A MOST VIOLENT YEAR
Written by
J.C. Chandor
This film is set in New York City, 1981:
Murders: 2,228
Forcible Rape: 5,405
Violent Crime: 180,235
Aggravated Assault: 60,329
Property: 1,029,749
Vehicle Theft: 133,041
Robbery: 112,273
Burglary: 360,925
Larceny-Theft: 535,783
Crime Index: 1,209,984
1981 was the most violent year in NYC history as recorded by overall
Crime Index in relation to population.
2
JANUARY 31, 1981
Over black we hear the opening of a garage door. The light
spills in and we see.
EXT. UPPER MIDDLE CLASS RESIDENTIAL HOUSE, QUEENS NYC -
SUNRISE
Open on ABEL MORALES. It is early morning and still almost
dark out. He has a rugged yet prosperously-handsome face and
is in his mid-thirties. He is struggling to get started with
his morning jog.
EXT. SHIP GRAVEYARD, STATEN ISLAND NYC - DAY
It is early morning. A large bulk fuel oil transport truck
sits idling next to a decrepit old dock. The dock sticks into
a backwater section of New York harbor that is filled with
the decaying remains of half-sunken abandoned barges and tug
boats.
JULIAN, the young driver of the truck sits and nervously
scans the horizon. Eventually a large fuel barge appears in
the distance being pushed by a tug boat. The barge is steered
past the skeletons of the other sunken ships and makes its
way to the dock in front of the tanker truck.
JULIAN gets out of his truck and readies a large connecting
hose. He looks around nervously. JULIAN steps across the
broken boards of the dock and struggles to get the hose to
the barge. He hands it to the BARGE OPERATOR with a nod of
the head and no words.
They connect the hose and start a large generator as it
begins to pump fuel into the truck. They both scan the
horizon again as the sun begins to come up.
EXT. MORE INDUSTRIAL QUEENS NEIGHBORHOOD- SAME TIME
ABEL is still jogging as the light begins to increase. It is
freezing out. He is a very serious guy. He is not happy that
he is out of shape. Finally he stops and bends over to catch
his breath. We have run with him from the nicer part of the
neighborhood to a rougher section. As he catches his breath
he stands up and looks around. He is unsure of his feelings.
3
INT. ANNA'S DRESSING AREA
The camera slowly moves in as ANNA sits in a slip at her make
up table putting on her face for the day ahead. She looks
into the mirror as if she is putting on a coat of armor.
INT. DRIVER'S CAB OF A BULK OIL TRANSPORT TRUCK - DAY
STANDARD HEATING OIL, "We set the Standard" is written in
logo form on the side of the tank.
The truck idles in traffic waiting to pay the toll to cross
the Verrazano bridge that spans the mouth of New York harbor.
JULIAN, the young driver from the dock, cautiously looks
around as the traffic inches along. He finally approaches the
toll booth and pays.
JULIAN
Good morning.
JULIAN speaks English with a well-sanded accent. Is it
Central American or Mexican? The female collector gives him a
smile.
He heads through the booth, but there is still traffic on the
other side as the lanes merge together. Just as the traffic
is about to pick up he looks in his rearview mirror and we
see TWO GUYS come walking through the traffic and towards the
cab. Before we know it they are climbing up the cab steps.
The GUY on the driver's side, LOUIS SERVIDIO, is small and
very slight but he moves with great speed and strength. He
shatters the glass side window with his elbow. Unlocks the
door just as his partner, THUG #2, does the same thing on the
passenger side, but he is holding a gun. They are not wearing
masks. It's very brazen.
Before THUG #2 even asks JULIAN to get out of the cab LOUIS
SERVIDIO crushes him in the jaw with three swift punches then
pulls him out of the cab and down onto the roadway.
LOUIS SERVIDIO pulls the door shut and they drive away with
the truck leaving JULIAN sitting in the middle of the road
staring, as blood starts to flow from his jaw.
INT. PARKING YARD OF STANDARD HEATING OIL- SAME TIME
Two almost-matching late model Mercedes pull up to a chain-
link gate with a small sign that says "STANDARD HEATING OIL:
WE SET THE STANDARD". The DISPATCHER opens the gate.
4
They both pull into reserved parking spaces next to each
other. ABEL is dressed in a very tasteful custom made suit.
ABEL's wife ANNA was driving the car behind him. She is a
beautiful, tall, blonde woman dressed to the nines but with a
streak in her eye that this is all business. You would not
want to cross this woman.
ABEL
Ready?
ANNA
Yes.
ABEL
You look very nice.
ANNA
Thank you.
ABEL
You sure?
ANNA
Yes.
ABEL walks around and opens his trunk. He takes out two large
empty briefcases.
