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FOUR CORNERS
Screenplay and Story by
Jack Stone
FADE IN:
INT. SAUL'S BAKERY AND DELICATESSEN - DAY
MRS. KAUFMAN, an elderly gray haired, Jewish woman and
survivor of the holocaust stands behind a cash register.
She's ringing up an order for an INDIAN WOMAN and her young
DAUGHTER. They're dressed in bright and traditional clothing
with beautiful long black hair, which is tied together with
braids and ribbons.
Mrs. Kaufman hands the woman a bag of baked goods, takes a
few singles from the woman and gives her back some change.
MRS. KAUFMAN
You have such a beautiful daughter.
The Indian woman speaks with a strong accent.
INDIAN WOMAN
Thank you.
MRS. KAUFMAN
It's a shame that they grow so quickly.
(talking more to herself than
to the woman)
I wish they would stay young forever.
This would solve so many of our problems.
(to the woman)
May I give to her a little something?
The Indian woman smiles.
MRS. KAUFMAN (CONT'D)
(to the child)
I think I know what you would like?
Mrs. Kaufman reaches into the display case and pulls up a
delightful little treat. She attempts to give the little
girl the cookie.
MRS. KAUFMAN (CONT'D)
This is for you. Just for being such a
beautiful child.
The child responds as most shy children do when a stranger
showers them with attention. She sinks close to her mother.
MRS. KAUFMAN (CONT'D)
It's OK. Take it!
The Indian woman speaks to the child in her native dialect.
INDIAN WOMAN
(gesturing)
Take it. And thank the nice lady.
The child timidly takes the cookie.
CHILD
Thank you.
SAUL KAUFMAN, an elderly man walks almost unnoticed from the
back of the bakery. He takes off his apron, places it on a
coat rack and walks past Mrs. Kaufman toward the entrance of
the shop.
Mrs. Kaufman shouts toward Saul, who was also a holocaust
victim, a survivor of the notorious Auschwitz death camp.
MRS. KAUFMAN
Hey, Saul! Where you go now?
SAUL (V.O.)
I'm running away.
MRS. KAUFMAN
(waving if off)
Aaahhh.
SAUL (V.O.)
What do you want? I'm going to the same
place I go at this time of day everyday.
And for years you ask of me the same
question everyday. Hey, Saul! Where you
go now?
The numerous doorbells chime and clang as the bakery door
swings open.
EXT. SOUTH BROADWAY AND 8TH STREET - DAY
Saul exits the bakery and delicatessen into the noisy street,
which is filled with pedestrians.
He walks slowly as any aging man might. A group of YOUNG
PUNKS bump him as they hurry past him going in the opposite
direction.
PUNK I (V.O.)
Hey, watch it old-timer.
PUNK II (V.O.)
It's getting where it ain't safe for a
juvenile delinquent to walk the streets
anymore.
Saul continues along passing Mrs. Gonzalez' Flower Shop.
ROBERTA GONZALEZ, an attractive Latino woman about 38, is
busy with a black MALE customer. He's handsomely dressed in
a fashionable gray suit and purchasing a dozen long stem red
roses. She greets Saul as he passes with her charming and
full of life energy.
ROBERTA
Hello Mr. Kaufman!
SAUL
Good morning Mrs. Gonzalez!
He continues on.
ROBERTA
The bread, it smells wonderful today.
SAUL
You like bread do you? You can come to
my kitchen and cook all the bread you
want. I'm sick from the heat of the
ovens.
Saul passes the immaculate Vietnamese owned, opened air
market. (The market is typical of the markets on every
street corner in the village area of New York City.)
MR. NGUYEN, is straightening vegetables into perfect stacks
while his wife, the tiny MRS. NGUYEN, is sweeping the street
of the endless stream of debris.
A slow passing automobile is trapped in the traffic
congestion. The DRIVER lays on his horn, which BARKS out at
a YOUNG GIRL who is playing too close to the busy street.
Mrs. Nguyen warns her daughter speaking in Vietnamese:
MRS. NGUYEN
Come away from the street. Do you wish
to get hit by the cars? How many times
must you be told?
She whacks the child with the broom and snatches her up. The
child does not appreciate this. Stubbornly she runs back to
playing too close to the street. Mrs. Nguyen continues her
harangue toward the child.
MRS. NGUYEN (CONT'D)
It is a good child that obeys her mother.
Are you not a good child? Yes? No?
Saul lights a cigar and walks on.
The voice of an elderly black man WILLY JAMES, is heard as he
passionately begins to recite one of his poems, which he
calls, Gothic Squeeze. Willy's voice reveals a man that is
full of spirit, articulate, and driven by his artistic prose.
WILLY (V.O.)
Men in gray suits and hats. Wandering
cautiously. Pitter pat.
Saul walks toward a signal at the corner of Broadway and 8th
St.
WILLY (V.O.) (CONT'D)
A Cathedrals distance to set the mood. A
criminal's past to keep you unglued.
The traffic signal flashes red. It warns pedestrians, DON'T
WALK!
Saul waits. The crowd of people clear the street.
WILLY (V.O.) (CONT'D)
No stars tonight. New orders to levy. A
decision firm from a hand that's heavy.
The traffic signal changes. Cars proceed in a seeming
endless procession.
WILLY (V.O.) (CONT'D)
A tilted rim conceals a scowling brow.
Machines churning industrial. No noise
aloud.
The light changes to yellow. A COP CAR whizzes past.
WILLY (V.O.) (CONT'D)
The flat foot pounds his pavements beat.
Back alleys. Bustling footsteps. The
rustling of feet.
The cop's siren begins to WAIL in the distance. The light
changes to green. Pedestrians flow once again across the
busy street to their appointed destination.
WILLY (V.O.) (CONT'D)
Meanwhile in some distant dark place. A
stake out. A heist. A high speed chase.
Saul makes it to the other side of the street.
He looks up toward the faded paint that is peeling and
blistering from years in the hot California sun. The sign
reads: Newspapers From Around The Globe.
WILLY (V.O.) (CONT'D)
What else could be expected from a mind
this infected.
Saul passes the rows of magazines and newspapers on the
exterior sidewalk display. He walks toward the entrance of
the newsstand. He stops and looks at the "For Sale" sign in
the window.
WILLY (V.O.) (CONT'D)
News flash from the press pages. From
the darkest of ages. Navy blue tweed.
Saul opens the door and Willy is passionately animating and
reciting his poem to FRANK RUIZZO, a middle aged Italian, New
York transplant who owns the dilapidating newsstand
Willy's not much to look at, cheeks pocked and drawn. He's
tall, lean, tired and worn. But his eyes are filled with
passion and fire.
Frank puffs away on a cigarette and is held completely
captive from Willy's mannerisms as he continues to recite
with fervor.
Saul enters.
INT. NEWSSTAND - CONTINUOUS
Willy acts out every move of his poem.
WILLY
Crime, violence and greed. Children of
all ages at the newsstand they do read.
About the underworld connection. Of the
Gothic squeeze.
Saul, minding his own business begins to browse the
magazines.
Frank seriously gives the poem some thought.
Willie's mannerism changes drastically as the poem comes to
an end.
FRANK
What'cha tag on that one?
Although Willy is articulate as he recites his poems from
memory, he immediately begins to nervously stutter when he's
in any daily conversation.
WILLY
(stuttering)
Gothic Squeeze.
Silence for a moment.
Frank blows out his cigarette smoke. He's thinking deeply
about what he's just heard.
Frank puts out his cigarette and looks hard at Willy. He
smiles and claps his hands together. Willy sheepishly grins
from ear to ear as he lowers his eyes.
FRANK
I'm impressed. That's the best one to
date. Honest to God. The best.
WILLY
(nervously laughing)
You say that every time I recite you one
of my poems Frank.
FRANK
That's because they keep getting better.
Just like us old timers, we get better
with age.
Frank is amused with his choice of words, but he's in dire
need of a few fashion tips. Saul, not interested in the
conversation is browsing for his paper.
SAUL
Is it in yet?
FRANK
Yes sir, Mr. Kaufman. It's right over
there.
He points to a stack of freshly opened newspapers that are
not yet racked.
WILLY
Do you like it better than the one I told
you yesterday? It's real important for
me to know. You see I'm going to enter
one of those poetry contests.
FRANK
A poetry contest huh?
Willy begins to shake.
WILLY
(excited)
The winner will get his poem in a poetry
book and they won't even charge him to
print it. If I won, why, I could go to
my grave with my head held high. A man's
body may pass on by and by, but you see,
a man's words they could live on forever
and ever. So tell me, which one do you
like better Frank?
FRANK
I'm not sure. I don't remember the one
you told me yesterday.
WILLY
Oh, sure you do. You remember it ?cause
you said I shouldn't go and write a poem
about the great white hope. You said
that white folks don't much care to hear
about a black man writin' poetry 'bout a
white fella who gets whipped in a fight
with a black man.
FRANK
Yeah, I remember now. That one was good.
That one was real good too.
Willy begins to recite his poem, The Great White Hope.
Acting it out as if he was the boxer himself. Again he's
articulate and animate.
WILLY
The arena's filled. Packed in like
sardines. All walks of life on the edge
of their seats. Wide-eyed and amazed.
Blow by blow they do gaze. As the giants
in the ring dance in a maze. No
compromise tonight. Victory is sweet.
Saul finds his paper in Hebrew print. He opens it and gives
it the once over. He walks toward the counter.
WILLY (V.O.) (CONT'D)
Layin' down your opponent in unanimous
defeat. From the sports writer pages who
pounds the print. To the gamblin' man
layin' down a mint. With their ticket
stubs still in their hands. Five'll get
you one on him to win. Managers linin'
your loot in his pockets.
Frank politely gestures to Saul to hold off.
WILLY (CONT'D)
Twelve rounds of blows to your head he'll
be sockin'. Your corners sayin' stick to
the plan. Fist to the head is all you
understand. Referee's hoverin' above you
now. He's shoutin' out numbers and
shoutin' 'em out loud. From the boxer's
glove that laid you down in the eighth.
To a nation stunned watchin' in disgrace.
And as they lead you defeated from the
ring. Amidst the boos and the jeers and
the shoutin' and the cheers. You can
hear them whisper. You can hear them
say. The great white hope. He was the
great white hope. Takin' it to the chin
up against the ropes.
Saul puts the paper on the counter. He has a Nazi
identification number tattooed on his forearm. He begins to
reach in his pocket for some change.
FRANK
(to Willy)
I don't know. I don't know. If you're
asking me... I'd go with the one about
reading newspapers at the newsstand.
After all... I'm a bit partial.
Saul not in a hurry to go back to the hot ovens at the bakery
is always too polite to interrupt.
FRANK (CONT'D)
(he gives it some thought)
But, I'm also a big fight fan. This is a
tough decision. Yeah, if I was you, I'd
go with the newsstand one.
WILLY
I'm not so sure. I gotta give it some
more thought. Cuz, I'd surely like to
win that contest. Yes, sir Frank! I'd
sure like to win that contest.
FRANK
Well, if I was you...
(kidding around)
and I'm glad I'm not. I'd enter them
both. One under your real name and the
other one under an assumed name. That
way you'd be a shoo-in. You couldn't
lose. You'd win hands down.
WILLY
You mean like a pen name?
Frank shrugs as if to say, what's a pen name?
FRANK
If that's what they call it. Yeah.
WILLY
A pen name? I never thought of that.
That certainly is a good idea.
FRANK
Sure, everyone knows that all the great
writers had bogus names.
WILLY
No foolin'?
FRANK
I'm serious as a heart attack. I can't
remember the broads name, but she was a
nun, she wrote using a man's name.
Pissed the Pope off, but she became real
famous.
FRANK (CONT'D)
(to Saul)
What do you think?
SAUL
What?
FRANK
You heard enough of his stuff. Which one
do you like the best?
SAUL
From what do I know about poetry?
(abruptly)
I see that you're serious about selling
your business?
FRANK
Yeah, I wanna get out of this mess. It's
driving me crazy being cooped up around
here all day long. The noise, the
traffic, a fellow needs a change once in
a while.
Saul just shakes his head either in agreement or
contemplation.
FRANK (CONT'D)
Will this be it for you today Mr.
Kaufman, sir?
SAUL
That's all I need. I got to get back to
the business. My wife, she cannot run
the place for five minutes without me.
FRANK
No kidding! They never give it a rest.
Man, they put up a fight till the very
end. Don't they!
SAUL
God forbid I have a heart attack and die
or something, then what will she do?
FRANK
Probably sell the joint and take off to
the Islands with some young stallion.
Saul hands Frank his money. Saul waves off the comment and
exits.
WILLY
(serious)
You're not pulling my leg... I mean...
FRANK
(interrupting)
Look you asked me my opinion. I gave it
to you. I think it's a sure thing. Now
do you mind doing some work around here
for a change?
Willy picks up the broom and begins to push it around.
FRANK (CONT'D)
I mean, we got to get this joint in shape
so I can sell it and get outta this
miserable place.
WILLY
(to himself)
Yes, sir. I think I'll use one of them
pen names. But then, if I use one of
them pen names... and won... it wouldn't
be me winning the contest. Maybe, I
should just enter the contest in my own
name? Yes, that's what I'll do.
Frank picks up a New York newspaper and begins to look it
over.
FRANK
You'd think for once there'd be some good
news...
The sound of SCREECHING TIRES interrupts Frank. A SCREAM and
then crowd noise can be heard coming from the street.
Frank runs to his window.
WILLY
What is it? What's going on?
FRANK
I can't make it out.
Frank steps out of his doorway.
FRANK (CONT'D)
Oh, Christ.
(to Willy)
Call 911 quick!
Frank dashes out the door.
EXT. STREET - CONTINUOUS
Mr. and Mrs. Nguyen's daughter has been hit by a late ?80s
lowered chassis Monte Carlo. People exit businesses and a
crowd gathers around the girl's body.
The occupants of the car are two teenage Latino males. CHINO
(20) sits in the passenger seat. EDDIE is the driver of the
car. These guys are "crime partners" all the way.
Frank runs out onto the street. He pushes past the crowd of
onlookers to assist the dying girl. The crowd continues to
swell.
INT. MONTE CARLO - CONTINUOUS
Eddie and Chino are scared.
CHINO
Let's go home boy. Let's go.
EDDIE
I'm off dude.
Frank and Chino each get a good look at one another.
EXT. STREET - CONTINUOUS
Eddie makes like he's shooting Frank with his hand shaped
like a gun. Frank darts toward the car.
The Monte Carlo peels off. Frank lunges in through the
passenger window and grabs at the wheel of the car.
FRANK
You ain't goin' anywhere ya scumbags.
Frank puts up a good fight as the car lunges forward. He
takes an elbow hard to the jaw and falls hard, rolling to the
street curb.
Frank gets up a little shaken.
FRANK (CONT'D)
Son of a bitch.
As the car speeds off.
FRANK (CONT'D)
(yelling toward the car)
I saw you. I know who you are. You
won't get away with this. Son of a
bitch.
Frank watches the car as it speeds away. It turns a corner
in the distance and disappears from view.
Frank turns back to the girl lying in the street.
EXT. STREET - A LITTLE LATER
The child is dead.
Mrs. Nguyen weeps loudly, falling onto the girls lifeless
body. She clutches her child's lifeless hand.
MRS. NGUYEN
(in Vietnamese)
My child! My dear child.
Mr. Nguyen stands above his wife. He bows his eyes.
Saul stands nearby still clutching his unread newspaper.
SAUL
It's terrible times that we live in.
Terrible times.
He turns away.
DISSOLVE:
EXT. NEWSSTAND - LATE SAME EVENING
The streets are no longer crowded. The transients, homeless
and drug addicts make their beds in doorways for the evening.
A filthy, mumbling, half insane bag lady pushes her grocery
cart past Franks shop as he exits his newsstand with Willy.
They pull down the metal shutter locking up the shop for the
night.
FRANK
I'll see you in the morning alright?
WILLY
What's this world come to Frank?
FRANK
(cynical)
It's always been this way Willy. Don't
you know that by now? Heck, just read
about it in the papers.
Not another word is spoken. Frank heads North and Willy
heads South.
Frank walks past the Vietnamese grocery store and sees that
it's already locked up for the night.
EXT. STREET CORNER - CONTINUOUS
CLOSE-UP OF FRANK.
He is pained by what goes through his mind.
