs and blood comes out of his mouth. JIM SAYS slowly That ll be the last thing coming out of your mouth, kid, trust me TOM feels his bowels loosen, feels the awful cramps. TOMMY S V.O . Please, please, dear God, don t let this happen. I always keep so clean. I lik e to keep clean. Please God. JIM comes closer . you re disgusting you know that? You make me sick THOMAS BEGINS TO CRY SLOWLY AND SILENTLY. He prays inside, he prays and screams and begs. But nothing comes out of his mo uth. Finally TOMMY says softly, Tell Dad - and Mom - and Uncle Rico - tell everybody I love them. Tell - Tell G ina - he stops. Tell her what? JIM spits this out contemptuously but his eyes are scared. Tell Gina I love her, too Those were THOMAS MARINO S very last words. Chapter 35 ` INT. OF DOMINIC MARINO S LIVING ROOM The darkness seeps into every corner of that room. No light - no glow from a TV set or a lamp. No illuminating ray from the moon - all the blinds and shades ar e drawn. The silence is as deep and black as the darkness.

Then a breath breaks the unnerving unnatural quiet. A long drawn out breath, li ke a sigh or a gasp. It is hard to tell Is it a cry? Then a rustle of movement in the corner. An arm being raised almost in a salute . OR as though someone is reaching out to something. The lamp is switched on. A very dim lamp. And the figure becomes clearer. DO MINIC MARINO sits in an overstuffed blue chair, waiting. Waiting and watching. His mouth trembles just a little, his eyes bloodshot. He rubs them now. Then his voice comes out, with so much effort it seems disembodied, as though it is coming from another corner of the room. DOMINIC Son. Are you here? The window IS open and a curtain flutters. DOMINIC S eyes widen, perhaps with h ope, perhaps with fright and trepidation. Seeing this as a sign, a portent of t hings to come. He raises his arm again as though to touch the curtain and the unseen wind. The n his arm falls back. Why? Why? He whispers. A question, a tiny word that has been asked millions o f times by billions of people all over the world, in circumstances such as these , in times of agony and pain and death and heartache. Does DOMINIC MARINO know that a woman and her family has asked this very same question, in this very same tortured way? So sad, so broken, so defeated. Because of something HE has d one, something he has set into motion. DOES he know? DOES he care? DOMINIC’S V.O. If you had only kept quiet, Tommy. If you had just minded your business He begins to cry. When those who are not familiar with tears begin to cry, it i s often so painful for them that they become furious and resentful, and switch o ver into rage. So it is with DOMINIC He explodes and yells aloud You STUPID motherfucker, you dumb prick. Goddamn you! He bangs his fist down on the arm of the chair . You were my son. We took you into our homes, into our family. Is that the than ks we get? For what, son? Oh God, for what? For those useless pieces of shit? For what? Tell me. I need to know Lucy is sleeping upstairs, thanks to the painkillers and sedatives. It is the o nly way she can sleep at all. An unwitting accomplice in her husband s life, no w she has become one in her son s death. She sees no escape. Only the escape of a sleep numbed by tranquilizers. A long slow mindless death. One which she now embraces rather than fears. PAUL comes home to visit. To ask about his brother. What could they TELL him? Yet another lie, how Tommy has disowned the family and their lifestyle and dis

