ALTERNATE SIDE OF THE STREET an original screenplay by Jeff Massie CompuServe 76474,1326
Copyright © 1986 by Jeffrey N. Massie WGAw Registered The author gives permission to download this material and make one copy for personal use only.
This screenplay was originally written in 1974 when I was a junior at the New York University Institute of Film and Television. For various reasons, personal and otherwise, the script was never produced.
I have not lived in New York since 1977. A few months ago, the purchase of a Manhattan guidebook at a used-book sale in LA reminded me of my old script. I had lost all copies of my old material, so I resurrected the script from memory. I think the result is better than the original.
What in 1974 would have been contemporary history is now a nostalgic "period piece". I would be very interested in your comments and criticisms.
EXT. - DAY - BROOME STREET
Manhattan, summer 1969. A side street off Lafayette Street, three blocks south of Houston Street, in an area that is just beginning to be known as SoHo.
MAX, age 22, is waiting in front of a dilapidated old building. Max's hair comes down six inches past his shoulders; he is dressed in a T-shirt and dungarees.
A taxi pulls up to the curb, and JENNY, age 24, gets out. Jenny, who is on her lunch hour, wears a business suit. She pays off the driver, and walks up to Max.
JENNY This isn't such a great neighborhood .....
MAX You haven't even seen the inside yet! C'mon ....
They go inside.
INT. - FIRST FLOOR
There is no lobby to speak of, only a stairway.
MAX Mr. Silverman said it may be a while before he can get the elevator fixed, but the stairs are in good shape ...
JENNY That's reassuring. I'd hate to have the stairs go out on us ...
They start up the stairs. Slowly.
INT. - LOFT
The loft is no more impressive than the rest of the building. There is trash everywhere. A cast-iron ladder against one wall leads to a trapdoor in the ceiling.
A _very_ long pause.
MAX I know the place needs work ...
JENNY Oh, Max ... Max, what the place needs is a surgical air strike. Thank God you didn't sign anything ...
MAX What else are we going to find in Manhattan for one thirty-five a month?
JENNY Well, we might find something that's legal to live in. Won't it be fun after we've killed ourselves fixing the place up, and nice old Mr. Silverman evicts us for zoning violations?
MAX You've been listening to your father. That doesn't happen any more. Look at this ...
He has uncovered an big old wooden sign, with the letters barely legible: "Eastern Manufacturing Co."
JENNY There's no kitchen!
MAX So we'll use a hot plate.
JENNY And what about your car?
MAX What about it?
JENNY Where are you going to put it? Does this place come with valet parking?
MAX I'll park on the street.
JENNY You must be joking ...
MAX Jenny, it's a 1962 VW. Who's going to steal it?
JENNY Steal it? Max, they won't _find_ it! Do you have any idea what street parking is like around here?
MAX
(annoyed)
Compared with the room over your
father's garage in Westport, I'm
sure this place has very little
going for it ...
JENNY
(pointing to the
trapdoor)
What's up there?
MAX I don't know ... Let's see!
Max starts up the trapdoor. Jenny tries to start after him, but she stumbles on her high heels.
MAX
(as he opens the
trapdoor)
Take your shoes off!
She kicks them off, and follows him up.
EXT. - ROOF
A medium shot as Jenny struggles awkwardly out of the hatch, trying to keep her suit clean. She kneels onto the gravelled roof.
JENNY Ouch!
MAX Here ...
Max picks her up in his arms. As he does so, the camera pulls back. You can see much of lower Manhattan. They are silent a while.
MAX Well?
JENNY
(weakening)
Where are we going to find
furniture?
MAX I'll build it. George told me about a place on Canal Street that rents floor sanders and stuff ...
JENNY Dibs on the south wall.
MAX It's yours. What for?
JENNY
(putting her head on
his shoulder)
I've seen you take over a room
with your stuff. I need the north
light, too ...
MAX Does this mean yes?
JENNY Only if we sleep up here ...
They kiss.
DISSOLVE TO:
EXT. - LATE AFTERNOON - MULBERRY STREET
About three blocks from the loft. Max, in his VW, is looking for a parking space.
INT. - CAR
Ahead, Max sees an empty parking space. He pulls in.