He carries the briefcases as they both walk over to a large,
unmarked, armored van that is idling in the middle of the
parking lot. Two ARMED GUARDS get out of the van. One is
holding a clipboard. He walks up to ANNA and ABEL. He hands
them the clipboard. They look at each other one last time and
then both sign the document.
The other GUARD opens up the back of the truck. ABEL hands
him the briefcases and the guard begins to fill them with
cash. Lots of cash. ABEL and ANNA stand at the open back of
the van and just watch. Finally he finishes and hands the now-
heavy cases to ABEL.
ABEL picks up the two cases and walks a bit away from the
truck. He turns to ANNA.
ANNA (CONT'D)
Don't do anything stupid.
ABEL
We don't have any more money so
what else could I do.
She gives a small smile. He looks at his watch. They kiss.
5
ABEL turns and begins walking with the cases. He gives a nod
to the DISPATCHER, who we now see, is in a small gatehouse,
and he begins to open the front gate.
EXT. STREET OUTSIDE THE FRONT GATE- SAME TIME
ABEL walks out through the gate and down the abandoned
industrial street about 25 yards, then looks to his right. He
looks down at the cases in his hands, turns, and stands
looking into the neighboring site.
EXT. MASSIVE OIL TANK FARM: BROOKLYN NY WATERFRONT - DAY
ABEL comes walking across the parking lot and sees ANDREW
WALSH standing in the middle of the dusty parking lot. ANDREW
is their longtime LAWYER/RIGHT-HAND MAN and is in his mid
fifties. He is smart but tired. The oversized briefcase in
his left hand seems to have permanently tilted his posture
that direction. The large oil-holding tanks loom above them.
The place is rusting and could use some work.
As they wait, the setting has the look and choreography of an
illegal transaction about to go down.
ANDREW WALSH
So how are we this morning?
ABEL
(gives a smile and nod)
ANDREW WALSH
Well I woke up feeling very good
about this.
ABEL
Really?
They both take a look at their watches.
ABEL (CONT'D)
You've been telling me not to do
this for a year.
ANDREW WALSH
Well we are going all in... so now
I love it.
Gives him another slight smile. They stand around in awkward
silence. Finally a late-model Ford Ltd. station wagon pulls
into the lot.
6
ANDREW WALSH (CONT'D)
Here we go.
And a group of FIVE HASIDIC JEWS gets out. There are two guys
in their twenties, two in their fifties, and one in his mid-
to-late seventies. They all shake each other's hands then
stand around for a beat.
ANDREW WALSH (CONT'D)
Should we head inside?
INT. SMALL TEMPORARY OFFICE TRAILER - DAY
The group is now jammed around a folding table inside the
trailer. ABEL and his lawyer sit at one end facing the rest
of them. Finally, the senior member of the group, JOSEPH
MENDELSOHN, eyes up ABEL and leans forward. His accent is
strong yet you can understand every word.
JOSEPH
So why is it you want this land?
ABEL
I'm sorry?
JOSEPH
It has been difficult for you to
get me here, no? Over a year?
ABEL
Almost two.
JOSEPH
There are many like it around? And
thanks to all these tests you paid
for, we now know it is as much of a
mess below the ground as it is
above. My people have looked at
your books, I know this is a lot of
money for you, so why have you kept
on us so... just for this ugly and
polluted little piece of the earth.
ABEL
I have been looking over my fence
at this property for a very long
time.
JOSEPH
So it is just proximity?
7
ABEL
No... I imagine I want it for the
same reason you did.
JOSEPH
And what's that?
ABEL
To grow.
JOSEPH
Well, I am in the garment business
so I appreciate that sentiment. But
I inherited this land from my
uncle. Sadly he had no children of
his own. He was the one that let
them build these tanks here. So
this place can do little for me...
in fact thanks to all those tests
you've done it may be a liability.
As you know I offered to lease the
site to you at a fair price, but
you were not interested?
ABEL
No.
JOSEPH
Why not?
ABEL
I like to own the things I use.
JOSEPH
I can see that.
Long pause.
ABEL
So.
JOSEPH
Yes. This contract here, your
lawyers have fully reviewed it?
ANDREW WALSH
Of course.
JOSEPH
And you have brought the money?
(ABEL nodes yes)
So you realize you have only thirty
days to close this transaction?
(MORE)
8
JOSEPH (CONT'D)
No extensions, no... contingencies
whatsoever.
ABEL
I understand.
JOSEPH
I want you to know this up front. I
am a very fair man but I believe in
honoring contracts. You will
fulfill your end of this contract
and the property is yours. If you
can't we will keep your money and
will sell it to your competitor who
has been chasing us almost as badly
as you have. I like you, but know
that the only reason I am choosing
you is because of the favorable
terms of this contract. So this is
business... and when you sign
this....