appeared. Never to return. They even forge letters and postcards in Tommy s na me and handwriting, but PAUL seems dissatisfied and unsure. He demands to see his brother. The lies become more complicated, harder to keep up with. Paul can see it in th eir eyes. THEN HE KNOWS. Soon his own eyes reflect the fear and anger. Yet he too remains silent. All of them unspoken allies in this conspiracy of lies and secrets and death. DOMINIC fought for his son s life. HE did the best he could to hold on. The ra ge he feels at his son s betrayal, the fear of what his son could do to everythi ng they have built over the years - these are bottomless. Yet he held on. He f ought. He remembered the beautiful blonde little boy in the corner, shy and sta mmering. The one he had chosen to take home. DOMINIC You betrayed us son Not a word had been spoken by TOMMY. It never would have been. To Dominic, to the Mob, even the very idea of speaking openly constituted a betrayal of the wor st and highest magnitude. He sees his son s face now right before his eyes - kind and loving and lit with a preternatural glow. He rises up from his chair and shakes his fist. Then he falls back in the chair, breathing hard. HE speaks in a low intense whisper If you had been my own son, if you had been my own flesh and blood, none of this would have happened. You would have felt like me, you would have thought like me. You would have loved me enough to keep your mouth shut. DOMINIC BEGINS to cry again, in futility and defeat . DOMINIC S OLDER BROTHER RICO HAD CALLED THE SHOTS. He had convinced DOM that TO MMY was a threat. Also, he was a PEDOPHILE, wasn t he? According to JIMMY and some of the guys. At least that was the word going around the neighborhood. He y, they even had some bimbo saying the same thing. And he had the nerve to thro w that old shit up to OUR faces? The lying hypocrite. The ungrateful spoiled b astard. That s what happened when you got kids that weren t your own. DOMINIC LET IT HAPPEN. AGGRESSIVE, BELLIGERENT, CONTROLLING DOMINIC MARINO had let his brother take over. Had let Jimmy and the boys take charge. DOMINIC MUMBLED For the good of the family. For all of us, so we won t end up in jail. Why not? Walk away, close your eyes. You lost him years ago, DOMINIC. let him go for good now. Let them put your son in the grave he was always trying so da mn hard to crawl into. Always od ing for one fucking reason or another. Sensele ss, dumb reasons. Now let him die for real, see? For a REAL REASON. A good on e. A damn good unstoppable one. RIGHT? RIGHT? DOM slams the side of his head with his hand.

SHUT UP! SHUT UP!. He looks up. Tommy - are you here? Please talk to me son

The WIND BLOWS THE CURTAIN AND A PAPER FALLS ON THE FLOOR off the night stand. Taking it as a sign, DOMINIC winces and gets up from the chair, stooping to pic k up the paper. He retrieves his eyeglasses from the drawer, and turns on a bri ghter lamp. He begins to read. It is a letter from GINA. She has somehow found his address and written to him. At first DOMINIC lets the letter sit there, refusing to even touch it. She couldn t have known about Tommy. No one outside the circle knew. Besides they had long since moved away. Ironically, right after TOMMY died. But now. DOMINIC stares at the letter for a while, his hands shaking. Then he begins to read. Dear Mr. Marino, I am writing to though what was yself played in was shocked and tell you how sorry I am for what happened on Bennett Street. Al done to us was wrong, terribly wrong, I regret any part that I m the situation. I just never expected any of that to happen. I hurt and angry. You always seemed like nice decent people.

DOMINIC snorts and mutters . Yeah. Is that why you people would always put us down and make fun of my baggy pants and Jackie s walk? A bunch of bullshit. The next part of the letter seems almost like she had heard him, and is answerin g his thoughts.

Mr. Marino, please forgive me for whatever I said or did to cause any hurt or a ngry feelings. I could have handled the situation in so many different ways, so much better than I did - we all could have. He nods to himself. Anyway, God bless you and your family, and your sons. Especially your wonderfu l son Tommy. God bless you all. I hope you know the peace and love of forgiven ess in your life, always. Love Gina DOMINIC mutters again What a crazy, mixed up girl. What a crazy mixed up thing to do. Why did she ev en bother? For his son? That had to be it. She was trying to get to Tommy. Th at s it! Trying to get a letter out of him, right, honey? Well, sweetheart, so rry, but you see, Tommy ain t in a position to be writing you any love letters.

DOMINIC grins but it is an ugly mean expression. Then he stares at the letter again and again. Holding it in his hands. DOM S V.O . She s sorry. SHE s sorry. She blesses us. She asks God to bless us. Was she for real? DOM asks out loud Tommy, is she for real? He laughs . All he could see now is his son s face. And then the girl s. Once she was comin g around the corner and he bumped right into her. She seemed so ashamed, so red faced. DOM S V.O. She was always like that. It wasn t on account of anything we did. She was alw ays a messed up red faced loser. THEN DOM HEARS HIS SON S VOICE IN HIS HEAD What s the purpose, Dad? Why are we doing this? The phrase had struck him over and over in his mind. One of their endless cycli cal arguments that never went anywhere and only fueled their dislike and misunde rstanding towards each other. SUDDENLY DOMINIC FEELS the weight of the world s exhaustion in his bones. He wa ves his hand as though clearing the air around him, and says. It s over now. It s over. Forget about it. You hear me? IT S OVER NOW. He yells that last phrase. DOMINIC S V.O. It s over and done with. The girl, i can push her so far out of my mind and be done with it and never look back, believe me. No problem-o, like Tommy used to say. But my son? What happened to my son - how could I ever forget that? He did not know the details nor did he ever want to know. No one ever told him. One day Tommy was here, the next day he was gone. Isn t that the way it alway s is, for all of us? The circumstances may change, but the song remains the sam e. LUCY MOVES AND YELLS in her sleep. She shouts at an invisible assailant. Stop. Just stop. Get outta here. But the ASSAILANT NEVER DOES LEAVE.. This would happen every night and always wo uld happen until Lucy draws her very last breath.