EXT. - MULBERRY STREET
Max pops the trunk and gets out of the car. He looks closely at the sign: "NO PARKING – Tuesday/Thursday 8 AM-10 AM – STREET CLEANING". He takes several shopping bags from the trunk and closes it.
As he walks down the street, he passes an old man, sitting in a lawn chair directly in the middle of the sidewalk.
MAX
(as he steps past)
Excuse me ...
The old man says nothing. After Max walks out of camera range, the old man turns back to look after him, then turns to look at the car.
CUT TO:
INT. - LOFT
Max enters, bags in hand. The loft shows signs of improvement. Jenny is painting the walls.
JENNY
(as Max kisses her)
Did you talk to Mr. Hanna?
MAX
(unpacking groceries)
Yes, I talked to Mr. Hanna. He
still wants me to run errands,
but I think I can get him to boost
my gas allowance.
JENNY That's not good enough. That car is getting to be a real pain in the ass!
MAX I'm still up for an apprenticeship on the web press.
JENNY And then what? You keep saying it's not what you want to do with the rest of your life.
MAX It's a job, love, and it's a good one. Taste this.
He puts a piece of salami in her open mouth.
JENNY
(effectively shut up
for a second)
Not bad. Where'd you get it?
MAX New little place called Dean and DeLuca. Real cheap ... You wouldn't believe how easy it was to find a parking place tonight!
JENNY
(instantly suspicious)
Did you check ...
MAX Yes, I checked the signs. What kind of an idiot do you think I am?
JENNY ... No comment.
CUT TO:
EXT. - NIGHT - ROOF
Max and Jenny are laying on a mattress on the roof. There is a full moon.
MAX On Saturday I want to finish sanding the floors. What do you think of turning that sign into a table?
JENNY
(sleepy)
Mmmm ...
MAX You know that thing is solid oak? They don't make them like that any more ...
The camera pans away from them. One light is still on in the building on the other side of the street.
DISSOLVE TO:
EXT. - MORNING - MULBERRY STREET
Max approaches his car. There is a piece of paper under the windshield wiper. The note reads "DO NOT PARK HERE".
Max looks around. From the corner of his eye, he thinks he sees a woman peering at him from a window across the street, but when he turns, there is no one there.
He gets in his car and pulls away.
DISSOLVE TO:
EXT. - LATE AFTERNOON - BRONX
Shot of a bank clock; it is 5:40 pm.
Short montage of Max fighting traffic: on the Major Deegan Expressway, then on the Third Ave. Bridge, then through Harlem. It gets progressively darker.
EXT. - EVENING - SOHO
By the time Max gets to Houston Street it is after dark. He turns onto Mulberry Street. The space he parked in that morning is still open. He stops in the middle of the street, unsure of what to do.
A car behind him beeps his horn. Max moves on.
More shots of Max looking for a parking place. He is very tired and increasingly frustrated.
Finally, he turns back onto Mulberry Street. The parking space is still open. He takes it.
EXT. - MULBERRY STREET
Max gets out of the car. A young boy across the street is staring at him. Max walks away.
DISSOLVE TO:
INT. - LOFT
The south end of the loft is filled with humongous pieces of metal, bent into various twisted, abstract shapes. In the midst of them, a figure wearing a welder's mask, apron and gloves is busy with a blowtorch.
Max enters, at the other end of the loft. The figure with the mask turns off the blowtorch and lifts her mask. It is Jenny.
JENNY Hello, love. You're late ...
MAX Mmmpf.
JENNY
(removing her apron and
gloves)
What?
MAX
(loud)
I said I know I'm late!
JENNY You don't have to shout.
MAX Sorry.
JENNY Get yourself ready. George and Martha will be here in twenty minutes.
MAX Oh, God, I forgot. I'm really not up to going out ...
JENNY
(approaching him)
But it was your idea ... You
feeling O. K. ?
She puts her hand on his forehead to feel his temperature. He takes his hand and kisses her palm. They hug.
MAX I'm really a wreck, I'm going to turn in early. Have a good time.
JENNY I'll try not to wake you.
Max starts up the ladder. Jenny looks up after him.