DISSOLVE TO:
INT. JEWISH TEMPLE - DAY
Blurred as if from a memory of long ago, a tiny coffin sits
alone in a Jewish Temple. The sounds of wailing and
lamenting accompany this scene.
EXT. STREET CORNER - SAME NIGHT
Frank shakes the image out of his head. He wipes his
perspiring brow and continues on.
He begins to walk toward Mrs. Gonzalez's flower shop. The
lights are still on. The glass doors are not yet closed. He
stops and looks in. He enters.
FRANK
Excuse me, but I was wondering, the
people that own the market next door. Do
you know them?
ROBERTA
Yes, the Nguyen's, nice people. It's a
very tragic thing to have happen. To
lose your child in that manner.
FRANK
Did they catch those kids who did it? I
mean have you heard anything?
ROBERTA
I'm not sure. I don't think so.
FRANK
I saw those bastards. I'd never forget
their faces in a million years. I could
pick 'em out of a line-up of a thousand
punks.
ROBERTA
Excuse me, but I'm closing up. Is there
anything that I can do for you?
FRANK
I'm sorry. I didn't mean to take up your
time like this. Look...
Frank reaches into his pocket and pulls out a rumpled wad of
small bills. He fumbles for a twenty and places it on the
counter.
FRANK (CONT'D)
Take this and make them a real nice
arrangement. Give it to them when they
get back. You know.
ROBERTA
I have a better idea. When I find out
when the service is held for the child
I'll inform you and you can give them the
flowers yourself.
FRANK
What do you mean? I don't wanna...
ROBERTA
(interrupting)
It's called paying your respects.
FRANK
I'd rather not do that. I mean it was
just a little kid. I seen her playing
outside all the time. I run the
newsstand over there.
He points down the street in the direction of his newsstand.
ROBERTA
(a bit disturbed)
You run the newsstand across from the
market?
FRANK
Yeah, right over there.
ROBERTA
And you've never been in the market?
FRANK
Yeah, I've been in there dozens of times.
Hundreds of times maybe.
ROBERTA
And you never managed to make an
acquaintance with the Nguyen's.
FRANK
Well, I've said my hellos. Hey, what is
this the third degree here or what?
ROBERTA
No... It's just that I find it rather
hard to believe that... Just forget it.
FRANK
No. No. Wait a minute. I've been over
there for years myself and I never seen
you stop in and buy a newspaper or
nothing either you know. Did you ever
come over and make an acquaintance with
me in all these years?
ROBERTA
I'm sorry. You're right.
FRANK
Look, I had a lousy day today. I saw
some kid die before my very eyes and I
had the deal for my place fall through.
Just give them the flowers for me OK?
That's all.
He takes the money from the counter and stuffs it in her
hand.
FRANK (CONT'D)
Thank you very much.
He abruptly turns to leave. He's a bit put off.
ROBERTA
And who should I say the flowers are
from?
He stops not turning to look back.
FRANK
Just tell them an acquaintance.
He exits.
INT. SAUL'S BAKERY - NEXT MORNING
Frank enters the bakery. He greets Saul and his wife.
FRANK
Good morning!
MRS. KAUFMAN
How are you this morning Frank? That
thing that happened yesterday, it was a
horrible tragedy. Just terrible.
As he speaks Frank notices Roberta sitting alone in a booth
and sipping a cup of coffee.
FRANK
Yeah, it was horrible. I think the bums
that would do such a thing should be
executed. Excuse me.
He approaches Roberta.
FRANK (CONT'D)
And a good morning to you to Mrs.
Gonzalez!
Roberta looks up to see Frank.
ROBERTA
Good morning!
FRANK
You mind if I sit down?
He sits down across from her not waiting for her response.
Mrs. Kaufman comes to the table and pours Frank a cup of
coffee.
MRS. KAUFMAN
(to Frank)
What will you have today? Some
breakfast?
FRANK
I don't feel like eating breakfast, but
thanks anyway.
MRS. KAUFMAN
You need to eat breakfast. It's the most
important meal of the day.
FRANK
Just get me the usual.
MRS. KAUFMAN
Pastrami on rye to go.
Mrs. Kaufman shaking her head walks away. Roberta just
stares out the shop window at the traffic as if Frank was not
there.
FRANK
(to Roberta)
Well, you see that I am not completely
unsociable. I am very fond of Mrs.
Kaufman's pastrami.
Roberta sorta laughs.
FRANK (CONT'D)
You don't mind if I wait here for my
sandwich do you? I mean, I'll go away if
you want?
ROBERTA
It's a free country.
FRANK
Look I'm sorry about last night.
ROBERTA
Forget it. It's not your fault anyway.
FRANK
I was wonderin' somethin? Are you a
married woman? If you don't mind me
asking. I mean, I never noticed a man
around the flower shop and after all its
Mrs. Gonzalez's flower shop right?
ROBERTA
You've noticed me before have you?
FRANK
Yeah, all the time. I mean, no not
really, it's just that the sign reads,
Mrs. Gonzalez' Flower Shop, so naturally
I assumed...
ROBERTA
Assumed that I was a married woman? That
I was Mrs. Gonzalez?
FRANK
Yeah. Well... when a lady goes by a name
like Mrs. Gonzalez she's usually attached
to a man coincidentally named Mr.
Gonzalez.
ROBERTA
So you have noticed me before?
FRANK
I've noticed you before a couple of
times... maybe.
ROBERTA
A couple of times?
FRANK
Alright, a few times. A few hundred
times probably.
They both smile a little embarrassed.
ROBERTA
And you never came in to make an
acquaintance?
Frank squirms.
FRANK
So where's your husband?
ROBERTA
I'm not married.
FRANK
Your husband, he must be dead. Geez, I'm
sorry.
ROBERTA
No.
FRANK
No?
ROBERTA
No.
FRANK
Divorced. You left him and then you took
him for all he had?
ROBERTA
No.
FRANK
No? Let's see? You're not a widow...
and you're not divorced? I'm completely
confused. I can't seem to figure this
one out. I'm pretty good at those
newspaper puzzles. I get most of the
questions right. But... I can't figure
this one out. So, are you going to help
me out here or what? You are Mrs.
Gonzalez right?
Roberta shakes her head no.
FRANK (CONT'D)
That is your shop next door right?
ROBERTA
Yes, I do own the shop next door.
FRANK
Mrs. Gonzalez. How'd you come up with a
name like Mrs. Gonzalez anyways?
ROBERTA
It's a long story. I don't want to bore
you with one of my long stories. I
better be going now.
She starts to get up. Not with force, Frank takes her by the
arm and tries to persuade her to stay.
FRANK
Come on, you got plenty of time before
you open the shop. I'm interested.
ROBERTA
You're interested?
FRANK
Yeah, I'm going to start to make a point
in getting to know the people around me
from now on. Scouts honor! And I'm
going to start with a lady that calls
herself Mrs. Gonzalez and runs Mrs.
Gonzalez' Flower Shop but, is not really
a Mrs. Gonzalez after all. So you must
see that I am terribly interested by now.
ROBERTA
It's a little late for that. After all,
your newsstand is up for sale is it not?
FRANK
Yeah. Yeah. But... Come on Mrs.
Gonzalez, tell me about yourself.
ROBERTA
I don't even know your name.
He holds his hand out for her to shake.
FRANK
Frank. I'm called Frank, Mrs. Gonzalez.
ROBERTA
OK, Frank. You know my last name. Do
you do have a last name?
FRANK
Ruizzo. My name is actually Francisco
Michelangelo Alberto Ruizzo. My mother,
she had quite an imagination.
ROBERTA
That is some name Francis.
FRANK
Hey, only my mother...
Frank signs the cross.
FRANK (CONT'D)
God rest her soul calls me Francis.
ROBERTA
Maybe it's time for a change Francis.
Frank grimaces at hearing his name.
FRANK
First you want me to make friends with
everyone on the block and now you want to
change my name. Ahh, you're some broad.
ROBERTA
Broad?
FRANK
It means chick. Dame. Lady. Woman.
Female. Trouble.
ROBERTA
Trouble?
FRANK
Double trouble.
They really look at each other for the first time.
ROBERTA
My name is Roberta.
FRANK
How did you come up with a crazy name
like Mrs. Gonzalez?
Roberta pauses, sips her coffee and then she begins to share
her story.
ROBERTA
I remember when I was a little girl my
father had paid some men his life's
savings to bring us to America. They
made plans to meet at a certain place.
We waited and waited, but they never
came. They had stolen all that my father
had. My father, he may not have been a
very smart man, but he was a proud man.
He decided that we would walk to Los
Angeles, the city of angels if we had to.
He said, our guardian angels would watch
over us on our journey. To come to
America was much more than a dream to
him. It meant prosperity. It meant a
chance at a better life. He wanted his
family to be proud of him.
EXT. CALIFORNIA/MEXICO BORDER - NIGHT
A young Roberta (10) and her family are wading through a
river to reach the American border. Her FATHER, MOTHER and
sister MARIA (5). Several other impoverished PEOPLE are also
attempting to cross over into America.
ROBERTA (V.O.)
So that evening we began our journey. We
walked until the sun began to rise the
next morning, it seemed like an eternity.
EXT. DESERT LAND - EARLY NEXT MORNING
Roberta's family is wandering through the harsh wilderness
terrain somewhere between Tijuana and San Diego. They are
tired but the face of the father shines with hope and
aspiration.
He beckons the family on.
EXT. DESERT LAND - LATER SAME DAY
Tired and worn the family finds comfort in the promises of
Roberta's father.
ROBERTA (V.O.)
My father's words of hope inspired us and
we continued. We walked on and on, but
by noon we were worn out. He said great
things were waiting for us in America as
he picked up my baby sister Maria and
began to carry her.
One of THREE MEN in border patrol uniforms spot the family
through a pair of binoculars. He points out the location of
where the family is to the others.
The border patrol vehicle races toward Roberta's family.
ROBERTA (V.O.) (CONT'D)
Border patrol. I remember there was
three of those men.
EXT. DESERT LAND - CONTINUOUS
Roberta's father sees the vehicle as it approaches. He
begins shouting for them to run as he carries his daughter.
The vehicle approaches, closing in on them.
EXT. DESERT LAND - CONTINUOUS
The border patrol officers exit the vehicle and they corner
the family. Roberta's father begins to struggle with the
men.
They overpower him and relentlessly pummel him as his family
watches, screaming in horror.
ROBERTA (V.O.)
My father put up a valiant fight. They
beat and they kicked him mercilessly.
Then they handcuffed him and threw him to
the ground.
The officers pilfer through Roberta's father's pockets,
finding nothing of value to them they turn toward Roberta's
mother. She picks up her daughter Maria and begins to run.
They easily catch her.
ROBERTA (V.O.) (CONT'D)
My mother she was a very beautiful
woman... She struggled.
The border patrol officers toss the child aside and begin to
tear at Roberta's mothers clothing. The children try to
fight the men off. Roberta's punched in the face by one man.
Maria is knocked unconscious.
Roberta's father screams and struggles with the handcuffs.
He's forced to watch as his wife is brutally raped by these
men.
ROBERTA (V.O.) (CONT'D)
She fought very hard. It was no use.
INT. SAUL'S BAKERY - SAME DAY
Frank sits quietly and listens as Roberta continues.
ROBERTA
The border patrol did not arrest us, they
let us go and we made it to the city of
angels. But my father he never could
find steady work. Sometimes he would go
and work one day, two days for free, just
to show them he would work the hardest.
He spoke very little English. You spoke
English or you did not work. It was that
simple. It was said that even the dogs
understood English.
INT. BROKEN DOWN SHACK - DAY
Roberta's mother sits pregnant in an old rocking chair. She
stares blankly into the distance.
ROBERTA (V.O.)
My mother she became pregnant. My father
knew that the child was not his.
Roberta's broken, drunken and embittered father looks at his
wife in this sad room. In a rage he smashes an empty bottle
against the wall. Roberta's mother does not even flinch at
this.
ROBERTA (V.O.) (CONT'D)
He became violent and disillusioned with
life. By now he was always drunk and
angered easily.
INT. BROKEN DOWN SHACK - DAY
Roberta's mother is assisted by an elderly WOMAN in child
birth. Roberta's mother dies from giving birth to the child.
The CHILD begins to cry. Roberta's father looks toward the
child and in his rage, forcefully takes the child from the
woman, knocking her to the floor.
ROBERTA (V.O.)
My mother gave birth to a baby boy and
she died. My father killed that baby
with his own hands. I watched as he
strangled the very life out of that
child.
A shadow on the wall of Roberta's father strangling the baby
as the elderly women wails.
EXT. BROKEN DOWN SHACK - CONTINUOUS
A police cruiser light spins as Roberta's shackled father is
dragged violently to the police vehicle. He's thrown into
the back seat and the door is closed.
ROBERTA (V.O.)
The police arrested him and we never
heard from him again.
The younger Roberta watches her father's cold and insane
face. They stare at each other until the police car pulls
away.
INT. SAUL'S BAKERY - CONTINUOUS
Frank watches Roberta as she tells of her nightmare.
ROBERTA
Maria took to the profession of
prostitution at an early age. She saw
that it could bring her many things to...
to please a man. As I became older one
of the men that she serviced, forced
himself onto me. I tried to fight him
off, but I could not. So I ran. I ran
into the arms of Umberto Ra?l Castillo
Fernandez.
(to Frank)
And you thought you had a long funny
name.
She smiles sadly. Frank does not.
ROBERTA (CONT'D)
Umberto got a job at an auto parts store.
I got a job sewing in a sweat shop. We
barely made enough money to survive, but
we had self respect. We were to marry as
soon as we could save the money to get a
license. Finally, that day came and we
applied. They said that we were not
American citizens and they called for
immigration. They took us away. The
last thing I wanted was another encounter
with the border police so, while I waited
to be processed I climbed out of a window
and escaped. It was to be our wedding
day. Umberto disappeared out of my life.
They say that he was deported back to
Nicaragua. But I don't know for sure. I
never heard from him again.
Silence.
FRANK
That still doesn't tell me how you became
Mrs. Gonzalez?
ROBERTA
I could no longer afford to pay the rent.
One day returning from working they
changed the locks on the door. The
landlord stole all of my belongings. I
had nowhere to turn. The man that I
worked for, he always had his eyes on me.
The very next day I told him of my grave
situation and he made me a proposition.
He was after all a very rich man. An
unhappily married, miserable, rich man.
I realized that to live like my sister
was the only way for me to survive. But
I only had to be with one man. For this
I counted my blessings daily. I saved
every penny that man gave me. He also
got me my papers to stay in this land of
opportunity. And I stole from him what I
could. Whenever he would fall asleep I
would go into his wallet and take
whatever I wanted. Eventually, I became
pregnant with his child and he wanted
nothing to do with me anymore. But by
then I had saved enough money to open my
flower shop.
FRANK
You have a child? A boy or a girl?
ROBERTA
That is entirely another story Francis.
It's time for me to go.
She gets up this time to leave.
FRANK
Wait. You never told me how you became
Mrs. Gonzalez?
ROBERTA
That has always been my name. Gonzalez,
I just thought that Mrs. Gonzalez sounded
more appealing. And men would just leave
me alone.
She goes to exit and stops at the door.
ROBERTA (CONT'D)
Francis.
FRANK
Yeah?
ROBERTA
Do you know how to dance?
FRANK
Do I know how to dance? You tell me a
story like that and then you ask me... do
you know how to dance?
ROBERTA
Well, do you?
FRANK
I can't remember the last time I danced.
I'd say I was probably the worlds
lousiest dancer.
ROBERTA
Good. I don't like to dance with a man
who can dance better than myself.
Tonight, we will go dancing.
FRANK
Tonight?
ROBERTA
Tonight.
She does a step or two with a Salsa flavor.
ROBERTA (CONT'D)
Salsa! I know a place where la musica en
la comida es magnifico. I will see you
at eight.
Frank sadly smiles at her and she smiles warmly at him. The
doorbells clang as she exits. She waves good-bye through the
bakery window as she walks toward her shop.
He waves back.
FRANK
That is some dame.
INT. NEWSSTAND - LATER SAME DAY
Willy and Frank are opening bundles of newspapers and
stacking them onto the racks.
The phone rings. Frank answers it.
FRANK
Newsstand. Oh, hello Roberta. Yeah. Um
hmm.
He writes something down on a piece of paper.
FRANK (CONT'D)
OK, Alright. Yeah. I'll see you then.
At eight. Eight it is.
(he laughs)
Don't you worry about that. I'll see you
then. Good-bye.