DOMINIC climbs the stairs to join LUCY in bed. She needs him. And She is all h e has left. PAUL has long since gone. He lays down next to LUCY and covers himself up to his neck. He doesnt realize he is still clutching the letter. He looks at it and puts it on the dresser tab le. Then he turns to face the wall and watch the shadows of the night play on its su rface He hopes he will not dream of the girl again tonight. He hopes he will not find himself back in that land that haunts our sleep, staring once again into his so n s pain filled eyes.

EPILOGUE Chapter 1 GINA is in the laundry room of the apartment building her family has recently mo ved into. The BASEMENT smells of detergent and bleach and a concrete musty odor . Clothes are gently swishing in the washing machine, sudsy and warm. GINA pla ces her hands on a warm dryer that someone has recently used and emptied. The w armth feels good on her hands. Her hands are always cold. SUDDENLY she sees movement from the corner of her eyes. She turns quickly. IS TOMMY. Standing in the doorway. No sunshine penetrated the dreary room, he seems to be standing as though he were back lit by some glow. She even s the BLONDE OF HIS LASHES AND EYEBROWS,, the FAIR COMPLEXION with traces of ks like freckles, only pink. She blinks for just a second. Then he is gone. Her heart racing, her head feeling light, Gina runs to the doorway and looks dow n the hall. There is no one. No exit door is nearby, no apartments. SHE CALLS SOFTLY , IT yet see mar

Tommy? then in a louder tone . Tommy? Where did you go? What are you doing here? Reluctant to finish the clothes, her mind races with excited anticipation. He a ctually came to see her! He liked her. He wanted to tell her something. She g rins. Then her heart sinks. She asks herself , But how did he leave so fast? That doesn t make any sense. Tommy, are you Houdi ni or something? this is so weird She hurriedly puts the clothes in the dryer, eager to go upstairs and tell her m om and sister what she saw. They dont believe her . CUT TO : INT. OF NEW CARELLI APARTMENT GINA ARGUES, SHE INSISTS, SHE SWEARS. HER MOTHER REMAINS ADAMANT AND FULL OF PR ACTICAL REASONS WHY IT JUST ISN T POSSIBLE AND TERRY IS SIMPLY ANNOYED TERRY. I know what I saw. It was him. GINA feels her anger rise. Since BENNETT STREET, she vows never to get angry aga in or make flip remarks. She knows what it has cost her, what it has cost ALL O F THEM. TERRY Gina, why would he do that? Tell me. Why would he even bother to come and see you, of all people? Any of us? GINA I dont know - maybe he wants to see how we’re doing, apologize for his family, Jes us, Terry, I dont know, but I know I saw him TERRY THROWS UP HER HANDS Right. And pigs fly special missions to save the world. GINA GIVES HER A DISMISSIVE LOOK AND TURNS AWAY Terry, please -He WAS there TERRY says angrily Then where did he go? You said yourself you didn t even see him leave. Now how can that be, Gina? GINA S VOICE ROSE AS WELL

I DON T KNOW! She wishes she had never mentioned that part. g. GINA Maybe he s just quick, or he knows a special way to get out TERRY MAKES AN EXASPERATED NOISE AND SAYS Ma, I m going to go take a walk, I can t take this. I gotta clear my head. TERRY GIVES GINA A NASTY GLANCE AND WALKS OUT Ever since BENNETT STREET TERRY has changed. She is angrier, harder. GINA kno ws TERRY resents her even more. Everything about GINA seems to bother her siste r now. GINA thinks that in a way TERRY blames her for what happened. GINA S ow n sense of guilt causes her to see accusations everywhere. GINA TURNS TO HER MOTHER Ma, do you believe me? MRS. CARELLI Gina, I don t know. I wasn t there. Seriously, I doubt Thomas Marino would do that. Not with that father of his calling the shots. They hate us, Gina . MRS. CARELLI says this last remark as gently as she can Look at what they did. We had to move here, practically out of town. Thank God Pat found a job close by. MARIA knows how her daughter feels about TOMMY. She knows the dream world her daughter spends her days in, and she tries her be st to discourage this. . But GINA knows the truth. This is no dream. She sees the way he has looked at her and smiled. MARIA TOUCHES GINA S SHOULDER Help me get dinner ready, okay? GINA SHRUGS Okay. They have seemed to go on with their lives, but Gina is standing still. IT soun ds crazy, but it is almost like she still lives there on BENNETT STREET. Still waiting for things to change, still waiting for things to get better. She could not move on. She goes to many psychics now, on a search for answers, trying to prove or dispr ove the powerful intuition that whispers to her, sometimes shouting. She should have made up somethin