DISSOLVE TO:
EXT. - MORNING - MULBERRY STREET
Max removes another note from his windshield. This one reads "!!! NO PARK HERE !!!! LAST WARNING OR ELSE !!!!"
Max looks around. The old man in the lawn chair is sitting in his usual spot.
Max approaches him.
MAX Excuse me?
The old man says nothing.
MAX Do you know who's been leaving these notes on my windshield?
OLD MAN
(he speaks with an
Italian accent)
What note is that? Let me see.
Max gives him the note. The old man takes out his glasses and reads it.
OLD MAN 'No park here ...' Have you been parking in someone else's place?
MAX No, it's public parking.
OLD MAN Perhaps the police.
MAX Huh?
OLD MAN Perhaps the police. They want to be nice, they don't want to give you a ticket.
MAX But the sign says 'No Parking, Tuesdays through Thursdays, 8 am to 10 am'. I'm not parked illegally.
OLD MAN It's none of my business, but you know what I think? I think this note comes from someone who is trying to do you a favor.
He holds out the note to give back to Max. Max hesitates, then takes it.
MAX Okay, thank you.
He turns quickly and walks back to his car. He gets in it and drives away. The old man watches.
The camera stays on the old man for a few seconds. Then, an old woman (his wife) comes down the steps from the building behind him. {Dialogue in brackets is in Italian.}
OLD WOMAN
{Giorgio, did you tell him?}
OLD MAN
{Yes, but I don't know if he heard
me.}
The old woman shakes her head.
INT. - LATE AFTERNOON - LOFT
Jenny and Max sit on an old, used couch, the first piece of real furniture they have acquired. The two notes are side-by-side between them.
JENNY I can't believe you parked there again ... Do you think maybe we should call the police?
MAX
These people don't take kindly
to calling the police ...
(Jenny glances at him)
... you know what I mean.
JENNY But they don't even know us ... look, maybe tonight you should park in a garage?
MAX I don't have that kind of money.
JENNY
(reaching for her
pocketbook)
Here.
MAX No!
JENNY Max, please ....
MAX And what am I supposed to do tomorrow night? And the night after?
JENNY
(putting the money in
his breast pocket)
You'll park somewhere else.
Max looks at her. He does not move.
CUT TO:
EXT. - NIGHT - MULBERRY STREET
Max approaches his car, and gets in. He puts the keys in the ignition and releases the hand brake. He stops and sits, wrestling with his pride.
Suddenly, bright lights appear in his rear-view mirror. He turns his head.
A very large black Cadillac is sitting in the middle of the street behind him, waiting, with its brights on.
The driver's door opens. We see the shadow of a chauffeur, dressed in black. He gets halfway out of the car, leans against the door and waits.
Max bites his lower lip.
From the chauffeur's POV, we see Max get out of the car and lock the door. He starts walking down the sidewalk.
Cut to a high shot, taken from the top of a nearby building. Max walks down the street toward the camera. The chauffeur watches him, but does not move. Max walks out of frame.
CUT TO:
INT. - LOFT
Jenny is getting ready for bed. Max enters.
JENNY Did you ...
She turns to look at him. He drops the money in her lap.
MAX We live here, too.
DISSOLVE TO:
EXT. - MORNING - MULBERRY STREET
Max approaches his car … and stops.
Reverse angle, Max's POV. All four tires are flat; the rear and side windows are smashed. Max reads the note on the window - "DO NOT PARK HERE".
CUT TO:
INT. - LOFT
Max is on the phone. Jenny is getting ready for work.
MAX
How much? ... no, I'll call you
back.
(hangs up phone)
Thirty-five dollars just for the
tow truck.
JENNY What are you going to do?
MAX I don't know ... I almost wish they'd stolen it.
JENNY Don't do anything rash ... I gotta go. Call Mr. Hanna.
MAX Yeah, okay.
CUT TO:
EXT. - MULBERRY STREET
Max leans against the car, his arms crossed.
Giorgio walks out of the building, his folding chair under his arm. He descends the steps to the street, unfolds the chair and sits down.
Max stands up. He is about to approach Giorgio when the tow truck arrives. It stops, and the driver gets out.