He hangs up the phone.
WILLY
You are one lucky man Mr. Frank, but if I
was you I'd go home right now and change
into something else. Mmm mmm, you sure
look awful in that get-up.
FRANK
Shut up and just keep stacking the
newspapers would you kindly? Thank you
very much.
Willy smiles and does what he's told. There's silence for
only a few seconds as they work and then...
WILLY
Well, I took your advice Mr. Frank.
FRANK
Only part of it, you kept racking the
papers but you haven't shut-up.
WILLY
No, I don't mean ?bout that. I'm talkin'
about the poetry contest.
FRANK
What about it?
WILLY
I entered it. I finally went and sent in
my poem. And it was the one that you
liked the best. I just hope that I made
the deadline.
Frank stops racking and starts listening. He's got to hear
this.
FRANK
Let me get this straight. You entered
the poem about the newsstand in the
poetry contest?
WILLY
I sure did.
FRANK
Well, what can I tell you. Good luck.
But don't go getting discouraged if you
don't win. Just remember if at first you
don't succeed...
WILLY
Keep tryin' and tryin', again and again.
They keep on working.
WILLY (CONT'D)
Now if I was you, and I'm sure glad I'm
not... I'd get on home and change into
something fancy... Go on home George.
I'll tend to the rabbits.
Frank throws a newspaper at Willy.
FRANK
Do you think that you can hold the fort
down for one evening without me looking
over your shoulder?
WILLY
There ain't nothin' to it.
Frank hesitates then hands a proud Willy the set of keys to
the newsstand.
FRANK
I'll see you tomorrow morning then?
WILLY
Right! Now, you get along and have a
real good time.
Frank turns to go.
WILLY (CONT'D)
Mr. Frank.
Frank turns around.
WILLY (CONT'D)
Thanks.
FRANK
Thanks for what?
WILLY
Thanks for trusting me. Ain't no white
man ever trusted me before. Not never.
FRANK
I want to thank you Willy.
WILLY
What do you want to thank me for?
FRANK
For being my friend. You are my friend.
Am I right in saying that?
WILLY
Do you even have to ask me?
Frank shakes his head no, smiles and turns to go. He
hesitates.
FRANK
Willy. Are you any good at dancing?
WILLY
At one time I could tear up the rug
pretty good. If I say so myself.
FRANK
How about Salsa dancing?
WILLY
(laughing)
You're on your own there.
FRANK
Geez, this is going to be some night.
EXT. SCHOOL YARD - SUNSET/SAME DAY
A loud rap song, The Man Ain't A Man pounds a ferocious beat.
The Monte Carlo pulls into the school parking lot.
Many young HOODS are already in the field of the schoolyard
hanging around the jungle gym bars. They're all wearing
white T-shirts, brand new baggy blue jeans and white tennis
shoes. These guys look identical to each other, tattooed,
lean and mean.
Chino and Eddie exit the car and walk toward their gang.
The group of hoods hail each other with their own brand of
greeting.
CHINO
Wassup punk.
He slaps one of the hoods on the elbow. Eddie addresses
JULIO one of the boys in the group. Julio's obviously
nervous.
EDDIE
You ready?
JULIO
Yeah, I think so.
EDDIE
(very aggressive)
You think so? You better know so. Cause
there ain't no turning back boy. You see
once you jump with the 8th street boys
there won't be no safety net. Once you
enter the fire you're there to get
burned. For real!
JULIO
I'm ready.
Eddie doesn't say another word. He gestures with his head
and the boys begin to relentlessly beat Julio into the
ground. Julio tries to fend himself the best that he can,
but to no avail. He's seriously pummeled.
CHINO
Eddie, that's enough man.
EDDIE
Initiation homeboy, if he don't go it
alone he'll never be able to kick it with
us out there on the streets. If he can't
take it he's not good enough.
CHINO
He's had enough. Call it off.
Eddie doesn't like being told what to do. He stares down
Chino hard. Then...
EDDIE
(to the boys)
Cool it.
They cease their beating.
Chino walks over to Julio who can barely pick himself up.
Eddie lends him a hand. Julio's quite bloodied, but seems
OK.
EDDIE (CONT'D)
We're not through with you. You'll still
need to prove yourself.
Eddie looks around talking to everyone.
EDDIE (CONT'D)
We all must constantly prove our
devotion. It is endless. This unity
will never cease. The truth is, all we
have is each other. And that is why all
that we have is each other's.
Julio shakes his head in agreement and wipes the blood from
his swollen lower lip. One of the other youths, HECTOR
approaches Eddie.
HECTOR
Hey, dude what happened to your ride?
Serious dent man.
EDDIE
I hit a dog.
HECTOR
That must have been some dog. It wasn't
no chiquaqua.
They all laugh.
EDDIE
No, it was a foreign dog.
(to Chino)
Let's cruise for some action.
Eddie points to Julio.
EDDIE (CONT'D)
You ride with us tonight.
Another one of the BOYS in the gang points toward the fence.
Quite a ways off a young BOY (13) is walking across the
school field.
EDDIE (CONT'D)
(yelling toward the boy)
No way Jos?.
He shakes his head no and gestures for the boy to get off of
the field. The boy sees Eddie and the gang and starts to run
the other way. They begin to laugh, throwing rocks and
bottles, while mocking the boy as he runs.
EDDIE (CONT'D)
Let's go it's getting late. There's alot
to do tonight.
INT. FRANK'S PLACE - LATER SAME NIGHT
An old 78 RPM turntable is playing an Italian classic
standard. The place looks like a bachelor pad that's in
desperate need of renovation and cleaning, much like the
newsstand.
INT. SHOWER - CONTINUOUS
The sound of water running is heard. Frank's showering and
singing along to the recording as he lathers himself up.
MONTAGES:
To the Dean Martin song, Everybody Loves Somebody Sometimes.
Frank in various stages of dressing for his date.
He tries on different shirts and pants. They look terrible.
He even attempts to practice a few dance steps.
Finally he stands in the mirror. He looks great for Frank.
He's ready to go. He grabs a bouquet of flowers and heads
toward the door.
EXT. ROBERTA'S HOME - NIGHT
Roberta lives in a predominant family oriented Latino
neighborhood. The homes are modest but well kept.
Frank stands on the street out front of her home. He's
carrying his bouquet of flowers. With apprehension he walks
up the steps and knocks on the door.
One of Roberta's neighborhood girlfriends, MADELAINE (30)
answers the door.
FRANK
I'm sorry, I must've gotten the addresses
mixed up or something.
He turns to go.
MADELAINE
No, I'm sure you have the right place.
She shouts very loudly toward the back of the house.
MADELAINE (CONT'D)
Roberta your date Francis has arrived.
There's laughter coming from the front room, female laughter.
Madelaine takes Frank by the arm and pulls him into the
house.
INT. ROBERTA'S LIVING ROOM
There are several girlfriends of Roberta's present. They all
begin to tease Roberta in Spanish (ad-lib) about how well
groomed her date is and that she definitely played him down.
Roberta shouts from the other room in Spanish.
ROBERTA
Quiet yourselves down and behave.
MADELAINE
Why don't you have a seat. She'll be
right with you.
Frank takes a chair and squirms miserably. There's silence
as he's the object of all the ladies eyes. The women trade
glances and silly smiles and giggles.
They're actually very pleased that Roberta's going out with a
man. If Frank had the courage, he'd get up and run away.
Roberta nervously enters the room straightening her hair as
she does. She's wearing a beautiful dress and looks
stunning.
Frank's really nervous now.
ROBERTA
Hello, Francis.
FRANK
(clearing his voice tries to
say hello he only manages to
let out a...)
Yeah.
Frank stands, drops the bouquet of flowers and eventually
manages to hand them to her.
FRANK (CONT'D)
I know you're probably sick of flowers
and all...
MADELAINE
(interrupting)
Did you get those flowers from one of
Roberta's rivals?
ROBERTA
That's enough from you Madelaine.
(to Frank)
I see that you have met my dear friends.
This is Madelaine, Alexia, Rosa Marie,
and Evelyn.
FRANK
Hello ladies. Buenos noches.
(confused)
Are we all going out together?
ROBERTA
No, I just happen to have some very nosy
neighbors this particular evening.
MADELAINE
Roberta's a very popular woman and we
must approve of who she dates.
FRANK
(not hearing a word)
Wow, you... you really look terrific.
ROBERTA
So do you.
FRANK
No, I really mean it your a knock out.
ROBERTA
Shall we go now?
(to the women)
That is, if it's alright with all of you?
MADELAINE
Usually we don't allow Roberta to go out
on a date without a chaperone, but we'll
make an exception this one time.
FRANK
Don't you worry about nothin'. I'll be a
perfect gentleman.
MADELAINE
Make sure that you have her home before
midnight.
ROBERTA
Yes, Francis, I will turn into a pumpkin
if you don't.
(to Madelaine)
Don't wait up for me. I plan on dancing
until the sun rises.
MADELAINE
You can't stay out all night.
ROBERTA
Ha, and why not? I am a big girl now. I
am a liberated American woman. I can do
as I please.
MADELAINE
(to Frank)
I hope you dance well Francis.
He cringes.
ROBERTA
Shall we go?
FRANK
I'll say.
They exit.
EXT. ROBERTA'S HOME - CONTINUOUS
From the window the small crowd of women say their farewells
as if to taunt Roberta for the last time this evening.
THE WOMEN
(ad-lib)
Good-bye. Have a good evening. Don't do
anything I wouldn't.
INT. SALSA CLUB - NIGHT
The place is jumping and the BAND is hot. A mustachioed HOST
sits Roberta and Frank at a table near the action on the
dance floor. COUPLES dance wonderfully to the sexy beat of
the Latin music.
Roberta smiles at Frank as menus are placed before them. The
glasses of water are filled by a WAITER.
FRANK
This is something else. I never seen
anything like this before in my life.
He looks down at the menu and can't read it. It's in
Spanish.
FRANK (CONT'D)
Hey, what gives?
He points to one of the items on the menu.
FRANK (CONT'D)
What does this say?
ROBERTA
That is a wonderful dish. It is made of
pork and veal.
He points to something else.
FRANK
And this?
ROBERTA
I'll just order for the both of us.
Trust me, you will enjoy it.
He shakes his head as if to say, you're in charge here. The
waiter approaches the table. Roberta orders exotic dishes,
ordering the food in Spanish.
The waiter takes the order.
WAITER
(in Spanish)
Would you care for something to drink?
ROBERTA
(to Frank)
Would you like some wine? Or perhaps
champagne?
FRANK
I'll settle for a bottle of beer if you
don't mind.
ROBERTA
(in Spanish)
Bring us a T?cate and a glass of red wine
please.
The waiter acknowledges her order and leaves.
ROBERTA (CONT'D)
Do you like the music?
FRANK
It's different. But it's nice. I like
it. Yeah, I like it. It's not Frank
Sinatra, but I could get the hang of it.
The waiter brings them their beer and wine.
ROBERTA
Shall we dance.
FRANK
Right now. I mean before we even...
Roberta stands and takes him by the hand. Frank quickly
grabs a swig of his beer and is practically pulled to the
dance floor.
Roberta puts her arms around Frank.
ROBERTA
Just follow me and do as I do.
She moves beautifully. Frank struggles along, but he gets
the hang of it eventually.
MONTAGES:
Roberta laughing and dancing wonderfully.
Frank having a good time and hamming it up.
ROBERTA (CONT'D)
Look they've brought our food. Let us
eat.
They return to the table and sit down.
FRANK
That was somethin' else. Really
somethin' else!
Roberta sips her wine. Frank digs into his food.
FRANK (CONT'D)
Umm, this is wonderful. What's is it?
ROBERTA
Those are shrimps, and clams and mussels
and many little fishies from the sea.
The band begins to play a slow song.
ROBERTA (CONT'D)
Oh, we must dance to this song.
Frank has a mouth full of food.
FRANK
What right now?
She gets up and puts her hand out for Frank to take.
FRANK (CONT'D)
My dinner! I'm hungry from all that
gyratin'.
ROBERTA
The food will still be here when we
return.
She drags him to the dance floor.
FRANK
When we return! If we return.
Again she wins.
CUT TO:
Frank and Roberta slow dancing. Soft, tender moments.
EXT. STREET - SAME NIGHT
Chino, Eddie, and Julio are cruising the streets in the Monte
Carlo.
The car makes a turn onto Broadway.
INT. MONTE CARLO - CONTINUOUS
EDDIE
So this dude, covered in ink, he tries to
be real hard like and starts to grab at
Chino. But he was no match for Chino.
Chino knocked him down hard right in
front of all his homeboys. You should
have seen it.
The car cruises slowly past the newsstand.
EDDIE (CONT'D)
This is it. That's where it happened.
CHINO
I guess it's true huh?
EDDIE
What's that.
CHINO
The criminal always returns to the scene
of the crime.
EDDIE
Right here.
He stops the car.
EDDIE (CONT'D)
It's not like it was on purpose. But so
what anyway right? I mean she was just
one of those Orientals. Probably has a
brother in a rival you know?
CHINO
Let's get out of here. It's not cool to
be here. It don't feel right.
EDDIE
Wassup with you lately? You acting like
we did somethin' wrong. Look around this
place, we just did us a little street
cleaning.
CHINO
Let's roll.
JULIO
Yeah, Eddie let's roll.
EDDIE
Hold on. Remember that old guy right?
He's the only one that can identify us.
CHINO
Yeah, so what's the point?
EDDIE
The point is that he came out of that
newsstand. I'll bet he works there.
CHINO
So he works there. What's that point?
Eddie turns and looks at Julio. Then he turns and looks back
at the store. He makes like he's pulling a pistol out and he
shoots toward the newsstand.
EDDIE
Process of elimination. Julio, you need
to earn your wings. You down.
JULIO
I'm down.
CHINO
What, we going to off him just like that?
EDDIE
Just like that.
CHINO
Where you going to get a gun?
EDDIE
I can get one.
CHINO
That's crazy man. What are you going to
do, go into the store and shoot the guy
on this street. That's not wise. Too
much action going down and stuff. Know
what I'm saying?
EDDIE
If we're right and he works there, we can
pick him off anytime we like. Like, when
he closes for the night.
JULIO
That sounds right. Drive by and he'll
never know what hit him.
EDDIE
Homeboy, its us or him! He can put us
away for a long time. I like my freedom.
Just then a cop car pulls up behind the Monte Carlo. It
flashes it's lights.
EDDIE (CONT'D)
Don't turn around or nothing there's a
cop behind me.
Chino quickly looks back over his shoulder.
EDDIE (CONT'D)
Be cool.
COP (V.O.)
(over the car speaker)
Move it. You're blocking the street.
The Monte Carlo drives on.
The cop passes only giving a passing look.
EDDIE
Tomorrow night our troubles will be over.
EXT. ROBERTA'S NEIGHBORHOOD - LATER SAME NIGHT
Frank and Roberta walk down the sidewalk. Some sentimental
music can be heard through the window of one of the homes.
It draws the attention of Roberta and Frank. A man and a
woman are slow dancing in their living room.
FRANK
Geez, that's nice.
Roberta agrees as they continue on.
ROBERTA
I had a wonderful night tonight.
FRANK
Yeah, it was real nice. I can't remember
the last time I had such a swell time.
But, I got to tell you, I must be getting
old. I hurt where I didn't even know I
had muscles.
They arrive at her home. The lights are out.
FRANK (CONT'D)
Looks like the brigade has moved on.
ROBERTA
They won't rest until I let them in on
all the details. So even if you don't
kiss me good night, I will have to tell
them that you are a wonderful kisser.
Frank is struck by that comment.
ROBERTA (CONT'D)
Francis, you don't talk much about
yourself.
He shrugs.
ROBERTA (CONT'D)
I notice these things.
She sits on her front porch steps and pats the seat next to
her for Frank to sit down.
ROBERTA (CONT'D)
Sit down. I won't bite you. Very hard!
Frank sits down next to her.
ROBERTA (CONT'D)
I don't know anything about you. Who you
are, where you're from. What your plans
are after you sell your shop. Nothing!
FRANK
There's nothing to know.
ROBERTA
Usually people that say, there is nothing
to know, have much to say. I'm
listening.
He stands.
FRANK
I better get home it's getting late.
ROBERTA
I will not let you leave without telling
me something about yourself. The girls
will inquire and they will think that you
are terribly boring if I have nothing to
say.
He sits back down.