GINA always comes back from these sessions and readings depressed and confused. Each psychic tells her different things. Not one of them sees what she knows i s the single most important, life-altering event that she has ever gone through. How good could they possibly be? She begins to have vivid dreams, a feeling of someone leaning over her, trying t o kiss and touch her. She awakens with the feeling of having been lightly strok ed on her head and cheek. She has only had this sensation one other time, when her beloved grandfather die d, when she was 12. She had felt his kiss on her cheek when she woke up, and sm elled the faint smoke of his cigar. GINA speaks of these things to no one. She is considered a dreamer, a flake, wi th an overactive imagination. Who would believe her?

INT. OF GINA S LIVING ROOM GINA sits in her living room, listening to her portable stereo. Music remains h er constant companion, her greatest pleasure - besides food. Her biggest thing lately is angels. GINA has always believed in celestial creat ures, and she was very religious even as a young child. She knows that somethin g has helped them all survive through these times, and something helps her stay alive even when she wishes to die . GINA speaks aloud softly, closing her eyes . Angels, if you can hear me, please help me. Her thoughts flutter like moths against a screen, trying to get through. The sc reen is her fear, her doubt, her embarrassment. Angels, please explain to me - when I saw Tommy that day - was that really him? Was he there? Does he care for me? She swallows hard, rushing to finish what her mind is telling her to say. Was he there to say something? If he does, then please GINA HESITATES, shaking her head, feeling foolish. Then she continues, uh - do this for me. Make a song come on the radio, right now, in a few seconds or minutes. GINA HESITATES again, they she says How about the song Foolish Heart ? That s one of my favorites. She smiles That s the song I was listening to by my window when I heard Tommy outside. Th at s when I first knew I liked him and maybe he felt the same, like a strange co nnection you couldnt understand but it was always there. So please, angels ple ase

she presses her folded hands to her lips and sighs deeply can you please have this song come on the radio IF THIS IS TRUE? She opens her eyes and goes into the kitchen to get a soda. Just as she is taki ng out the can, Gina hears the opening strains of her song. The song she has requested from the angels! She lets out a cry and her eyes fill with tears. She makes the sign of the cros s, and whispers, He showed up to see ME? After all that happened? He still cares about us? Then, Thank you, angels. Who would believe her? The secret in Gina s heart carries her through a lonely life, days and weeks and months going by, still the same on the surface, but underneath, like an ocean o f marine life, teeming with odd and colorful and mysterious creatures of magnifi cent beauty. This is her life now, and her mind. The beauty mesmerizes her. T he real world seems so dull and dead, but her own inner world - populated with angels and dreams and si gns - is the most alive thing she has ever known. She sleeps now, peacefully, for hours on end, sometimes straight through the nig ht. Something she couldn t do before. Sometimes, though, her dreams would startle her awake - like one dream she had o f TOMMY being chased down BENNETT STREET by a PACK OF WOLVES with blood on their mouths. The dreams that help her sleep the best ARE the dreams of TOMMY telling her thin gs. FADE TO: DREAM SEQUENCE - INT. GINA S BEDROOM TOMMY IS at a farm - a gorgeous RED AND WHITE FARM with acres and acres of land, DOTTED WITH YELLOW AND BLUE FLOWERS. There ARE HORSES IN THE FIELD AND COWS AN D EVEN PIGS AND SHEEP . She sees 2 DOGS - A GOLDEN RETRIEVER AND A BLACK LAB - and a couple of cats a GINGER CAT AND A BLACK AND WHITE CAT TOMMY COMES OUT OF THE FARMHOUSE AND WAVES TO HER.