DRIVER Max Harrison?
MAX Yep.
DRIVER
(inspecting the car)
Geez, someone really did a number
on you.
MAX
(loudly)
Yep, a real professional job.
The driver starts to hitch up the car.
DRIVER Whaddya think they were looking for, drugs or something?
MAX
(looking at Giorgio)
I have no idea.
Giorgio does not respond. Max and the driver get in the truck and drive away.
CUT TO:
INT. - AFTERNOON - GARAGE
Max is at a pay phone.
MAX
Mr. Harrison's office, please ...
yes, I'll hold ...
(long pause)
Laura, this is Max ... yes, I'll
hold ...
(another long pause)
Laura, I've got to talk to Dad,
it's important ... I'll wait ...
no, he can't call me, I'm not at
home ... yeah, give him the
message.
Max hangs up the phone.
CUT TO:
INT. - EARLY EVENING - LOFT
Max is making a pot of coffee on the hot plate. Jenny is working in the corner with a small metal drill press.
JENNY He won't call back, you know.
MAX I know. I'll talk to Mom.
JENNY
(turning)
You shouldn't ... what are you
doing?
MAX I'm going to spend the night in the car.
JENNY WHAT??? ... You parked there _again_, didn't you? Are you out of your mind?
MAX They won't do anything if I'm in the car. Not right there in the middle of the neighborhood.
JENNY How do you know that?
MAX
(gathering his stuff)
See you later. Be sure to lock
the police lock behind me.
He leaves.
JENNY
(calling after him)
I'll sleep with my machete!
DISSOLVE TO:
EXT. - NIGHT - MULBERRY STREET
Max has made himself as comfortable as can be expected: pillows, blankets, food, a portable radio tuned to Bob Fass on WBAI. He is reading Frantz Fanon by flashlight.
He throws the book in the back seat and changes the station to WPLJ. The station is playing "Uncle John's Band" by the Grateful Dead. Max leans back and closes his eyes. Twenty seconds later, his head falls to the side; he is asleep.
Suddenly, the passenger door opens. Max awakens with a frightened start.
MAX
(yelling)
Hey!
JENNY
(getting in)
Calm down, it's only me.
MAX Jesus, you scared me ...
JENNY
Sorry. I was ...
(holding out a paper
bag)
I brought some cookies.
MAX
(taking one)
Thanks.
JENNY Your mom called, I told her about the car.
MAX What did she say?
JENNY What do you think she said? "Get out of there before they kill you!" She also said she'd talk to your father but it would help if you got a haircut.
MAX
(ironically)
Good old Mom. She always comes
through ...
A long pause. Neither of them looks at each other.
MAX Something on your mind?
JENNY ... I'm worried about us. It's -- so goddamned _lonely_ down here! No one ever comes to visit us. We don't know anyone south of 14th Street ...
MAX That'll change once we have some work to show. Once the loft is finished ...
JENNY The loft will _never_ be finished! That's just an excuse, and you know it! ... You haven't done any painting since we moved here. You're always too tired, or you're worried about this car or your job ...
Max says nothing.
JENNY If we're going to be artists, let's be artists. If we're not going to be artists, then let's live somewhere where you don't have to sleep in your car to defend your turf!
MAX Do you want to move back to Westport?
JENNY That's not what I said! I just think ...
Suddenly the inside of the car is lit up like daylight.
MAX
(pulling Jenny down into
the well)
GET DOWN !!!!
JENNY What the hell ...
It's the black Cadillac again, with its brights on. Max turns the radio off.
MAX
(whispering)
It's the car that was here last
night!
JENNY
(a little hysterical)
Oh, my God ...
MAX Shhhh!
The camera holds on them as they hear the Cadillac door slam. There is silence for several seconds. Finally, Max peeks out.
The chauffeur is at the landing of Giorgio's building, talking with Giorgio, who is in his bathrobe. Nothing can be heard, but they seem to be arguing. Each of then occasionally gesticulates in the direction of Max's car.
JENNY
(starting to get up)
What's going on ...
MAX
(pushing her down again)
Down!
The chauffeur walks back toward the car. As he walks past he kicks the rear fender, hard.