ROBERTA (CONT'D)
Talk to me. Tell me un poquito!
FRANK
There's really not much to say. I'm
divorced. I have a son I haven't seen in
a long time. I worked for the union once
as a contractor but that was a long time
ago.
ROBERTA
A union man?
FRANK
No, not really. If you must know it was
a front for the mob. I ran numbers from
a storefront. End of story.
ROBERTA
What is running numbers?
FRANK
Guys like myself, we placed bets for the
average Joe. We kept the odds and fixed
things when we could. Some guys borrowed
from the sharks to pay the bookies. When
a fella got behind, we saw to it that he
stayed on track. Some suckers would drop
their whole wad on a hunch. It got to
me. I tried to get out. They made it
very difficult for me to leave. I mean
it, these guys didn't fool around. Tough
monkeys, they'd just as soon break your
arm or slice your throat for stepping out
of line. Period. Soon the Kikes started
moving in on these guys territory. They
started steppin' on some toes. Only the
Jew wasn't as smart as the Dago.
ROBERTA
What is Kikes. What is Dago?
FRANK
Kike is a Jew. A dago, an Italian.
Anyway, the Italians they never went
anywhere without protection. The Jew
wasn't as... let's just say that the
Italian loved life too much to run around
without any heat.
ROBERTA
Francis you speak very strange. What is
heat?
FRANK
Guns. Protection.
ROBERTA
Protection from what?
FRANK
Protection from the Jew. The Jew, he
didn't protect his life from... Geez.
Let me try it this way. The Jew began to
move in on the Italian's racket. They
were taking away a piece of the pie.
The Italian's profit. My boss, he
ordered me in on bumpin' off one of these
trouble making Jews. There wasn't much
that I could do about it. If I refused I
was signing my own death warrant. So, I
did what they told me.
DISSOLVE TO:
EXT. FRANK'S BOOKIE JOINT - NIGHT
New York City. 1967.
A snowy winter night.
INT. FRANK'S BOOKIE JOINT - CONTINUOUS
A much younger Frank and a bunch of Italian HOODS are hanging
around Frank's storefront. Bets are being placed by phone
from a room full of goons.
Other FELLAS are playing a game of cards and drinking hard
liquor.
NICKY, an acne scarred, dark eyed, weasel sucks on a
cigarette as he enters the joint. He shakes hands with a few
of the thugs.
FRANK (V.O.)
The bosses sent me and this loose cannon
Nicky to take care of this particular
problem. Nicky was a neighborhood guy
that I grew up with. He was real
screwball. I mean in the days of hangin'
out when we was kids he was just a punk.
A nobody! Got smacked around all the
time. It gave him a big complex. He
wanted to prove to everything and
everyone that he was a real ball buster.
That's usually the type. A big man when
he's got a bunch of other fellas backin'
him up.
Frank's got a phone stuck to his ear. Nicky gets his
attention, taps on his watch and gestures to the door.
FRANK (V.O.) (CONT'D)
It was me and Nicky that night, we were
the chosen ones. On our way to off this
Jew.
Frank realizing that it's time to go, looks around at the
room full of thugs that are eyeing him back.
FRANK (V.O.) (CONT'D)
I don't know why they chose me. I had
never killed anyone. I guess it was high
noon. Time to prove my loyalty.
EXT. ALLEY - LATER SAME NIGHT
A dark Chevy sedan slowly pulls into the alley. It's Frank
with Nicky driving. They exit the vehicle.
The wind whips forcefully down the cold alleyway. A window
is smashed with a gloved fist.
Quickly, Frank and Nicky climb into the window.
FRANK (V.O.)
We climbed into the back window of this
Jews office and waited.
INT. OFFICE - CONTINUOUS
Nicky takes off his coat and hat and plops himself into the
chair behind a huge desk. He leans back and props his feet
up on the desk.
FRANK (V.O.)
We waited and waited for the guy to show.
Frank's not able to control the shaking of his hands. He
pulls his gun out from his belt and it falls to the floor.
Nicky laughs at this.
FRANK (V.O.) (CONT'D)
I don't have to tell you that I was
scared out of my wits. I was shaking in
my boots.
Nicky picks up his .45 and begins to stroke it.
INT. HALLWAY - CONTINUOUS
A man enters the building and begins walking down a long
hallway past several doors.
INT. OFFICE - CONTINUOUS
Nicky cocks the hammer on his gun. Frank takes a deep gulp
as he steps back and away from the door.
FRANK (V.O.)
I was sick out of my mind with fear.
With trembling hand Frank points his gun at the door. Nicky
coolly pulls back the trigger on his .45.
INT. HALLWAY - CONTINUOUS
The man continues down the long hallway.
FRANK (V.O.)
I kept hoping that the Jew wouldn't show.
I didn't think that I could go through
with it. I mean, the way I was shakin' I
wouldn't have been able to hit the side
of a barn door if I was standin' right in
front of it.
INT. OFFICE - CONTINUOUS
The footsteps grow closer and closer. They stop outside the
office door. Keys are pulled from the man's pocket and can
be heard jingling.
Frank's eyes are bugging out of his head now. The man
continues down the hallway and can be heard entering another
office.
INT. OFFICE - EARLY MORNING
The sun begins to shine into the broken window.
FRANK (V.O.)
The guy never showed. We got a bum tip.
EXT. ROBERTA'S HOME - CONTINUOUS
Frank's standing once again. He nervously fumbles for a
cigarette.
ROBERTA
So you didn't kill him. That's good.
FRANK
That ain't so good cause, me and Nicky,
we was told to plant a bomb under the
guys car the very next day.
Frank nervously lights his cigarette.
FRANK (CONT'D)
The funny thing that ain't so funny is
that on my way to set-up the
arrangements, somehow I slipped on the
snow and broke my tibia bone in my right
leg.
EXT. SOCIAL CLUB - DAY
An ambulance pulls away from the curb revealing some of the
THUGS standing around and watching as the ambulance drives
off.
FRANK (V.O.)
Right in front of the bosses social club.
Lucky for me, I got out of it that time.
One of the SENIOR men standing in front of the social club
gestures for Nicky to enter.
FRANK (V.O.) (CONT'D)
So, Nicky did the job with some other
fellow that night. But I owed the boss
big and he wasn't about to let me forget
it.
EXT. NICE RESIDENTIAL HOME - DAY
A Dark Blue, Chrysler New Yorker blows up.
FRANK (V.O.)
They planted the bomb under the guys car
and that was that. The guy was killed
immediately.
(he begins to wig out something
fierce)
The Jew also had his daughter with him.
He was taking his daughter to her piano
lessons. Those goddamn Jews, always with
the piano lessons.
EXT. ROBERTA'S HOME - CONTINUOUS
Frank trembles as he wipes away the tears that are forming in
his eyes.
ROBERTA
Francis, listen to me. You didn't kill
that man and his daughter. You were not
even there.
FRANK
Don't you get it. I was the catalyst. I
was just as guilty as Nicky and the
fellows that called the shots. Because I
was too damn afraid to stand up to them.
You see, I would've been there if I
didn't break my leg. I would've been the
one who planted the bomb that killed that
little girl.
ROBERTA
That was the reason for you breaking your
leg. You weren't supposed to be there.
EXT. JEWISH SYNAGOGUE - DAY
Two caskets a tiny one and a large one, are carried out of
the synagogue and placed into separate Hurst. There are
weeping FAMILY members.
Frank smokes a cigarette and watches the funeral procession.
FRANK (V.O.)
I stood across the street from the
synagogue and watched as they carried
that little girl to her grave.
EXT. CEMETERY - DAY
Frank stands alone at the fresh grave sight of the Jewish
little girl.
FRANK (V.O.)
I knew right then and there that I had to
get out of the racket.
Frank drops a bouquet of flowers onto the grave, turns and
goes his way.
EXT. ROBERTA'S HOME - CONTINUOUS
Frank calms down a bit.
FRANK
Anyways, I took all the money that I had
saved and came to California. I bummed
around for a while till I found the
newsstand. I got a good deal on it and
I've been there ever since. That was a
long time ago.
Frank sits down and then quickly stands again.
FRANK (CONT'D)
You want to know somethin'?
ROBERTA
I want to know everything.
Frank smiles sadly.
FRANK
I'm just about as afraid to kiss you
goodnight as I was to kill that Jew.
He bends down and kisses her forehead.
FRANK (CONT'D)
Now you can go tell all your buddies what
a great kisser that I am.
Tears have welled in Roberta's eyes.
ROBERTA
I'll be sure to do that.
FRANK
So, what are you going to do tomorrow?
It's Sunday. Are you opened?
ROBERTA
I'm sure you know that I'm never opened
on Sundays.
She stands and walks toward her door.
FRANK
Yeah, I knew that. I was just wonderin'.
So you want to get together or somethin'?
ROBERTA
I'm going to the Nguyen's daughter's
funeral. Why don't you come with me?
FRANK
I couldn't.
ROBERTA
You should. I am certain now that you
are supposed to go.
She unlocks her door and opens it.
ROBERTA (CONT'D)
Then maybe we can go to the ocean. I
haven't been to the beach in a long time.
I want to watch the sun set.
FRANK
Do you want to know somethin' funny?
She nods her head. Yes.
FRANK (CONT'D)
I ain't never been in love in my whole
entire life. In the years I been here, I
never went out on a date. I never kissed
a woman, never held one in my arms. In
all the years that I've been in sunny
California, I've never seen the ocean one
time. Not once.
ROBERTA
Well, there is a first time for
everything.
She enters her door.
ROBERTA (CONT'D)
Francis, you were married? Were you not
in love?
FRANK
That is entirely another story. Go on
get out of here would you? Close the
door already.
He walks off into the darkness of the night.
ROBERTA
(to herself)
Goodnight Francis.
INT. BUDDHIST TEMPLE - NEXT DAY
Traditional Vietnamese funeral music plays.
A picture of the Nguyen's daughter sits on a mantle. She
smiles cheerfully. The photograph is surrounded by candles
and flowers.
Numerous photos of Vietnamese who have gone before her fill
the wall. The immediate family members including Mr. and
Mrs. Nguyen, light incense and place them on the altar.
A small casket with the dead little girl is exposed.
There are MANY PEOPLE, barefoot and dressed in yellow robes.
They are kneeling and bowing in adoration of the Nguyen's
daughter.
INT. BUDDHIST TEMPLE - A LITTLE LATER
More VIETNAMESE people continue to enter the temple.
Removing their shoes. They all bow as they enter the
doorway.
Roberta and Frank appear at the doorway.
A BUDDHIST PRIEST welcomes them by bowing to them with honor.
Roberta bows, Frank doesn't understand, but he makes a feeble
attempt at bowing.
They bring with them flower arrangements. The Priest takes
them carrying them to the altar. He places them around the
casket.
Frank attempts to enter the temple, Roberta stops him and she
begins to remove her shoes. Frank watches and does the same.
Roberta walks toward the back of the temple and bows like the
others. Frank follows and kneels next to her.
A gong is tapped. Then silence.
Several BUDDHIST PRIEST that are musicians walk to the altar
and begin to play bells and various percussion instruments.
The temple's HIGH PRIEST stands and begins to chant. The
people chant repeating his phrases.
Frank is extremely moved.
Tears stream down Frank's face. He fights to hold back his
deep sobbing. He's genuinely moved while recalling the death
of the Jewish girl and the pain he has caused.
The chanting reaches a peak.
CUT TO:
EXT. TEMPLE - CONTINUOUS
The procession of people follow as the immediate family
carries the girls coffin out of the door and to a grave sight
which is on the temple grounds.
Next to the grave is a tall statue of the BUDDHA and other
Buddhist icons and images.
The casket is silently lowered into the ground. The funeral
has ended.
Frank and Roberta begin to walk away.
Mr. Nguyen is surrounded by a throng of friends. He looks
toward Frank and Roberta and sees that they are preparing to
leave.
He taps his wife and she looks over as well. He excuses
himself, bows and walks toward Frank and Roberta. His wife
follows.
He reaches them. Mr. Nguyen speaks eloquently as any well
educated man would.
MR. NGUYEN
Excuse me. Mrs. Gonzalez, thank you for
coming to my daughter's service. I am
truly honored.
(he turns his attention to
Frank)
Thank you Mr. Ruizzo for honoring me
today.
He bows.
FRANK
I'm sorry about the loss of your
daughter.
(he turns to Mrs. Nguyen)
I'm very sorry for the loss of your
daughter.
Mrs. Nguyen bows to him. She smiles, but the sadness of a
mother who has just lost her daughter fills her eyes.
MR. NGUYEN
My wife does not understand your words,
but she does understand your heart.
FRANK
There is nothing that I could say to...
MR. NGUYEN
If you had said nothing in words your
presence here today proves that you have
said more than necessary for us to
understand your intention.
FRANK
(trying hard to pronounce the
name correctly)
Mr. Nguyen. How did you know my name?
MR. NGUYEN
You are Mr. Frank Ruizzo. You are an
important customer to us. You honor us
with your business.
(he smiles)
You always purchase, Petite Delight.
Mr. Nguyen smiles brightly.
FRANK
You mean that candy? I love that stuff.
I can't get enough of it.
MR. NGUYEN
And for this I make sure that we always
have plenty for you.
Frank is shocked that Mr. Nguyen has him pegged. Roberta
smiles.
FRANK
I am sorry, I shouldn't be talking about
candy at your daughter's funeral. I
apologize for my...
MR. NGUYEN
That's perfectly fine. My daughter, she
loved Petite Delight almost as much as
you.
Frank doesn't know what to say.
FRANK
I want you to know somethin'. I will
always remember the faces of those young
men that did this thing. If it is at all
in my power, I'll see to it that they're
brought to justice.
MR. NGUYEN
Thank you for your concern. But that is
not for us to decide. It rests in the
hands of those young men. They must live
with this the rest of their lives.
Perhaps one day they too will see that
the path that they have chosen is not
beneficial.
FRANK
We should go now. We shouldn't keep you
any longer from your people.
MR. NGUYEN
Mr. Frank, we are all the people. Do not
leave just yet. I wish that you would
join us in celebrating our daughter's
transformation.
FRANK
I couldn't impose.
ROBERTA
Of course, we would love to stay.
Mr. Nguyen's truly pleased.
MR. NGUYEN
Now, if you will come with us.
Mr. Nguyen bows and walks away as Frank watches.
FRANK
That is one heck of a guy.
ROBERTA
Come Francis.
Roberta takes Frank by the arm and follows after the steps of
Mr. Nguyen.
INT. BANQUET HALL - LATER SAME DAY
The banquet hall is filled with guests.
A large picture of the Nguyen's daughter is surrounded by
offerings and flowers. Everyone present is sitting at a
large tables. A picture of the girl and a candle sits in the
midst of each table.
Frank and Roberta sit across the table from the Nguyen's. A
group of small CHILDREN stare at Frank. He smiles at them
making a nervous funny face. They laugh and giggle at him.
MR. NGUYEN
Frank, you seem to have a way with
children? Have you any of your own?
ROBERTA
He has a son.
MR. NGUYEN
A son. Tell us of him?
FRANK
There isn't much to tell. I haven't seen
him in too many years.
MR. NGUYEN
I understand. I too have a son.
He looks at his wife. She doesn't understand the
conversation but she smiles anyway.
Mr. Nguyen stands as he continues to share his story.
MR. NGUYEN (CONT'D)
I much like yourself have not seen my son
in many years.
(change of pace)
Long ago before the war between North and
South Vietnam, I ran the development
department of a rubber plant outside of
Saigon. My wife and I, we had a son and
two daughters. I had good employment.
This was a prosperous time for us. I was
able to have my son educated in the
finest University in France.
Frank smiles, nodding his head in approval at hearing these
words.
MR. NGUYEN (CONT'D)
There began to be rumors of a war. My
son returned home. He was a different
man. He believed that the French
government that occupied Vietnam was the
true enemy of our people. He believed
that we were being enslaved by the
bourgeoise. He felt that our country's
resources were being stripped away by the
powerful, special interests of the West.
He argued that we made tires for the
automobiles of the rich, yet we walked to
work daily. Soon he began to go to
meetings.
INT. MEETING ROOM - DAY
Red painted walls, communist slogans and flags fill this
auditorium.
VIETNAMESE, both young and old sit together on the straw
covered floor and intently listen to the words of the RUSSIAN
DIPLOMAT. He fervently spreads his message of hatred. He
pounds the podium forcefully as he lashes out at the western
world.