GINA walks over to him. The ground feels like air, like she is walking on nothi ng, it is so soft and light. She reaches him. Again, she can see the details of his face - the blonde almost invisible brows and lashes, the fair skin dotted with light pink. He is beauti ful. His face shines. And then she notices - he has all his hair! Golden silk y blonde hair. She puts a hand to her mouth and giggles. TOMMY puts a hand to the top of his head as though he reads her mind. He grins.

Oh, that! I wanted to look good for you . GINA You always looked good Tommy, hair or no hair . She feels like she can do or say anything here, not like in real life. She sens es rather than sees, that her appearance has changed too. Her hair is thick and long and curly, just like she always wanted it. She touches it and feels the b eautiful texture. She looks like a princess. She can see it in TOMMY S eyes. Again he reads her mind. Gina, you always looked like a princess to me. Now you look the way I always sa w you. She begins to cry. He takes a step toward her, but for some reason he can not c ome any closer. Gina seems to remember something, vague and disturbing, but she cant bring it to the surface of her mind yet. TOMMY turns serious. GINA, tell your dad to be careful . GINA Why? TOMMY His heart . GINA His heart s fine, Tommy. He just had a check-up TOMMY There s something wrong. He s going to have a problem soon. Tell him to go bac k to the doctor. Ask for more tests GINA He doesn t have any chest pains . TOMMY GENTLY INSISTS he s sick. He holds it all in. Tell him to go back. Soon. GINA NODS, HER EYES WIDE. I will . Thank you, Tommy . TOMMY I love you guys. I wouldn t want anything to happen to you. I never did. That s why he stops and gives her a sad smile. He sweeps his arms around to encompass the surrounding land.

GINA That s why you re on this farm? You moved away SOMEWHERE, Tommy? TOMMY stares at her, one of his penetrating gazes that reaches deep inside and m akes her tremble and feel like fainting. You could say that He reaches down and picks some flowers. Remember me? It is almost like he is pleading. GINA Of course I will. How could I ever forget you? GINA tries to control the direction of the dream. She finds she could not. Usu ally, in dreams you can determine where you will go and what will happen. She c ould not do this and it puzzles her. But it s MY dream, she remembers thinking. TOMMY ANSWERS HER MIND GENTLY This is more than a dream, Gina. I ll be back. Everything shimmers as though in a hazy afternoon sun. Tommy places the flowers in her hand. The shimmer becomes more and more intense, like a blinding light. Gina wakes up. Tears are streaming down her face.

Chapter 3 INT. OF CARELLI HOME GINA tries to tell her dad. She begs him, she bribes him, she offers to go with him. PAT CARELLI refuses to budge. He feels fine and he will not go back to t he doctor. CUT TO: EXT. AT MARKET PLACE

Today is market day. PASQUALE still works down the market, selling sausages wit h peppers and mushrooms and onions. SATURDAYS are their busiest days and PAT h as to help out some of the guys selling fish as well. GINA has even told her dad that the dream s warning was from PAPA, her late gran dfather from her mother s side.. Her father had loved grandpa, as though he was his own father, and he and PAT got along wonderfully. PAT had lost his own dad at an early age, and PAPA more than made up for this with plenty of quiet affec tion. Still he would not listen. PASQUALE is nothing if not fatalistic. That night, MARIA AND GINA sit watching the LOVE BOAT and eating chips. TERRY i s off on another date with someone she meets through a friend at work. The phone rings, harsh and loud and insistent. GINA looks at MARIA in surprise. Who would be calling them, especially at 8:00 at night on a Saturday? GINA GOES TO THE PHONE, saying over her shoulder, Maybe it s Terry, she ll be late. GINA picks up phone Hello? GINA listens staring at the wall . Sure. Sure. Okay. Thank you. She quickly hangs up and runs over to her mother . Ma, don t worry. Don t panic. What is it? MRS. CARELLI sits up Daddy was taken to the emergency ward. He started to get chest pains down the m arket. He s still at the hospital with one of the guys. MRS. CARELLI SPRINGS INTO ACTION Oh Jesus Christ . She hurries to get dressed, and tells Gina to get dressed and come with her . We ll take a cab, Gina, hurry up, let s go see Dad. Cut to. Int. hospital ward MR. CARELLI turns out to be fine. He has suffered a mild heart attack.. He nee ds to be on medication, and there has been some damage to his heart, but nothing significant. GINA asks her father s woman doctor , Doctor, could this have been detected if my dad had more tests before? The DOCTOR seems to hesitate, as though reluctant to admit to any kind of error or miscalculation.