Jenny gives a little yelp. The chauffeur stops, thinking he heard something. He shrugs, and gets back in the Cadillac. The car drives away.
Max gets up.
MAX They're gone ...
It sounds like Jenny is crying, but as she gets up we see she is laughing.
MAX
(smiling)
What's so funny?
JENNY I was thinking about your mother ...
DISSOLVE TO:
EXT. - EARLY MORNING - MULBERRY STREET
It is 5:30 am. Max and Jenny are asleep in each other's arms. The alarm clock on the dashboard rings. Max turns it off.
MAX Time to hit the road.
JENNY
(trying to stretch)
We must do this again sometime.
MAX No, thanks.
CUT TO:
EXT. - LAFAYETTE STREET
Stiff and bedraggled, Max and Jenny look not unlike a couple of "street people" as they trudge home, carrying all the stuff from the car.
MAX I was thinking ... what if I just quit and sell the car?
JENNY Why?
MAX Maybe it's just not worth the hassle ... I'm turning into my father, Mr. Commuter.
JENNY
I'm not worried too much about
you turning into your father.
Let's not rush into anything ...
(she stops walking for
a second)
God, I love the city this time
of morning.
Max stops also. They look around, then at each other.
JENNY And I love you.
DISSOLVE TO:
EXT. - MORNING - MULBERRY STREET
About an hour and a half later, Max approaches his car. He is freshly showered and shaven, and wearing a jacket and tie; most noticeably, his hair is considerably shorter.
Giorgio is in his usual spot.
MAX
(as he passes)
Good morning!
GIORGIO
Good morning ...
(notices the change)
Well!
MAX I thought you'd approve ...
GIORGIO What's the occasion?
MAX
(not at all sure why
he's telling him this)
I'm ... seeing my father today.
GIORGIO
(laughing)
I'm sure _he'll_ approve!
MAX
(smiling in spite of
himself)
Yeah, well ... I have to be
getting to work ...
GIORGIO Work? Where do you work?
MAX Hanna Offset Printing, in Scarsdale.
GIORGIO
(impressed)
A printer. That is an honorable
profession.
(sternly)
Are you a union member?
Max takes out his wallet and pulls out a card.
MAX
(with sincere pride)
Allied Trades, Local 143!
GIORGIO Good for you! For twenty-three years I was the shop steward for Eastern Manufacturing.
MAX That's very interesting. Listen ...
GIORGIO Go, get to work, you'll be late. We'll talk later.
Max gets in his car and leaves. Giorgio looks thoughtful.
DISSOLVE TO:
EXT. - LATE AFTERNOON - MULBERRY STREET
Giorgio is sitting just where he was this morning. A radio is playing "Cavalleria Rusticana". Max approaches.
GIORGIO Where's your car?
MAX I ... parked somewhere else.
GIORGIO You found a spot? Where?
MAX Third Street and Avenue D.
GIORGIO Ah ... Where is that?
MAX
Good question ... Is that
Bjoerling?
(referring to the music)
GIORGIO No, Gigli ...
MAX ... Listen, I was thinking about something. Did you say this morning you used to work for the Eastern Manufacturing Company?
GIORGIO That's right. So did many of the people in this neighborhood.
MAX ... I'm sorry. I didn't know ...
GIORGIO
(smiling)
You speak as if you had done us
some injury. _You_ didn't send the
work away.
MAX Yes, but ... I don't think it ever occurred to me that anyone had ever been in that building before us ... You seemed surprised that I worked for a living ...
GIORGIO We all thought you went to the university ... My wife sees your girl, she sees that she wears no ring ...
MAX Ah ...
GIORGIO So you see, we are all guilty of not understanding each other ...
MAX I guess we haven't come off too well with you ...
GIORGIO Listen to me, young man. My children and my neighbors' children, they have grown up and moved away. We wanted them to come back and let us give them what we have made, what is theirs to have. But if they won't, why should it not go to those who will take good care of it?
MAX How do you know we'll stay?
GIORGIO
You'll stay. You like it here,
I can see it in your faces. When
enough of you are here, the
neighborhood will be yours. And
we will hate you for it.