One young man, Mr. Nguyen's SON listens with eyes on fire as
if he is hearing the words of the gospel of Jesus for the
first time.
MR. NGUYEN (V.O.)
You know them as Communists. My son, he
was young and naive. He was well
educated, this is true, but he lacked
understanding as many young men do.
The speaker receives a standing ovation from the guests in
this crowded room. Mr. Nguyen's son stands and receives a
red button which he immediately pins to his chest.
MR. NGUYEN (V.O.) (CONT'D)
He became a member. A member of the
Communist Party. The revolution grew
rapidly.
EXT. AERIAL VIEW OF SAIGON - DAY
Bombers fly rapidly over the city. A row of choppers in
formation hover above.
MR. NGUYEN (V.O.)
War was imminent.
EXT. STREETS OF SAIGON - DAY
Many PEOPLE flee toward the airport where AMERICAN SOLDIERS
begin to evacuate the city.
MR. NGUYEN (V.O.)
The French diplomats fled our country
leaving behind gutted factories and
families that needed to be fed. We were
always taught to believe that even a
small portion of meat is better than no
meat at all. I instilled this into my
children as well. Some argued that when
the Americans came their only purpose was
to take the place of the French. My son
was one of them.
EXT. TRAINING CAMP - DAY
VIETCONG OFFICERS accompanied by RUSSIAN OFFICERS inspects a
battalion of Officers as they stand at attention. Mr.
Nguyen's son is one of them.
MR. NGUYEN (V.O.)
My son became one of North Vietnamese
special officers of propaganda.
EXT. NGUYEN'S HOME - DAY
Mr. Nguyen, tied to a bamboo pole is dragged out of his home.
Mr. Nguyen already has the signs of being beaten. His WIFE
and DAUGHTERS fall at his feet as he is led away.
The straw roofed home goes up in flames behind them.
MR. NGUYEN (V.O.)
I was arrested. My home burned to the
ground. It was determined that I was
incompetent to stand trial.
INT. PRISON - DAY
Mr. Nguyen is beaten by a group of VIETCONG SOLDIERS.
MR. NGUYEN (V.O.)
I was sent to a prison for the mentally
insane. I was beaten and tortured almost
daily for many months. I realized that
to survive I must make them believe that
I had converted to their way of thinking.
INT. CONFERENCE ROOM - DAY
A microphone is placed in front of Mr. Nguyen. The VIETCONG
OFFICER demands him to speak. Mr. Nguyen's son stands in the
background, coldly staring and filled with contempt.
MR. NGUYEN (V.O.)
Being a man of position in the my village
I was forced to go on the radio and
welcome the changes that the communist
brought to us. It was very hard to do,
but why should I care for mere statements
and words when my people were being
systematically slaughtered, raped and
starved to death. Yes, I too, did not
want the French or the Americans to
occupy Vietnam, but even this was better
than our villages being burned and
pillaged by it's own people. Occupation
far exceeded starvation, senseless
violence and cruel murder.
INT. PRISON - EARLY MORNING
Prison guards lead Mr. Nguyen out of his cell and down the
corridor.
EXT. PRISON - CONTINUOUS
Mr. Nguyen is pushed out of the gate and it is slammed behind
him.
MR. NGUYEN (V.O.)
Finally, I was released from the prison.
My first thought was to return to my
village and search for my family.
EXT. VIETNAMESE VILLAGE - LATER SAME DAY
The village is destroyed. Nothing remains except some
remnants of buildings destroyed in the bombing raids.
Mr. Nguyen finds his wife with a small group of villagers
that remained behind. She runs to him and they embrace.
Other villagers crowd around them.
MR. NGUYEN (V.O.)
I soon discovered my daughters, were
killed by an air raid which destroyed our
village. Nobody knew if it was the
Vietcong or the Americans. I did not
care. I only knew that our daughters
were taken from us as well.
INT. BACK TO THE BANQUET HALL - DAY
Mr. Nguyen continues.
MR. NGUYEN
The opportunity to come to America came
and we took it. We were just refugees,
but considered murderers, people who
killed American soldiers. Yet we had
lost everything. No money, no clothing.
Only our hands and our desire to start a
new life.
He turns to the picture of his daughter and picks it up.
MR. NGUYEN (CONT'D)
We started a new family and now our
daughter has been taken from us as well.
My wife and I will continue to operate
our market. Because we enjoy giving the
best service we can provide. It is very
important to my wife and to myself.
FRANK
Where's your son Mr. Nguyen? Does he
know that you're alive?
MR. NGUYEN
We do not know what has become of our
son. It was said that he was murdered
during the war. Executed by his
superiors. No, after I was released from
prison I never heard from him again.
Mr. Nguyen takes his wife by the hand.
MR. NGUYEN (CONT'D)
Now my wife and I, we are too old for
more children.
Mr. Nguyen's strength diminishes in this statement.
MR. NGUYEN (CONT'D)
Perhaps in the life to come. I will have
many children. Perhaps I will have many
sons and many daughters and that they
will bring me grandchildren and great
grandchildren alike. And we shall sit
around a table such as this. Perhaps...
Until then...
The camera pulls into a shot of the picture of Mr. Nguyen's
smiling daughter.
INT. SAUL'S BAKERY - DAY
A pastrami sandwich on a plastic plate hits the table.
ROBERTA
Frank, what is this?
FRANK
This is real food. I don't mind all that
grub you've been dishin' out to me
lately, but after a while a man needs to
sink his teeth into somethin'...
ROBERTA
Something dangerous. It looks awful.
FRANK
Just take a bite out of it and then if
you honestly don't like it, you can order
anything else you want.
ROBERTA
Anything?
FRANK
Just name it.
She bites into the sandwich a bit unsure if her taste buds
will appreciate it.
She loves it.
ROBERTA
Mmmm. What is this called?
FRANK
Pastrami and rye with lots and lots of
hot mustard. They say my father...
(he forms the cross)
God rest his soul, dropped dead of a
heart attack from eating too much
pastrami. He ate pastrami until it was
coming out of his ears. But I believe
that one day there was a great shortage
of pastrami. He couldn't find a market
that had any anywhere. He looked high
and low, there was none to be found.
His system couldn't take it. I think he
keeled over from lack of pastrami.
That's what I think.
Frank loved telling that one.
Saul, carrying a couple of glasses of water comes over to the
table.
SAUL
So tell me do you have any offers on your
newsstand yet?
FRANK
Yes and no. I got some interest.
SAUL
Some interest is good. No interest is
not so good!
Saul reaches down and puts the glasses on the table. His
tattoo is quite obvious.
FRANK
Tell me somethin' Mr. Kaufman! If you
don't mind, what does that thing mean.
Frank is pointing to the tattoo.
SAUL
Baah.
FRANK
C'mon tell me about that tattoo. I'm
interested to know.
SAUL
It means nothing to me. Nothing.
FRANK
It's one of them concentration camp deals
ain't it? I heard many things about
that. Many things!
SAUL
You heard many things? Let me tell you,
you have heard nothing. You have seen
nothing. You have known nothing.
Saul sits down at the booth.
Mrs. Kaufman calls to Saul from behind the counter.
MRS. KAUFMAN
Saul, the delivery man, he needs the
order signed. He's in a hurry to go.
SAUL
So sign the order. I'm busy talking with
my friends.
MRS. KAUFMAN
Aaah. Sometimes you are useless as an
old goat.
Mrs. Kaufman disappears into the back of the shop.
SAUL
(to Frank and Roberta)
What will she do when I am no longer
capable?
He tosses his arms in the air. Saul begins to share his
story.
SAUL (CONT'D)
My family was from Warsaw you know. It
was a beautiful place. There was no
place on earth quite like it. My family,
they lived there for many generations
before I was born. This I assure you. I
grew up with the people in my village.
They were to me like my own family. We
broke bread together. We mourned each
others losses. We shared in the
prosperous times and in the times of
sickness and famine. Until one day, like
a great, terrible black cloud that hung
over our heads, the Nazi's came. Then
every neighbor, every friend, every
single one of them, turned their backs to
us. We stood alone.
EXT. STREETS OF WARSAW - DAY
A window is smashed.
A GROUP OF YOUNG MEN run past a storefront business. The
word JUDE is scrawled across the front of the business.
The reckless group continues down the burning street.
SAUL (V.O.)
My father's business... confiscated. We
were put out of our homes, everything we
had taken from us. We were put in a
ghetto, such a sight you have never seen,
perhaps never again. I was young but not
too young to understand.
EXT. TRAIN DEPOT - DAY
It's a cold gloomy day. Nazi SOLDIERS herd groups of JEWISH
FAMILIES onto cattle cars at a train station.
A young Saul (12) stands with his FAMILY members as they wait
to board the train.
SAUL (V.O.)
Then came the trains. I remember my
cousins, my uncles, my aunts, my father
and my mother, and my Grandmother, all
put on trains like the beasts of the
field. Like so much unwanted garbage.
Saul's FATHER is pushed hard by the butt of a rifle. He does
not like this. The SOLDIER sees something in the man's eyes
that he does not like.
He butts him again. Saul's father is muscular and much more
powerful than the German soldier. He offers his chest to the
soldier.
The soldier hits him in the chest and Saul's father grabs the
rifle, throwing both the gun and the soldier to the ground.
SAUL (V.O.)
My father, he tried to resist. In his
struggle, his head was split opened with
the butt of a rifle. Right before my
eyes.
From behind another soldier cracks Saul's father over the
head with his rifle catching the man by surprise. He falls
unconscious.
They both beat him till his skull is crushed. Saul's father
lies motionless. He is dead.
The family is forced to move onto the car. Young Saul
watches his father's lifeless body.
SAUL (V.O.)
My childhood innocence lost in a moment
of persecution and defiance. Who was
there to mourn for my father? There was
no time for mourning only boarding the
trains. This would not be the last time
I witnessed one of my own killed before
my own eyes. I would that God almighty
remove these memories from my mind. Burn
them away with a hot iron.
The train pulls away as the young Saul watches his fathers
lifeless corpse through an opening in the train car.
SAUL (V.O.)
The smell of human fear is forever burned
into my nostrils.
As the train pulls away rocks and insults are shouted to the
cattle cars by the TOWNS PEOPLE. A star of David is painted
on the side of each of the cars.
SAUL (CONT'D)
Many of the villagers that we had shared
bread with stood by and said nothing,
others, they... they yelled things,
terrible things. They threw rocks and
shouted Jude, Sheenie, Christ Killers,
Kikes... That day seventy members of my
family were rounded up and sent to
Auschwitz to die.
EXT. TRAIN CAR - NIGHT
The crowded car sways from the motion. PEOPLE push and shove
for space. A YOUNG GIRL stands almost eye to eye next to the
young Saul.
The girl falls to the floorboard as Saul tries to lend a hand
to her. She cries out and is trampled by the mass of people.
SAUL (V.O.)
My dear sister Katrina, trampled to death
on the train. Perhaps this was for the
better. She died at the hands of her own
people, not at the hands of the Germans.
For this I am grateful.
My beloved father and my sister Katrina
taken from me on the very same day.
EXT. CONCENTRATION CAMP - EARLY MORNING
Two young boys run from the camp toward the woods that
surround it.
SAUL (V.O.)
Two years later myself and my cousin
Babard, we ran from Auschwitz more dead
than alive. I was fourteen years old
then. I remember this quite well. My
innocence taken from me forever. Sixty-
six family members in all tortured,
raped, murdered and burned... Gone.
INT. BAKERY - DAY
Saul snaps his finger.
SAUL
Just like that. For what, I don't know.
I have tried, but I will never
understand.
Silence.
FRANK
Look, I better get back to the newsstand.
I've been leaving Willy alone pretty much
for the past couple of weeks. So, I'll
be on my way now. You take it easy Saul.
SAUL
I haven't told you how I came to get this
tattoo. Isn't that what you wanted to
know in the first place?
FRANK
Maybe some other time, not now.
Frank pulls out his wallet to pay for his check.
Saul puts his hand on Frank's. Saul stands.
SAUL
(back to being Saul again)
Forget it. Today, it is on the house.
Saul begins to clean up the table.
FRANK
(to Roberta)
I'll see you later.
Roberta shakes her head yes.
EXT. BROADWAY AND 8TH ST. - CONTINUOUS
Frank walks toward the newsstand.
The Monte Carlo comes around the corner slowly. Frank's deep
in thought. He does not notice it. The car stops at a red
light.
INT. MONTE CARLO - CONTINUOUS
Eddie, Chino, and Julio are slowly cruising the street.
EDDIE
Look man, it's the dude.
CHINO
Yeah, it's him alright.
JULIO
Whatcha gonna do man.
EDDIE
Check it out. He's going into the
newsstand. I was right, he does works
there.
CHINO
Yeah, so? If we were in trouble with the
law they would have popped us by now.
Let's just leave it be.
EDDIE
No way man. He's the only one who can
finger us. We got to get rid of him.
CHINO
What do you have in mind?
EDDIE
Julio jump out of the car. Find out what
time the place closes. I'll cruise
around the block and come back for you.
Eddie opens the door and Julio jumps out.
The light changes. The car speeds away.
Julio crosses over and checks out the hours on the front of
the newsstand door which reads OPEN NIGHTLY TILL 10:00 P.M.
INT. MONTE CARLO - CONTINUOUS
The Monte Carlo comes around the corner. It pulls up to
where Julio is standing. He's nervously tense.
The car pulls up to the curb.
Julio jumps back into the Monte Carlo.
EDDIE
Well?
JULIO
(out of breath)
Ten. It closes at ten.
EDDIE
Lights out at ten, tomorrow night.
JULIO
Why not tonight?
EDDIE
I need to get a hot piece, and I don't
mean a hot piece of ass.
Eddie laughs. Chino doesn't like it.
INT. NEWSSTAND - SAME DAY
Willy and Frank are playing a game of chess.
A CUSTOMER picks up a paper and walks to the counter. Frank
is concentrating on his next move. Without taking his eyes
off of the board:
FRANK
That'll be a buck fifty. Just leave it
on the counter.
The man drops a buck and two quarters on the counter and
exits.
WILLY
How do you do it?
FRANK
I haven't moved yet. Wait till I move.
Frank moves.
FRANK
Now ask me.
WILLY
I just want to know how you do it? Every
time we play a game of chess and someone
walks in and picks up a paper, you never
take your eyes off of the board, but you
always know just how much he needs to pay
for the paper. How do you do it?
FRANK
It's simple. Over there...
(he points in the direction of
East)
are papers from the East coast. The New
York Times. The Post. The Miami Herald.
The Boston Globe.
(he points toward the middle of
the store)
And over there are the papers that come
from the mid-west, see, like the Chicago
Examiner.
(he points to the extreme East)
And over there are the papers from over
seas.
(he points toward the front of
the store)
And way over there are the worthless
papers that come from the West, like the
LA Times. So when a fellow comes in and
picks up a paper from a certain area,
like a paper from back East, he picks it
up from over there. Over seas papers way
back here, and so on. Got it?
Frank feels rather resourceful.
WILLY
Yeah, I think so. You're one clever man
I must say.
FRANK
That goes without saying. Are you
satisfied now?
Willy looking at the chessboard.
WILLY
Umm hmm.
FRANK
Good, then it's your move.
Willy makes a move and:
WILLY
Checkmate.
Suddenly Frank doesn't feel so clever.
The MAILMAN, a clean cut, athletically built LATINO MALE
about 28, arrives with a stack of papers. He plops them on
the floor.
Frank stares at the board in disbelief.
The mailman comes back with another large stack of papers.
He plops them on the floor.
WILLY
(to the mailman)
You got a letter for me today?
MAILMAN
You ask me the same question everyday.
And I got the same answer for you
everyday. No.
WILLY
Are you sure, I'm expecting an awfully
important letter. I entered a poetry
contest.
MAILMAN
Well, if I get a letter I'll be sure to
get it over to you come rain, hail, sleet
or snow. That's what I get paid for.
I'll see you guys tomorrow.
FRANK
Not if I see you first!
MAILMAN
(to Frank)
Hey, I almost forgot, that Mrs. Gonzalez
at the flower shop, she told me to send
this down to a guy she called Francis.
You guys know anybody that goes by the
name of Francis? Just give him this.
He reaches into his pouch and drops a red rose on the counter
and splits.
Willy holding back the laughter begins to put the chess
pieces away.