Finally she says Well, we do have a certain cardiac test that may have foreseen this event. BUT we just didn t see any reason for it. GINA goes over to her dad. See? I told you to go get more tests . PAT SMILES It turned out okay, Gina. I m still breathing . GINA Thank God . GINA knows she can not rest until she finds out what has happened to TOMMY. Wha t is the meaning of her dreams? If TOMMY was no longer alive, how could she fin d this out in a way that was safe for her? PAT becomes a reluctant investigator for his DAUGHTER GINA.. He knows many guys from the neighborhood who labor down the market on weekends. Everyone likes PA T and they often confide in him, knowing that he is a quiet man who will never b etray a confidence. One night PAT comes back with some news for an eager GINA. Apparently TOMMY MAR INO has gone to live in ARIZONA. He is never a healthy boy, and the climate and air there is considered best for him. Then the next week, PAT hears another story. And another. And then another. T he most popular version going around, and the most likely one, is that TOMMY has simply moved to get away from his family and their Mob life. He has cut all ti es and just sends them postcards once in a while. GINA doesn t believe any of them. All she believes in are her dreams, and the T ommy that waits for her there. She is an intelligent girl, but somehow her mind blocks out the possibility, the supernatural explanation, for her vivid dreams and uncannily accurate messages. GINA has a way of dealing with the world and the truth in her own unique way. Refusing to face one thing, unable to face the other, she lives in an alte rnate world, neither here nor there, and it is in this world that she functions most comfortably. She HAS seen TOMMY. He HAS been in her dreams, and he is right about her dad. B ut if she fully accepts this fact, if she fully accepts what her mind is trying to show her, then the nightmare hasn t ended for GINA. There are more lies, lie s upon lies, secrets that never end, a sinister web that has also engulfed Tommy and taken him away. A web that includes his own family. He is here. With her. That s all Gina knows and that is all that she can safel y accept.

Chapter 5 5 YEARS LATER - INT. OF A NEW APARTMENT BUILDING One day, on a clear September morning, as she returns home from errands , GINA c atches sight of a man in her building. She thinks he looks familiar, but she wi ll never think of asking or being nosy. He keeps staring at her, and staring, u ntil finally she says politely, Hello. MARK (holding out his hand awkwardly) Hi, my name is Mark GINA clasps it with a gentle firmness. My name s GINA They smile at one another and she adds , You look so familiar . MARK So do you. The elevator comes and they get in it in silence. MARK, asking finally Do you live here? . GINA Yes, I do, with my parents . MARK I live here too. I m on the 9th floor . MARK gets off first and turns to her shyly and waves a little goodbye . See you around GINA tries to think where she has seen him. MARK and she become friendly, saying hello and making conversation whenever they see each other. One day he asks her to take a walk with him through the park. She hesitates, and then answers

Sure why not? It is a bright cold day, almost winter, but lots of people are around, it is noo n-time, and she has lost her fear of going out by herself, forcing herself to re cover slowly, step by painful step. As they walk through the park, they speak of the weather, sports (which Gina kno ws nothing about) TV and music. Then suddenly after a long silence, MARK says softly I was there on BENNETT STREET, GINA.. I worked for the MARINOS. GINA stiffens, but does not stop walking. She looks at him and nods. Never one to show her feelings easily anymore or in the right way, she has had to learn h ow to loosen up and let all her emotions out on her face, in her body, in her vo ice. GINA, smiling It s okay, Mark. That s all in the past . MARK No, GINA, let me finish. I worked for them, and I did things for them, but I fe el so sorry. I became a dope addict, then they tossed me aside like so much ga rbage. I was sick, had no money, had to go on SSI. Then I ended up here. GINA feels butterflies in her stomach. THOMAS, what about THOMAS? She feels so rry for Mark, but her focus was and is Thomas and his fate. Whatever happened to him? She needs desperately to know the truth, but she trie s always to remain cool. MARK I just want to say I m sorry for everything . GINA, giving him a kind look and her coolness melting It wasnt your fault. Im okay now, my family’s okay, we’re doing good. Slowly as they walk she asks the one question that has always been on her mind s ince she left, MARK, whatever happened to Dominic s son, Thomas? Do you remember him? MARK, remaining silent, staring at the ground. i heard he moved to California, to Hawaii, all kinds of stories. GINA presses on, ever so gently. MARK looks up at her, and there are tears in his eyes . Please don t repeat this to anyone, Gina, please. Promise, ok? I m not suppose d to be telling anyone. GINA feels scared and nervous. She nods quickly I promise.