(He takes a card from
his pocket and gives
it to Max)
Tomorrow morning, go see my friend
at the garage on Grand Street.
The card is imprinted: "Giorgio DiPalma, 175 Mulberry Street". On the other side is written "Frank Lorenzo, 195 Grand St.".
MAX Thanks, but I _know_ I can't afford to park in a garage.
GIORGIO
(kindly but firmly)
Please, go see him.
MAX O.K., I will. Thank you very much.
GIORGIO Oh, and listen ... don't forget to cover up when you sleep at night.
MAX
(looking at the card)
Yes, thank you.
CUT TO:
EXT. - BROOME STREET
Max walks home, still thinking about what Giorgio said. He stops.
MAX
(to himself)
Cover up ...
A look of total horror crosses his face. He starts to run.
CUT TO:
EXT. - ROOF
Jenny is sunbathing on the roof, topless. Max bursts through the trapdoor.
MAX Jenny, for God sakes! They can _see_ us up here!
It takes Jenny a second to react; then, she shrieks and covers herself.
CUT TO:
EXT. - MORNING - GRAND STREET
Max drives up to the garage and gets out. There is no one there.
He looks at the rate sign. The monthly parking rate is two hundred and nineteen dollars.
MAX
(to himself)
Jesus Christ ...
The garage man approaches from behind; a short man in a blue uniform, with an unlit cigar in his mouth.
GARAGE MAN Whaddya want?
MAX
(startled)
Uh ... hello.
GARAGE MAN You wanna park, or what?
MAX
(reaches in his pocket)
Are you ...
(finds the card)
... Frank Lorenzo?
FRANK The same ...
Max hands him the card. Frank looks at the card, then he looks at Max. Then he looks at the card again; then he looks at Max again. Finally he looks at the car.
FRANK This your heap?
MAX Yes.
Frank growls. He steps into his booth and sticks the business card into the time clock.
FRANK
Top floor, space 218. _No_ valet
service, _no_ gas, _no_ washing, _no_
waxing. The garage is not
responsible for damage. The garage
is not responsible for personal
items left in the car.
(he hands Max a piece
of paper and points
at the car)
Sign that and _move it!_
He starts to walk away.
MAX Uh ...
FRANK _Now_ what?
MAX How much is it?
FRANK
HOW MUCH IS IT ???
(his face starts to turn
deep red)
HOW ... MUCH ... IS ... IT ?????
(He swallows. The next
line is spoken very,
very softly)
Seventy-five a month.
MAX
(he knows he didn't hear
that right)
I'm sorry, what did you say?
FRANK
(screaming)
I SAID SEVENTY-FIVE A MONTH!
MAX
(incredulous)
That can't be right ...
FRANK
(with clenched teeth)
It's our neighborhood discount
rate ... and if you _ever_ breathe
a word of this to anybody I'll
grind your face into the sidewalk.
_Capisce?_
MAX
(meekly)
Yes, sir. Thank you, sir.
He goes to move the car.
FRANK Oh, and kid ...
MAX Yes?
FRANK
(with total contempt)
Welcome to the fucking
neighborhood ...
DISSOLVE TO:
EXT. - NIGHT - ROOF
It is now September. In the streets, the Feast of San Gennaro is in full bloom. The sounds and smells waft their way up to where Max and Jenny are having a candlelit dinner. They have brought their stereo speakers up to the roof, where they are playing the finale to Act II of "La Boheme". Max is dressed in a tuxedo; Jenny is wearing a strapless evening gown.
Max opens and pours a bottle of champagne.
MAX
(proposing a toast)
To Art!
JENNY
(as they clink glasses)
To Art! ...
(They drink)
... especially _your_ art. You're
a painter again!
MAX Hardly ...
JENNY Yes, you are! That's a work of art!
MAX After a fashion, I suppose ...
JENNY
(indicating the street
sounds)
The opening's a success. Listen
to your audience applaud!
Max walks up to the edge and takes a deep bow.
Reverse angle from the street. We can see Max bowing, a small figure on the roof. Hanging below him is his new masterpiece, a carefully painted and refurbished sign, restored to its place of honor where it used to hang, on the front of the building : "Eastern Manufacturing Co."
FADE TO BLACK