WILLY
I'm sure glad that you and Mrs. Gonzalez
is gettin' along Mr. Frank. I'm awfully
happy for the both of you. People ought
not be alone in this world. It's just
not natural. Did you know that ninety-
nine percent of the crime in this world
is caused by people without someone to
love?
FRANK
Oh yeah, where did you hear that?
WILLY
I read it in the paper.
He got Frank again.
FRANK
Very funny. You're very funny lately.
(serious)
Listen Willy, can you keep a secret?
WILLY
Sure Frank, what is it?
FRANK
I need to know that I can trust you with
this one. Can I trust you?
WILLY
I got the keys to your business don't I?
FRANK
OK, now listen good. One day while I was
coming to work I saw this billboard, it
said that it could find anybody in the
continental US.
WILLY
Um hmmm.
FRANK
Well, I gave them a holler and they got
me some very important information.
Which I would at the present like to keep
a secret from you know who.
He shrugs in the direction of Mrs. Gonzalez's Flower shop.
WILLY
You must mean Mrs. Gonzalez?
FRANK
Exactly. Get this, I found her father.
He's still in prison. I'm goin' to meet
with him tomorrow. As least I'm going to
give it a try. Tomorrow's visiting day.
I put in to visit him and got the
approval. Problem is that nobody's
visited him in over twenty-five years.
What do you think?
WILLY
I don't know what to think. What makes
you think that he'll talk to you?
Anyways, he's Spanish. He probably still
don't speak a word of no English. And
what's seein' him got to do with
anything?
FRANK
I don't know. I just want to try and
start communications with Roberta and her
father. So anyway, don't go breathin' a
word of it to anyone.
WILLY
You got my word Frank.
They shake hands.
EXT. CHINO PRISON - NEXT DAY
The gray-green monolithic structure stands ominous and cold
in the foggy morning.
INT. CHINO PRISON - SAME MORNING
A gate clangs shut. Frank is going through the process of
being admitted to the visitor center. He shows his
identification, walks through a metal detector, gets searched
and is lead down a long corridor into a room that is
carefully guarded.
The guard points to a small cubicle for him to sit in. He
does. It's 9:22 a.m.
At 10:17 Frank looks at the clock on the wall. Still no sign
of Romano Gonzalez.
No visitors are in the center except for Frank, which makes
for a pretty uncomfortable situation. Frank strikes up a
conversation with one of the prison GUARDS. He shows him his
papers.
FRANK
Excuse me, I'm supposed to be visiting
with prisoner #2514683. Romano Gonzalez,
he was supposed to be here almost an hour
ago?
The guard makes a quick phone call and:
GUARD
He says he doesn't know who you are. He
doesn't want to talk with you.
FRANK
Wait a minute, I came a long way to speak
to him. Tell him it's about his daughter
Roberta. I'm sure he'll talk to me then.
GUARD
I'll see. If not you will have to leave.
The guard places another phone call.
GUARD
No go. You'll have to leave sir.
FRANK
Wait a minute. Wait a minute. Why won't
he talk with me?
GUARD
I don't know. If he doesn't want to talk
to you there's nothing that we can do
about it. We can't force the prisoners
to accept visitors.
(the guard points toward the
exit)
This way sir.
Frank gets up and starts to walk toward the exit.
Suddenly a voice comes from behind the separated partition
wall.
ROMANO (V.O.)
How do you know my daughter?
Romano Gonzalez, an aging man with weeks of facial hair
stands in a rebellious position. His clothing is unclean and
his hair is wiry, long, dirty and messy. He looks like an
unkempt madman. He's handcuffed and chained.
Frank turns around to see who it is. A man with a cold steel
look in his eyes stares lifeless at Frank. They look at each
other.
FRANK
I'm a friend.
ROMANO
You are my daughter's friend?
FRANK
Yes, her friend.
ROMANO
You mean that you are her lover? You're
fucking my daughter! Isn't that what you
mean?
Frank looks at the guard and gestures toward the seat. The
guard nods his permission to sit down.
FRANK
No you don't understand, Roberta's a
wonderful woman. She has her own flower
shop. She calls it, Mrs. Gonzalez'
Flower Shop. She's told me all about
you.
ROMANO
She told you that I killed an infant with
my own hands?
FRANK
Yeah, she also told me about the border
patrol. And she told me she misses you.
ROMANO
It's been over twenty-five years, she
couldn't possibly still need her father.
FRANK
Look it's none of my business what you've
done. I ain't no angel of mercy myself.
All I know is that she's your daughter.
Just say the word and I'll bring her here
next visiting day. She wants to see you.
ROMANO
That's impossible.
FRANK
Look, it'll do her alot of good to see
you again.
ROMANO
I said that it is impossible.
Frank leans toward the partition.
FRANK
Look you stubborn old goat, I drove a
long goddamn way to come here. I don't
like to waste my time. So, don't make me
drive back here next month and disappoint
her. Do you hear me? You ain't so
tough. Everybody's got it rough. You
think it's so bad in here? I've been
where you are. Three squares a day and a
bed to sleep in. Maybe it ain't the Ritz
Carlton, but out there...
(he points outside)
There are people who got it worse than
you, they're locked up in different kind
of prison. A prison of drugs, booze,
prostitution, poverty. Some folks don't
got nothin' more than a curbstone for a
pillow. Some kids don't got no food to
eat. Stop cryin' over spilt milk and
smell the roses. They come to you via
Mrs. Gonzalez's flower shop pal.
Silence.
ROMANO
(his tough exterior diminishes)
To her I am dead. I want it that way.
FRANK
No, you selfish bastard to you you're
dead. It's time to resurrect yourself
and rise from the grave old man.
Frank stands.
FRANK (V.O.))
I'll be here next month. Don't fuck me
over tough guy. Even if you don't want
to see your daughter just pretend you're
happy to see her. Do it, if not for
yourself, do it for her.
Frank turns to go.
Romano stands and shouts to Frank.
ROMANO
(screaming back)
Go to hell. Go to hell you hear me? If
this wall wasn't here I'd show you who's
tough. I won't see nobody. Do you hear?
No one.
The GUARDS restrain his violent outburst.
FRANK
So long pal.
INT. NEWSSTAND - NEXT DAY
Frank's meeting with a stiff, thirty something male, REALTOR
over the possible purchase of the newsstand.
Frank stands in a position that shows he's a bit ticked off.
He taps his foot rapidly.
The Realtor carries a pad and pen bending and poking and
nodding his head as if he was disappointed in the condition
of his listing.
Willy is cutting the newspaper straps and then placing them
in their proper place on the shelves.
REALTOR
So they came in low offering about
fifteen thousand less than you countered.
FRANK
They must be nuts. What do they think,
I'm gonna give it away? You tell them I
said go to hell.
REALTOR
Frank, that's a reasonable offer. Paint
the place, clean it up a bit. Upgrade
the electrical and that's it.
FRANK
Nothin' doing! They must think that I
was born yesterday. Where they going to
get such a bargain as this? No where,
that's where. You do your job. That's
what you get ten percent for. You cover
for me, not for them. Get out of here I
got a business to run.
The Realtor throws up his arms.
REALTOR
I'll see what I can do.
The Realtor picks up a paper and exits.
Frank goes to the door still quite agitated.
FRANK
I'll sell them this joint, at that price
when hell freezes over. When hell
freezes over. And next time you come
back you owe me a buck for that paper.
(he turns to Willy)
Did you see that? He just picks up a
paper and walks out of here. The nerve of
that guy.
WILLY
Take it easy Frank. He's just tryin' to
make a living, that's all. I gotta tell
you, the offer sounded pretty fair to me.
Look at this place anyway.
Willy touches some of the paint and it starts to peel off.
WILLY (CONT'D)
See what I mean. Look Frank, why don't
you take the rest of the day off. I'll
take care of things.
FRANK
Yeah, I need to get out of here. I know,
last week I was supposed to take Roberta
to the beach and we never made it. I'll
give her a call and see if she can get
one of her girls to cover for the rest of
the day.
WILLY
That sounds like a good idea Frank. Go
on and have a good time. Everything's in
good hands.
FRANK
I'll just go on over and surprise her.
I'll say, let's go to dinner, only I
won't tell her I'm taking her to the
ocean. Boy, will she be surprised. I'll
see you later Willy.
WILLY
So long Frank.
The mailman enters the newsstand carrying another stack of
newspapers. Willy gives him the look like, you got it?
MAILMAN
Not yet. Not yet.
EXT. BROADWAY AND 8TH ST. - CONTINUOUS
Frank walks down the street toward the flower shop.
EXT. ALLEY - CONTINUOUS
The Monte Carlo is parked behind some trash bins, staking out
the newsstand.
INT. MONTE CARLO - CONTINUOUS
Eddie's playing with the clip of a .45 caliber pistol.
Julio's in the back seat and he's toying with a 9mm. Eddie's
drinking some beer.
JULIO
Hey, look check it out.
EDDIE
It's our main man.
JULIO
Let's hit him now. Let's do it now and
get it over with.
CHINO
Are you crazy or what? The streets too
crowded. We don't want anyone to finger
us dude. That's why we're in this mess
in the first place right? We got plenty
of time.
EDDIE
Yeah homeboy, he's right. We stick to
the plan. We do it tonight. Just
remember I'll come out of the alley, flip
a bitch and then you guys just unload,
got it?
JULIO
Got it.
EDDIE
Just let it fly. That's all you got to
do. We'll catch him off guard when he's
pulling down the shutter. He'll never
know what hit him.
JULIO
Piece of cake.
Julio takes aim and practices a few fake shots.
CHINO
(grabbing at the gun)
Man, put that thing away. You want us to
get popped.
A garbage truck beeps his horn at the Monte Carlo from
behind.
TRUCK DRIVER (V.O.)
Let's move it, you're blocking the alley.
EDDIE
(shouting out the car window at
the driver of the truck)
Cool it with your punk ass.
Eddie speeds off.
EXT. BEACH - SUNSET
The sun is setting deep into the western skyline. It's clear
and the colors are bright mostly in shades of blue.
The waves gently throw themselves on the shore.
Frank and Roberta are exiting a fishing pier and begin to
walk along the sandy beach.
FRANK
Geez, I didn't realize that this place
can be so peaceful. I mean with all the
street noise and everyday confusion, I
should've opened a small T-shirt shop on
the beach or somethin'.
ROBERTA
I'm glad that you didn't.
FRANK
What do you mean?
ROBERTA
If you had opened a T-shirt shop on the
beach, I would have never met you.
FRANK
Oh, yeah. I see what you mean. I didn't
look at it like that.
ROBERTA
Tell me about your wife and son.
FRANK
Nah. That's water under the bridge.
ROBERTA
(forceful)
I want to know about your son.
FRANK
My wife ran off a long time ago. My kids
probably about thirty years old now, I
haven't seen him since he was just a kid.
I don't blame her. It's not her fault.
She warned me to get my act together and
like I told you, I let those clowns run
me around. So she split. Took the kid.
Sent me divorce papers. And that was
that.
ROBERTA
What's his name.
FRANK
He ain't got a long crazy name like mine.
His name is Anthony. I liked to call him
Tony.
ROBERTA
Aren't you curious about him? Don't you
wonder what he's like now that he's
grown?
FRANK
Sure I do. I think about him almost all
the time. But I know the kids better off
without me. That I'm sure of.
ROBERTA
Believe me Frank when I tell you this,
every child needs their parents. Every
son needs his father.
FRANK
Maybe someday he'll get curious and start
pokin' around.
ROBERTA
Maybe you should be the one to start
poking around?
She jabs him in the ribs several times.
FRANK
Hey, with that. And what about your
child?
ROBERTA
I don't want to talk about it right now.
FRANK
No, I can't except that for an answer.
You've been prodding me about my son ever
since I met you. I want to know about
your child. A boy or girl?
ROBERTA
He was a boy.
FRANK
Was? Where is he? Put him up for
adoption?
ROBERTA
Oh, no. I could never do that.
FRANK
Then what?
They stroll up to a lifeguard tower, sit and watch the sun
setting into the ocean.
ROBERTA
He's dead. My son is dead.
FRANK
Ahh, geez. I'm sorry. I didn't know.
ROBERTA
I was just starting to stand on my own.
I had taken him to a school and
registered him. He was frightened to be
without me. We had always been together.
Something told me not to leave him that
day, but I thought I was being
ridiculous. What could happen to a child
in school anyway? I wanted him to be
around other children like himself.
EXT. SCHOOL YARD - DAY
Roberta watches as her child plays with the other children.
The BOY (5) seems to have adapted well to his new
environment.
ROBERTA (V.O.)
When the school day had ended I went back
to pick him up. I watched him as he
played with the other children.
(she laughs)
Children adopt so well. When I left him
in the morning he was frightened and
crying terribly. Now he was running and
laughing and having a wonderful time.
Suddenly three gun wielding young MEN begin to run down the
street from where Roberta is positioned. Police cars race
around the corner, lights blaring, siren's wailing in hot
pursuit.
ROBERTA (V.O.)
Then it happened. Some young men began
running down the street. There were
three of them.
Roberta runs to her child. The child sees his mother and
begins to run toward her. The child is full of laughter and
smiles.
ROBERTA (V.O.)
I ran for my Romano. He saw me, he
thought I was playing a game with him.
He began to run toward me. I shouted for
him to get down. No, mi hijo.
The cop cars pull up to the schoolyard and begin to exchange
gunfire with the young men.
ROBERTA (V.O.)
The young men started to shoot at the
police. The police fired back. Bullets
going everywhere. All I could see was my
little boy laughing and running toward
me.
One of the young men falls, shot in the volley of gunfire.
ROBERTA (V.O.)
One of the men was hit by a bullet. He
fell to the ground. There were several
police cars now. More bullets and more
shooting. I was crawling on the ground
toward my Romano.
Romano continues running toward his mother and is struck by a
stray bullet.
ROBERTA (V.O.)
He almost made it to me. I watched as a
bullet ripped through my sons head. He
died before he even hit the ground. His
smile never left his face.
EXT. BEACH - SUNSET
The sun has set into the ocean.
FRANK
I visited your father yesterday. He's
still in prison, but he's alive and right
here in California. He wants to see you.
Roberta lays her head on Frank's shoulders.
FRANK (CONT'D)
I will take you to see him next week.
Frank pets her hair. They embrace.
INT. NEWSSTAND - LATER SAME EVENING
Willy's busy working behind the cash register. There's a
small line of PATRONS waiting to pay for their papers.
Suddenly the mailman storms into the newsstand. He stands
waiting for Willy to notice him.
He doesn't. Willy's too busy handling the customers. Willy
never takes his eyes off of the customer in front of him.
A customer in a hurry grabs a paper and butts in.
CUSTOMER
How much do I owe you.
WILLY
A buck.
CUSTOMER
You haven't looked at the paper so how do
you know it's a buck?
WILLY
Mister if you ain't got time to stand in
line, and you ain't got time to wait your
turn, then you ain't got time to find out
how I know the price of the paper without
looking at it.
The customer plops down his buck and dashes out.
Willy takes the money from the next guy and the next.
The phone rings. Willy goes for the phone.
WILLY
(to the mailman as if he was a
customer)
I'll be right with you.
(he looks up)
The mailman smiles at Willy. The phone
continues to ring.
Willy shakes his head. Yes! The mailman responds by handing
him a certified letter.
MAILMAN
You have to sign for it. I was sorting
the mail for tomorrow's deliveries and
there it was. I knew that it couldn't
wait so here I am.
The phone continues to ring.
Willy quickly signs the certified letter as a new flow of
customers fill the newsstand.
Willy tucks the letter quickly in his pocket and answers the
phone.
WILLY
Newspapers from around the globe!
MAILMAN
Tell me about it tomorrow. I got to get
going.
Willy is locked into the phone conversation. He puts his
hand over the receiver.
WILLY
I'll let you know how it went tomorrow.
Wish me luck.
MAILMAN
Good luck.
He splits.
The newsstand is bustling and Willy has to get to work, he
forgets about the letter in his pocket.
EXT. SCHOOL GROUND - SAME NIGHT
Eddie, Julio, and all of the gang are hanging around
drinking, smoking and up to no good. Chino hops the fence
and enters the crowd.
EDDIE
Chino, let's get ripped dude.
CHINO
We got business. Getting ripped isn't
such a good idea. You need to be able to
handle the wheel man, this ain't no game.
EDDIE
I'll drive cool man. You just shoot
straight.
JULIO
Don't worry about me shooting straight.