MARK points to a nearby bench and they sit down. He faces her and says i think they killed him, Gina . GINA feels like she has been hit over the head. She feels sick, dizzy, disorien ted . Who did? MARK REPEATS IMPATIENTLY The guys, you know, the guys ,. GINA asks, almost crying Why? . MARK I don t know, I guess - he said the wrong thing, he did the wrong thing, I heard he was going to go up against his family. Made some kind of threats. Everything seems so bright, so clear in the afternoon sun. GINA finds herself l ooking up at the sky. She looks back at MARK, Do you know why he would do something like that? MARK stares at her sadly, and then she knows. She knows all of it. Nothing mor e has to be said. He reaches over and gently grabs her hand and squeezes it, an d she lets the tears wash away all her pain.

Chapter 6 MARK knocks on GINA S door one day.. Her mother IS downstairs with the ladies in the community room, socializing and trading gossip with easy warm affection. This is MRS. CARELLI S only recreation as she gets older and develops leg proble ms. She can no longer be as active as she once was. Neither could MR. CARELLI, as his heart problems slowly worsen. But GINA stays with them and helps them f rom day to day. GINA rushes to answer the knock on the door. She quickly opens it and sees MARK . She blushes . GINA Oh hi MARK Hi Gina. I m not bothering you, am I? GINA No, I d let you in but the house is a mess . MARK I don t want to come in. Can you - come upstairs with me for a while? I have s omething to get you. It s in my apartment. MARK hesitates . Do you mind? IT will only take a minute . GINA Sure. Just let me go get my keys . GINA runs back inside to get her set of keys on the table and also her WHITE SWE ATER that she always wears. GINA closes the door behind her .. She gives him a quick look and smiles. He smiles back. They walk to the elevat

or and MARK presses the up button. The elevator comes quickly and takes them to the 9th floor. GINA follows MARK d own the hall and stands in front of his apartment door. GINA You want me to wait out here, MARK? MARK You can come in, I don t mind. MARK unlocks the door and ushers GINA in. She walks into the hallway and quickl y looks around. It is a nice neat apartment. GINA sees a pile of boxes piled u p in the living room next to the entertainment center and under the window. MARK This is nice, Mark MARK, bending over and rifling through some boxes . Thanks He stands up . Here we go . MARK comes over to GINA with what seems to be a CHINA DOLL.. This is - are you sure you don t want to sit down, GINA? Maybe we should. Just for a minute. Something in the tone of MARKS voice causes GINA to nod her head and pull up a chair at his living room table. He shows her the doll. IT is breathtaking. LONG BROWN SHINY HAIR, LARGE BROWN EYES WITH LONG LASHES, AND PINK BLUSH ON ITS PORCELAIN FACE.. AND WEARING A PUR PLE LACE DRESS. MARK Uh - you remember FRANKIE? From BENNETT STREET, right, GINA? GINA nods and tries to avoid making a face. She remembers FRANKIE as a brazen t rouble maker, and somehow she knows he has been involved in everything her famil y went through years ago. MARK Tommy - Tommy, you know - he disappeared. After this happened,

MARK swallows hard, sniffling and rubbing his nose , FRANKIE gave me this doll. He told me the story behind it, but I forgot. I was always so high in those days, we all were. It was like - what day was it, man, you know? GINA SMILES.

MARK Well, anyway, I held onto this all these years. And then when I came to live he re and I saw you, I suddenly remembered. He stares at GINA and then at the doll, fingering its lace dress . MARK: This, Tommy had bought this - as a present. For you, Gina. He had wanted to gi ve it to you someday, to get up the nerve to approach you and give you this doll , but he never did. Somehow Frankie found out - you know how Frankie was, good old Frank was always into everything. After Tommy died, Frankie kept hold of it , but then he gave it to me. Said it gave him the creeps. I think you should h ave it now, Gina. GINA S eyes burn with tears and her throat aches from the effort of trying not to cry. Not again. No more tears She holds the doll gently in her hands . Then she remembers. It fills her mind the way the sun bursts out from behind a passing cloud and fil ls the day with sudden light. Her dream. CUT TO FLASHBACK OF GINA S DREAM TOMMY has been sitting with her on a park bench by the water, with the waves gen tly lapping on the rocks beneath them. The sun is shimmering on the water like a thousand diamonds. TOMMY turns to her with a beautiful smile It s coming, GINA! For you. I have a present for you . GINA : Where is it? Can I see it? TOMMY, whispering as he holds GINA S hand Soon. You can see it soon, it s coming. The time isn t right yet. l see it soon. THEN GINA WAKES UP AND THE DREAM IS GONE. FADE TO : INT. OF MARK S LIVING ROOM AGAIN GINA hears MARK as she slowly comes back to him and to the room and the table wh ere she sits cradling the doll in her arms. MARK Are you okay, Gina? GINA But you l

I m alright. I was just thinking . MARK, asking sadly About Tommy? GINA feels again a sense of isolation and wonder. How could she tell Mark about this? How could she ever explain? She likes MARK. She sees his goodness. B ut she knows she would never tell him about this. This makes her sad both for M ARK and for herself, as though she is keeping a treasure from him and denying no t only MARK the right to share in it, but herself the freedom to give it.. GINA whispers He was wonderful MARK: Yeah, you re right, he was a good kid. I had tried to give you this once before you know, Gina. GINA You did? MARK Once you were visiting the old neighborhood, I guess you were buying some pastri es or something. And I called out your name, but you kept walking. Like you w ere deaf He grins. GINA, grinning too Selective deafness. I only hear what I think it s safe for me to hear. MARK NO, I understand. MARK stands up and goes to a calender on the wall.. GINA, look at this! Today s the day, I guess. Strange, huh? GINA stands too, cradling the doll in her arms What s that?. MARK The date today. It s the same day Tommy - it ll be 5 years ago today. GINA holds the doll so tightly she thinks she will break it. She kisses the dol l and strokes its hair. . TOMMY S V.O. FROM HER DREAM The time isn t right yet, Gina. You ll get my present when the time is right. When?

The words echo in her brain. She got TOMMY S present just when he wanted her to get it . TOMMY S VOICE AGAIN Remember me, Gina? Will you remember me? Tommy. How could I ever forget? Chapter 7 She dreams of THOMAS again, after MARK tells her what happens. In her dream, he is gesturing to her, telling her to come with him. She follows, and there he l eads her to a beautiful MEADOW OF BLUE CORNFLOWERS AND BUTTERFLIES FLYING OVER T HEM. THOMAS tells her Blue flowers mean remember me always, Gina. And butterflies mean eternal life. Then the dream ends. GINA goes out the next day and buys as many bunches of blue flowers as she can f ind, and buys a butterfly pin to wear over her heart. One day is pretty much like any other for GINA, and as the years pass, she feels old and tired. Her parents become sick and GINA stays home once again, now for good, to be their caregiver. She loves to think of THOMAS as her spirit presen ce, her silent partner, who gives her strength to carry on. She never finds anyone to love, and she remains alone for the rest of her life. But she is never really alone, for thoughts of THOMAS comfort and sus tain her even in the worst of times. MARK remains her good friend, and she watches him get stronger, then one day he is back on drugs, and is taken away by ambulance, never to return. GINA S hair is graying, her face lined, but inside Gina still feels like a pret ty young girl, an ingenue, just starting out in life, bashful and coy. She has faced the loss of her parents with surprising grace and strength, she never tho ught she could go on without them, especially her beloved mother, but she knows it is THOMAS, always THOMAS, who helps her get through. One ied V. oes night, after both her parents are long gone, and her sister THERESA has marr and moved away, GINA makes herself a cup of coffee and sits down to watch T She feels so tired today, so old. She leaves the coffee on the table and g to lie down for just a few minutes.

GINA, sighing as she lies on the bed Thomas, kid, it s tough getting old. But then you wouldn t know anything about that would you? She smiles and looks at the picture she has drawn of him. Strangely enough, she could never draw or even remember Thomas s face until one day she prays to the ANGELS AND BLESSED MOTHER to help her with his portrait. Within minutes, she ha s drawn an amazing likeness. She keeps it in a frame by her bed, always.

She closes her eyes, and lays back on the pillow. I m so tired, Tommy, so tired Someday she knows she would see THOMAS again, in another place, another time, an d this knowledge gives her courage, a secret happiness that had always eluded he r before. Blue flowers and butterflies, right, Thomas? She smiles as she drifts off to sl eep. Blue flowers mean remember, and butterflies mean eternal life. In her drea ms he is there, waiting for her, holding out a bunch of blue flowers, and coming to life once again in her heart.

THE END IS ONLY THE BEGINNING - REMEMBER

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