I got eighteen shells. I'll bet I leave
at least twelve of them in him.
EDDIE
What time is it?
JULIO
It's after nine thirty.
EDDIE
Let's roll.
The gang members shake hands.
Eddie, Chino, and Julio jump into the Monte Carlo and take
off.
INT. MONTE CARLO - CONTINUOUS
EDDIE
I can't wait to see the look on that
dude's face when we come out of nowhere
and send him straight to hell.
Eddie takes a swig of beer. Chino grabs at it and tosses it
out the window.
CHINO
Shut up and drive.
EDDIE
What's been eating you lately? This is
nothing. Just another dog. That's it.
In another thirty minutes it'll all be
over. No more worries right?
CHINO
It don't feel right. Something's just
not right.
EXT. ALLEY - CONTINUOUS
The Monte Carlo slides quietly into the alley near the
newsstand. Most of the street is deserted.
The lights are still on in the newsstand.
INT. MONTE CARLO - CONTINUOUS
EDDIE
Can you see him.
JULIO
I can't make him out, but he's in there.
I can see him moving around.
EDDIE
We just have to lay low and wait. As
soon as he pulls down the shutter, I'm
pulling out and you guys take him out
fast.
CHINO
Hey, look. Something's happening.
JULIO
C'mon. C'mon.
The lights go off in the shop.
EDDIE
Check it out. Here we go. Gentlemen
start your engines.
Eddie starts his engine.
Julio pops in his clip. Chino checks his gun.
CHINO
This is it.
A silhouette exits the newsstand.
The Monte Carlo rumbles quietly.
The silhouette pulls out some keys. The street is so quiet
that the sound of the keys jangling is very prominent.
The shutter goes down.
EDDIE
Let's go.
EXT. STREET - CONTINUOUS
The tires squeal as the pedals pushed to the floor.
Burning rubber the Monte Carlo exits the alley. It races
toward the newsstand.
Eddie turns the wheel sharply and the Monte Carlo does a 180
degree turn.
Julio sticks his body out of the car window to his waist,
pointing the gun at his victim.
JULIO
(shouting)
Die bitch.
The silhouette turns around and stands in a position that
moves him into the light. It's Willy.
Chino sees that it's not Frank.
CHINO
(shouting over the noise)
No. It's the wrong guy.
Bullets unload out of Julio's gun. He pulls the trigger long
past an empty clip.
Willy's shot twice in the chest and once in the left arm.
Bullets spray the walls around him. The momentum of the
shots causes Willy to spin around.
The glass in the newsstand window is shattered in the volley
of shells.
The For Sale sign falls into the street.
Willy's hit three more times in the back. He falls to his
knees and then to the pavement.
The Monte Carlo stops. They all stare in disbelief.
INT. MONTE CARLO - CONTINUOUS
EDDIE
Oh, man.
CHINO
It's the wrong guy. I told you it's the
wrong guy. Get out of here. What are
you waiting for?
JULIO
Lets' go man. Let's go!
EXT. STREET - CONTINUOUS
The Monte Carlo races down the street.
EXT. BROADWAY AND 8TH ST. - CONTINUOUS
Willy's left to die.
Willy drags himself to his feet with only his right arm.
He pulls down the shutter and manages to latch it shut. As
he does this the certified letter falls from his pocket to
the ground.
He notices this and slides back down to a sitting position.
He picks up the letter.
WILLY
I almost forgot about you.
Wincing in pain he reads the envelope.
WILLY (CONT'D)
Mr. William James. Well, let's see how I
did.
Willy looks back down at the now blood stained letter and
tears the corner open. Pulling out the letter he reads
aloud.
WILLY (CONT'D)
Dear Mr. William James. Sounds kinda
nice to be called Mister for a change.
(back to the letter)
On behalf of the poetry committee, we are
very pleased to announce that you have
taken first prize in our poetry contest
for your submission titled, Gothic
Squeeze. There will be a dinner in your
honor and you will receive several free
copies of the book to give to your family
members and friends. Again
congratulations. Sincerely, Jessica
Worthington. Executive and chief of Four
Corners Publishing House.
Willy smiles proudly. He does not stutter.
WILLY (CONT'D)
They can never take that away from me.
He slowly closes his eyes. His hand falls toward his chest.
He dies clutching his letter tightly.
CUT TO:
INT. MONTE CARLO - LATER SAME NIGHT
The Monte Carlo races into the school parking lot.
Eddie drunkenly stumbles out of the car. He's laughing
victoriously.
EDDIE
Man, you should have seen the look on the
dudes face as we came at him. That nigga
turned white as a ghost.
CHINO
Shut up you fool. Shut up!
EDDIE
You need to chill dude. He got what was
coming to him. Besides it was a case of
mistaken identity. Talk about being in
the wrong place at the wrong time.
CHINO
That's two dead because of you. You make
bad decisions. Now we'll all face the
death penalty for sure.
EDDIE
No man, we'll get it right next time.
His buddy's next. We just lay low for a
while.
Chino grabs Eddie and slaps him around. He pushes Eddie hard
to the ground. He jumps on him and quickly pounds him into
submission.
EDDIE (CONT'D)
OK. OK. What's up with that?
CHINO
We shot the wrong dude. Don't you get
it. First a little girl dies cause you
run her over driving all fucked up.
Eddie, she was a little girl.
Don't you feel badly for her. Don't you
feel anything at all?
EDDIE
Yeah, I feel something. I feel for me.
Tell me? What has anybody ever done for
me? What has anyone ever done for you?
CHINO
They didn't try to kill me. We can't
just keep pushing like this. Where's it
taking us? Two dead and for what? For
what? For being in the wrong place at
the wrong time? And now you want to make
it three? Count me out.
EDDIE
He's got to go.
CHINO
You don't get it. No more. I've had it.
No more.
Chino walks away.
EDDIE
You're no longer one of us Chino. Do you
hear? If I was you I'd find someplace
else to go. Someplace very far away.
Yeah, take a permanent vacation dude,
cause your life is worth nothing anymore.
Nothing.
JULIO
Chino, come back man. We can work it
out.
Eddie shouts as Chino continues to go.
EDDIE
Let him go. He's weak. Do you hear me
Chino? You are weak. You are nothing to
us. Nothing.
DISSOLVE TO:
EXT. NEWSSTAND - LATER SAME NIGHT
The flashing red police lights fill Frank's face. Roberta
stands next to him.
FRANK
Go on home, it will do you no good to
stay around here.
He hails a taxi and sends her on her way.
Frank hands the driver some money. As he closes the taxi
door...
FRANK
I'll call you when I get home.
The taxi moves on.
EXT. BROADWAY AND 8TH ST. - CONTINUOUS
Frank stands looking at the covered body of Willy. There are
COPS and BYSTANDERS everywhere. Police tape cordons off the
area.
A chubby, and pale faced DETECTIVE questions Frank.
DETECTIVE
This is an obvious hit. Looks like a
drive by. You got any ideas who would
have wanted to kill this man?
FRANK
They didn't want to kill him. They
wanted me.
DETECTIVE
Why would somebody want to target you?
FRANK
Not too long ago I witnessed a hit and
run. I was the only one that got a good
look at the fellas. It was just a couple
of punks. I didn't think that it would
come to this.
DETECTIVE
That's it? That's all you can tell us?
FRANK
No, that's not it. That's one great guy
lyin' under that sheet. Would you hurry
up and get him out of here? He deserves
a little better than this kinda
treatment.
Another COP walks over to the detective and hands him Willy's
letter.
COP
He was holding this when we got here.
DETECTIVE
Think this could help us out?
He hands Frank the letter.
Frank looks at the bloody, smeared letter and understands the
contents of it. He shakes his head.
FRANK
Geez Willy.
(to the Detective)
Is it alright if I go over and say good-
bye?
The detective shakes his head yes.
DETECTIVE
Yeah, go on.
Frank walks over to Willy's corpse and bends down next to
him.
A COP tries to stop him.
COP
Hey, buddy you're going to have to move
it.
FRANK
(yelling now)
Get the hell out of here.
The chubby detective shakes his head at the cop and the cop
acknowledges the detectives meaning.
Frank pulls down the sheet and gets up close to Willy almost
whispering as he speaks. He takes Willy's hand.
FRANK
Hey, Mr. William James. Don't you worry
about nothin', your good buddy here is
gonna take care of everything. You're
gonna go to that banquet and you're gonna
be honored in the grandest fashion. I'll
see to it. I guarantee you that. I
promise you another thing, I will get
those sons a bitches if it's the last
thing I do. You got my word on that.
Frank stands.
FRANK
So long Willy. I'll see you before you
know it.
Frank lights a cigarette and walks away from the scene as an
ambulance arrives, flashing it's red lights.
Frank continues to walk away.
INT. ROBERTA'S HOME - DAY
Frank sits in the living room of Roberta's home. Her
girlfriends are all present as usual.
FRANK
(shouting toward the back of
the house)
If I was you I'd hurry it up a bit. We
don't want to run late.
ROBERTA
(shouting from the back)
I'm almost ready.
MADELAINE
You have no idea how much this means to
her.
FRANK
I don't know, I'd say I got a pretty good
idea of how important this is.
MADELAINE
I hope that she will not be disappointed.
FRANK
She's gonna be OK.
Just then Roberta enters looking beautiful.
ROBERTA
Do I look alright?
FRANK
You look fine.
ROBERTA
Are you sure? I didn't want to over do
it.
FRANK
Stop worrying. C'mon we got to get
going, we got a long drive ahead of us.
Madelaine kisses Roberta on the cheek.
MADELAINE
You be sure to tell us all about it when
you get back?
FRANK
C'mon we're running late.
ROBERTA
Good-bye.
Frank and Roberta begin to exit.
INT. FRANK'S CAR - DAY
Frank's jalopy makes its way down I-5 heading North through
the mountainous countryside.
ROBERTA
What will I say? What will we talk
about?
FRANK
You'll find the right words. Just
remember prison changes every man.
ROBERTA
Is he a hard man now? I remember he was
a good, kind man.
FRANK
Oh yeah, he's a real softy. By the way I
thought you said that he couldn't speak
no English?
ROBERTA
He couldn't, not a word of it.
FRANK
Well he can now. I'll tell you one
thing, he knows all the wrong words.
The exit to the state prison is upon them.
FRANK
This is our turn off. About another
twenty minutes and we'll be there.
ROBERTA
Oh, Francis. I'm so nervous.
FRANK
It's perfectly natural for you to feel
this way. After all it ain't everyday
that an attractive woman like yourself
goes to prison to meet her father that
she hasn't spoken to in twenty-five
years.
Roberta smiles a nervous smile.
INT. CHINO STATE PRISON - SAME DAY
Roberta and Frank are waiting in the visitor room.
The sound of a door unlocking is heard from the other side of
the wall. The door slams shut from out of view and echoes
loudly. Chains can be heard clanging their way down the
unseen hallway.
Roberta clasps at Frank's hand from under the table.
FRANK
That sounds like my cue to split.
She grabs his hand tightly.
ROBERTA
Don't go. I won't know what to say.
FRANK
I've never known you to be short of
words. Why don't you start by saying,
how do you do?
Frank wipes the tears that begin to fall from her eyes.
She releases her grip on Frank's hand. He gets up and walks
away.
The sound of the chains is getting closer. Roberta wipes her
eyes, straightens her hair and sits up straight.
Romano Gonzalez comes around the corner. He's clean shaven
and his hair is cut, combed and clean. He wears a clean
prison uniform.
His eyes look toward the ground.
THE ENTIRE CONVERSATION IS IN SPANISH WITH ENGLISH SUBTITLES.
ROBERTA
Padre.
He slowly raises his eyes and looks at her.
Roberta smiles at him.
ROBERTA (CONT'D)
Father, it is you?
ROMANO
Why have you come?
ROBERTA
I had to. I wanted to. I needed to.
You are my father.
ROMANO
Why now? It's been a long time. A very
long time.
ROBERTA
Because it is time.
ROMANO
What's the purpose for you to come? To
stare at me like an animal that is in a
cage? I have been here twenty-five
years. I have been up for parole seven
times. I may never be set free.
ROBERTA
Maybe so, but I have found the father I
thought I lost forever. I shall never
lose him again.
ROMANO
Maria, how is she?
ROBERTA
I don't know. It's been a long time
since I've seen her.
ROMANO
You have grown into a very beautiful
woman. Your friend is right, you are a
wonderful woman.
ROBERTA
We brought you some things. When they
finish checking them, we were told that
you could have them.
ROMANO
Things? What things?
ROBERTA
Stamps. Many stamps. Envelopes and
paper to write. To write letters to me.
ROMANO
You want me to write letters to you?
ROBERTA
Yes. Write to me often. We have much to
learn of each other. We have lost so
much time.
ROMANO
This fellow, tell me... will you marry
him?
ROBERTA
I love him father. If he would ask me, I
would say yes.
ROMANO
Is he crazy? Why would he not want to
marry my beautiful daughter?
ROBERTA
Father, there is a time and a place for
everything.
A GUARD taps Romano on the shoulder with his club.
ROMANO
I am up for parole again in a few months.
I will try hard this time. I now have a
reason to be free. I want to see my
grandchildren grow. This Frank, he is a
good man. Marry him.
ROBERTA
Yes, father I'm sure I will.
GUARD
Let's go.
Romano puts his hands onto the glass window. His chains on
his hands clang against it.
ROMANO
Take care of yourself.
Roberta puts her hand on the glass.
ROBERTA
You too.
He turns to go.
INT. BACK ROOM - CONTINUOUS
The guards unlock the gate in front of Romano.
ROBERTA (V.O.)
Write to me. Write to me everyday.
ROMANO
(shouting back)
Yes, I will write. I will write often.
Good-bye my daughter.
Tears fill Romano's eyes.
ROBERTA (V.O.)
I love you father.
ROMANO
Yes. Yes.
The change in Romano is evident.
INT. ROMANO'S JAIL CELL - A LITTLE LATER
The guards unlock Romano's cell. He enters.
He reaches under his mattress and pulls out a photo of his
two daughters and children.
INT. NEWSSTAND - DAY
The place is a wreck. Broken glass everywhere.
Frank is talking to the Realtor and a CONTRACTOR. Frank's
ballistic.
FRANK
Ten grand to spruce up this joint?
REALTOR
That's the only way to get an offer for
the money you want.
CONTRACTOR
That includes the exterior painting, a
complete re-wiring of the electrical, as
well as a renovation of the interior.
It's a pretty good deal when you add it
all up.
FRANK
Yeah, a pretty good deal for you buddy.
I wasn't born yesterday, I know when I've
been had.
CONTRACTOR
The glass replacement alone is going to
be very costly.
FRANK
I should've paid for the insurance
coverage. Who would have thought?
REALTOR
The sooner you get the work done the
faster you'll sell.
CONTRACTOR
When would you like us to begin?
FRANK
When can you start?
CONTRACTOR
We can place the order today. Since it's
Friday, how about the first of the week?
Let's say Monday.
FRANK
The sooner the better is all I can say.
REALTOR
You won't regret it Frank.
FRANK
I'm regretting it already. Ten grand?
Geez!
He shakes his head.
INT. BANQUET HALL - NIGHT
Frank's shaking his head. He pulls at the tie that's too
tight for his rented tuxedo. The tie rests at an awkward
angle. Frank tries to straighten it and it only makes it
worse.
A sign behind him reads: POETRY CONTEST AWARD BANQUET
TONIGHT.
He's standing in the front of a long line with Roberta.
There are several PEOPLE behind him waiting for him to move
on.
He carries with him a few huge volumes of Willy's writing.
He's talking to one of the poetry contest VOLUNTEERS. She
puts a "Hello My Name Is William James" sticker on Frank.
He's totally frustrated.
VOLUNTEER
I just loved your poetry submission Mr.
James.
Another VOLUNTEER CAMERAMAN overhears the name and also
mistakes Frank for Willy. He quickly gets his camera ready.
CAMERAMAN
Oh, Mister James.
Frank turns around and SNAP. He gets a face full of a bright
light flash.
CAMERAMAN (CONT'D)
Thanks Mister James.
The cameraman moves on.
Roberta is amused.
FRANK
(to the volunteer)
Look you don't understand I've been
trying to tell everybody here that I'm
not...
VOLUNTEER
(interrupting)
It you will just go to table three. You
will find your seats, which coincide with
the number on your guest pass. Have a
wonderful evening Mr. James.
She moves on to the next COUPLE.
VOLUNTEER (CONT'D)
(to the next couple)
Can I see your guest passes.
They hand her their guest passes.
Frank and Roberta dumbly moves on like cattle.
FRANK
Geez, Willy is winning a big award
tonight and nobody wants to know that
he's not going to be here.
They step into the banquet hall. It's filled to overflowing.
Quite a fancy formal affair.
FRANK
Boy, I wish that Willy could see all
this. All this, just for him.
Frank finds table number three and sits down.
ROBERTA
I'll get you a drink. You look like you
need one.
FRANK
Beer. Get me a beer.
Roberta exits.
Many of the prominent citizens of the community have come to
pay homage to the finalists of the Four Corners Poetry Award
winner.
This is strictly a black tie event.
CUT TO:
INT. BANQUET HALL - A LITTLE LATER
There's applause. It quiets down.
JESSICA WORTHINGTON, (50) a prominent and wealthy individual
stands at a podium.
JESSICA
We would like to thank our runner up in
the Four Corner Publishing Contest, Miss
Emily Strauss for her poem, God's Green
Earth.
Frank and Roberta sit at table number three. Dinner is long
over. The guests are applauding the recipient of the second
place award.
A blonde woman, EMILY STRAUSS (28) walks up to the podium and
accepts her small trophy and award statement.
EMILY
Thank you for this award. I am greatly
honored.
She bows and the audience once again applauds as she is
whisked back to her seat.
JESSICA
We now would like to bring up our honored
guest tonight. Never in the history of
the Four Corners Poetry Award Contest has
anyone achieved such an overwhelming
number of votes for first place. The
first place winner of the Four Corners
Publishing Award, goes to Mr. William
James.
The audience begins to applaud. A bright spotlight finds its
way to Frank.
Roberta nudges Frank to go accept Willy's award.
The audience applauds louder as Frank stands and walks toward
the podium. He carries with him the huge volumes of Willy's
writings.
There's a standing ovation for him. Jessica Worthington
hands Frank an enormous trophy.
JESSICA (CONT'D)
Mr. James will now recite his winning
entry for all of us to enjoy. A poem
about a newsstand entitled, Gothic
Squeeze.
She steps back a few feet. Again there is much applaud.
Frank tries to quiet down the crowd.
FRANK
Thank you so very much. Please, if I
may, I have something to say to you all.
The applaud diminishes and then halts altogether.
FRANK (CONT'D)
When I came here tonight, I tried over
and over to say somethin' that nobody
really wanted to hear. You all wasn't
listenin' to what I had to say. Then I
suddenly realized that's what seems to be
the biggest problem in society today.
The greatest nation on the face of this
planet right? Nothin' we can't do if we
put our minds to it. But no one's
listenin' to what the other fellows got
to say. I've been tryin' to tell you
people all night long that I am not
William James.
The crowd is not sure what to make of this. They're
confused.
FRANK (CONT'D)
Mr. William James was an employee of
mine. Wait, let me take that back.
Willy was my friend. He was the only
friend I ever had. I run a newsstand
downtown on Broadway and Eighth. Down
there nobody knows no one. We're a bunch
of zombies going through the motions of
life, but not really livin' it. I used
to kid Willy and say, I'm glad I ain't
you. Well, I would give anything in the
world to have had the admiration that he
received from this fine group of people
here tonight. I wish that he could see
all this fancy stuff. He would have
really been impressed.
Frank looks over at Roberta she's proud of Frank at this
particular moment.
FRANK (CONT'D)
Just a few nights ago Willy was shot to
death in front of my business.
The crowd gasps.
FRANK (CONT'D)
He was closing up my shop for the night
and he was gunned down. An innocent
bystander in the wrong place at the wrong
time. I'm entirely sure those bullets
were meant for me. And for this I am
terribly sorry. But that's entirely
another story. Right now this is Willy's
moment. When I first met Willy he was
livin' on skid row. He had just been
released from prison. He had received a
sentence for twelve to twenty years hard
time. Funny thing that's not so funny is
that he never committed the crime. He
spent fourteen years in prison for a
crime that he most certainly did not
commit. The wonderful thing about him is
that he didn't feel that the world owed
him anything. Nothin'.
The faces of the crowd try to follow along.
FRANK (CONT'D)
Life was hard for Willy. He'd been
kicked around all of his life. He was
dealt the dead man's hand a long time
ago. His mother was a junkie. He never
even knew who his father was.
INT. DRUG DEN - DAY
A tearful Willy (14) kneels over his dead MOTHER attempting
to resuscitate her.
FRANK (V.O.)
As a kid, Willy found his mother dead
from an overdose of heroin.
EXT. GHETTO - NIGHT
The young Willy huddles wrapped in old newspaper trying to
get some shuteye.
FRANK (V.O.)
He lived on the streets practically his
whole life after that. That is except
when he wasn't in prison.
INT. BANQUET HALL - CONTINUOUS
Frank stands at the podium.
FRANK (V.O.)
The one good thing that came to him from
prison was that he learned to read and
write. And how to play one hell of a
mean game of chess I might add. Anyway,
he began to write in his little books and
soon his little books became big books,
and those big books became volumes and
volumes of poems, stories and daily
records of how he perceived life.
Frank looks concerned toward Roberta.
INT. NEWSSTAND - NIGHT
Frank is trembling as he holds a .44 Magnum to his head.
Walking past the newsstand Willy takes notice. He enters the
newsstand, walks up to Frank and slowly takes the gun from
him. He hugs Frank.
FRANK
Late one evening, out of the blue Willy
comes walking into my shop.
I didn't know him from Adam. I... I had
a gun to my head. I couldn't take it
anymore. It was over for me. I had had
enough of this world. I was checkin'
out. I guess it was just bad timing on
my part. I don't know. Somehow, Willy
managed to get me to put the gun down.
He talked to me. I have been grateful to
know him ever since that day. I'm going
to miss you Willy. Mr. William James.
Frank begins to fumble through a stack of Willy's work.
FRANK (CONT'D)
I spent the past several days going
through Willy's writing. I've read it
all. He was truly a gifted man. I'd
like to leave his work with you Mrs.
Worthington.
He hands Jessica Worthington the volumes of Willy's work.
FRANK (CONT'D)
I think that you will find many of his
writings to rival that of the poem you
chose for your poetry book. He's got no
relatives or anyone else to leave them
with. I'm sure you will agree the best
place for his work is with you.
Frank fumbles through one of Willy's books.
FRANK (CONT'D)
I have here somewhere, something I feel
is appropriate, knowing how things have
turned out. I would like to read it to
you. I couldn't make heads or tails of
it the first few times I read it. After
awhile I began to understand what he was
trying to say.
Frank finds the writing.
FRANK (CONT'D)
Here it is. Try to roll along with the
punches if you don't mind and forgive me
if I screw up. I'm not used to reading
one of Willy's poems aloud. I'm usually
his captured audience.
Frank puts on his reading glasses, adjusts his eyes and..
FRANK (CONT'D)
Willy called this one, Wayside Wander.
Alright, so here we go.
Frank takes a deep breath.
FRANK (CONT'D)
Someone tore at the blouse of a virgin.
Her skirt is hiked way above her knees.
She's thrown over by the side of the
highway. Left naked by the hollow dead
trees. Her wet hair is matted in blood
soaked abandon. She's crawling, calling,
cursed filthy and diseased. The bowels
of humanity that did rip her with wanton.
Raped her with ambitious deplorable
sensation. Wailing and hungry now torn
from salvation. Mauled she forgives this
sorrowed filled nation. Battered and
bruised, and sleepy is she. Ne'r to
return from her excised solation.
Frank looks up and shrugs. There isn't any applause.
FRANK (CONT'D)
That's us folks. It took me a long time
to understand what Willy was trying to
say here. Now I understand completely.
Frank steps down from the stand. There is only silence.
He walks over to Roberta and puts out his hand. She stands
and takes his hand.
FRANK (CONT'D)
I feel like goin' dancin'. How ?bout it?
She nods yes and they exit the banquet hall.
INT. NEWSSTAND - DAY
The newsstand is painted and looks spick and span.
Frank can't stand it. He's talking to Saul and eating Petite
Delight candy.
FRANK
How can I run a business in a hospital?
This place is too sterile for me.
SAUL
It looks pretty good to me. Besides now
you have a better chance to sell and move
on.
FRANK
Yeah, the sooner the better.
The Realtor enters the newsstand.
REALTOR
Frank, you better sit down, I think I got
some bad news for you. Your last offer
was turned down.
FRANK
What are you talkin' about? I just
dumped ten grand into this place.
(loudly and annoyed)
You just cost me ten grand.
Frank roughly shows him the door.
FRANK
(shouting)
You and me is through doin' business.
Frank slams the door.
SAUL
Looks like you might just have to stick
around for a while?
FRANK
(smiling)
Looks that way. You know somethin'? I
guess when it comes down to it I didn't
really want to lose the joint after all.
Saul pulls out a handful of change and begins to plop it onto
the counter.
FRANK (CONT'D)
Nothin' doin'. It's on the house. You
better get back to work before your wife
starts in on me.
Saul picks up his Hebrew print paper and starts to exit. As
Saul pulls open the newly painted front door he bumps into a
young man (Chino) who enters the shop.
Chino is dressed differently. He's not wearing any gang
clothing.
CHINO
Excuse me.
SAUL
Since when do we hear such polite young
men?
Saul leaves.
Frank does not notice that it's Chino. His back is to him.
He's busy putting papers in the newly painted racks.
CHINO
Excuse me sir. Can I talk with you a
moment?
Frank does not look at him and he does not stop working.
FRANK
Sure kid what can I do for you? You
lookin' for a job? Cause I could use an
extra pair of hands around here.
CHINO
Not exactly.
FRANK
Then what can I do for you?
CHINO
(a little nervous)
Can you please stop what you're doing and
look at me.
FRANK
Alright. OK! Now what can I do for you?
Frank drops the paper and turns to Chino.
It takes him a split second to immediately recognize Chino.
Frank lunges at Chino.
FRANK (CONT'D)
You son of a bitch.
Frank strangles Chino and begins to punch him out. Chino
struggles but it's no use. He's getting pummeled.
CHINO
Wait a minute.
FRANK (CONT'D)
I've been waiting a long time for this
moment. A long time!
Chino struggles as Frank begins to choke him. Chino grabs at
Frank's hands. Frank continues to choke out Chino as
newspapers tumble from the racks and onto the floor.
FRANK (CONT'D)
You're good as dead. Do you hear me?
Dead!
Frank hits him in the face with his fist.
FRANK (CONT'D)
This is for that beautiful little girl.
He smashes him in the face again.
FRANK (CONT'D)
This is for Willy.
Frank drags Chino over to the counter by the neck. They hit
the floor.
Frank continues to choke Chino as he reaches behind the
counter and pulls out his .44 Magnum. He sticks it roughly
in Chino's face. Frank continues to squeeze Chino's throat.
FRANK (CONT'D)
Say good-bye mister tough guy.
CHINO
(barely)
Wait.
FRANK
This is the end for you. Ya punk.
Suddenly, another gun is shoved into Frank's temple.
EDDIE
Put down the gun dude. It's time to play
nice.
Frank rebelliously pulls back on the firing pin.
FRANK
No way Jos?. I'll take at least one of
you bastards out with me.
JULIO (V.O.)
Shoot him Eddie! Hurry up. Let's get
out of here.
EDDIE
Looks like you and your black buddy
didn't appreciate our remodeling job.
FRANK
Let's just all go to hell together.
JULIO
Do it Eddie! Do it now man!
EDDIE
See Chino, I told you. What did it get
you? You turn on us and you lose anyway.
Hey mister, this punk came to make
friends with you. And now you're going
to off him?
CHINO
Yeah, but I'm goin' out like a man.
You're the one as usual with a gun stuck
at someone's back. You're like a
crawling snake Eddie, you do everything
on your belly.
EDDIE
Yeah, homes. Well look whose lying on
his back now. Just like your whore
sister. Always on her back with her legs
spread wide open.
Julio is too nervous. He pulls back the pin on his gun.
JULIO
Let's go. Let's do it and get out of
here.
Just then the newsstand door opens. Roberta enters.
ROBERTA
(excited)
Hey, Francis I have got some great news
to share with you.
Eddie's attention turns to the door long enough for Frank to
pull himself out of the line of fire.
Eddie pulls the trigger and it hits Chino in the chest.
Frank turns quickly and lands a single shot to Eddie's
temple, blowing off half of his head. Eddie let's off
several rounds as he falls dead.
Julio starts to shoot like crazy.
Frank rolls over taking a shot in the leg and in the gut.
Frank unloads his gun into Julio knocking him clear out the
front glass window and past a shrieking Roberta.
Julio hits the pavement dead.
Roberta runs to Frank. Frank turns his gun toward the
gasping Chino. He pulls back on the trigger.
ROBERTA (CONT'D)
Francis. Francis don't. Think of the
little girl. The Jewish little girl.
FRANK
This guy killed Willy.
ROBERTA
Don't do it. Francis, everybody needs a
second chance.
Frank drops the gun and falls to the ground.
Sirens can be heard screaming in the distance as they begin
to approach the newsstand.
ROBERTA (CONT'D)
Francis.
Grabbing Frank, she gets a handful of blood.
ROBERTA (CONT'D)
(she cries out)
Francis.
FRANK
I'm OK.
He's not.
ROBERTA
Hold on they'll be here any second now.
Just hold on.
FRANK
So tell me, what's the good news?
ROBERTA
Don't talk. Just lie still they'll be
here any moment.
FRANK
I gotta know. What's the good news?
ROBERTA
My father. He's being paroled. He's
being set free.
FRANK
That is good news. That's real swell.
That's the best news all day.
Roberta holds Frank tightly as the COPS barge into the
newsstand, guns drawn.
FRANK
What's the hurry fellas. The jobs
already done.
Frank starts to laugh.
ROBERTA
What's so funny?
FRANK
Think you'll read about this in the
papers tomorrow? News guy shot in
newsstand.
ROBERTA
Francis, hold on.
Frank laughs again.
ROBERTA
Now what?
FRANK
I got me an insurance policy yesterday.
This time I won't have to pay to fix up
the joint.
He laughs weakly.
FRANK
Oh, and I decided not to sell. I'm
sticking around for awhile.
Roberta holds him tightly.
ROBERTA
You're going to need a wife to look after
you from now on.
FRANK
I've been thinking about that too. Know
anyone that'll put up with a guy like me?
ROBERTA
I can think of one.
A COP checks Julio for any signs of life.
COP
This one's dead.
Another COP.
COP #2
So's this one.
He's talking about Eddie.
COP
Geez, what a mess them .44 magnums make.
A RESCUE TEAM rushes into the newsstand. Chino moans.
COP #2
This one's still alive. Take him to LA
County's jail hospital and book him on
armed robbery and attempted murder for
starters.
(to Frank)
If he makes it that is.
FRANK
Charged for what? These two guys came in
here to rob me. That kid took a bullet
for me.
Chino very weak looks at Frank. He understands.
FRANK
He works for me.
Chino is rushed out of the newsstand on a stretcher.
CREDITS ROLL TO:
MONTHS LATER
EXT. CHINO STATE PRISON - DAY
Romano walks out the front gate of Chino State Prison a free
man. Roberta is there to greet him.
DISSOLVE:
EXT. NEWSSTAND - DAY
Frank exits his newly refinished newsstand with help from a
cane.
He turns back.
FRANK
(to Chino)
And see to it that we get a new chess
board. Today!
Chino smiles.
CHINO
Sure thing boss.
EXT. BROADWAY AND 8TH - CONTINUOUS
Frank walks past the Nguyen's market and Mr. Nguyen tosses
Frank a Petite Delight. Frank pops it into his mouth and
waves hello to Mrs. Nguyen. She smiles back as always.
Frank walks toward the Flower Shop. He looks in and
Madelaine is busy with a CUSTOMER. He has a look as if to
say, did she go? Madelaine understands, smiling she shakes
her head yes.
Frank walks on toward Saul's Bakery. As he passes he looks
in and taps on the window with his cane. Mrs. Kaufman waves
hello. Saul waves it off.
Frank walks past a few more shops toward a bookstore. He
stops and looks into the window. A YOUNG MAN it putting a
brand new stack of books in the store window on display.
The books that are being displayed are titled, SECOND CHANCE
written by William James, a Four Corners Publication.
Frank enters the bookstore.
FADE OUT.
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