ABEL
I understand.
JOSEPH
Well then, let's see this money,
and then I will sign these papers.
ABEL turns to ANDREW and gives a slight nod. ANDREW pulls the
black briefcase onto the table and opens it. It has seven
hundred thousand dollars in cash in it. He slides it over to
their side. The old man signs the contract and they shake
hands.
EXT. MASSIVE OIL TANK FARM PARKING LOT - DAY
ABEL stands next to ANDREW's car.
ANDREW WALSH
Congratulations.
ABEL
It's not ours yet.
ANDREW WALSH
Well, it was a hell of a job just
getting them to this point. It's a
good day for us. Take a walk
around. Enjoy it for a second.
ANDREW gets in his car and drives away. ABEL looks around and
decides to go for a little walk.
9
He heads out towards the tanks and walks among them. They
tower seven stories above him. As he walks, he is cut off
like a maze from any other visual input. (Similar to being
inside a Richard Serra sculpture) Finally he emerges into
some light and as ABEL looks up the camera reveals his view.
It's midtown Manhattan in all its glory, just across the East
River from the site. He stares at the city and we see the
true depths of his ambition lock on his face. He looks to his
watch.
INT. 1981 MERCEDES 500 SEC
ABEL drives away from New York City. We see it behind his
head.
INT. CAR ON MERRITT PARKWAY
The terrain turns to upscale country.
EXT. COUNTRY HOUSE - DAY
ABEL's car drives into a long driveway through the woods.
Then an architect-designed, 80's modern house, still under
construction, appears. He pulls up in front.
He gets out of the car and stands there looking at the large
house. He walks into the house and we see more clearly that
it is nearing completion. It is empty.
INT. 80'S MODERN HOUSE - DAY
ABEL walks over to the massive floor-to-ceiling windows and
stands looking over the large pond that sits down the hill
from the house. As he stares out his CONTRACTOR comes quietly
walking in behind him.
CONTRACTOR
Hello?
ABEL
There he is.
He walks up behind him and they both look out in silence for
a beat.
ABEL (CONT'D)
You have done a beautiful job here.
CONTRACTOR
Thank you.
10
ABEL
I mean it. You and your men should
be very proud.
CONTRACTOR
We are.
ABEL
Most people don't have anything
beautiful like this to show for
their day's work. You are a lucky
man.
CONTRACTOR
I am.
ABEL
Well I thank you... my family will
be very happy here.
CONTRACTOR
I hope so.
ABEL
Now I think I owe you some money.
CONTRACTOR
That may be true.
ABEL
It is.
ABEL reaches into his jacket pocket and takes out a thick
envelope of cash. As he does we see a transformation of his
personality from pleasant philosopher to a direct voice of
unquestioned authority.
ABEL (CONT'D)
This is the seventeen outstanding.
But we are arriving here in four
days. It must be done.
CONTRACTOR
Yes.
ABEL
Well, I'll let you go.
He says this as he leads him to the door.
ABEL (CONT'D)
And the tile in the master bath...
11
CONTRACTOR
It's being replaced, as I mentioned
to your wife, that was an error on
our part. Congratulations on your
home.
ABEL
Thank you.
EXT. TOP OF HILL ON OTHER SIDE OF POND LOOKING BACK AT HIS
HOUSE. - DAY
ABEL stands, surrounded by massive trees in the thick forest,
looking across the ridge back at his house. He is a little
out of breath after climbing the hill but he looks strangely
comfortable even though he is standing in the woods in a
suit, tie, and dress shoes. He takes a nice cigar out of his
pocket, lights it and has a real moment of joy. He looks up
to the tops of the trees, then back at the new house. He
exhales a long deep breath. Then we hear a large truck come
rumbling in the driveway. He hears it. His face shows that he
knows the sound immediately.
EXT. HOUSE DRIVEWAY - DAY
ABEL comes out of the woods and sees a smaller heating oil
delivery truck (with the same Standard Heating Oil logo)
parked in the driveway. His face shows it probably isn't
great news.
INT. HOSPITAL EMERGENCY ROOM - DAY
ABEL comes down a hallway and then turns through a curtain
into a treatment area. Sitting on the table is the young
driver of the truck, JULIAN.
He has a contraption on his head that is holding his jaw shut
in place. His eye is black. ABEL goes over and gives him a
tight hug. But then he ever so slightly checks himself and
places him back down on the table.
ABEL looks up and sees ANNA, standing in the corner. She is
all business. They stare at each other.
ANNA
They broke his jaw.
ABEL
Have they found the truck?
12
ANNA
Yes.
ABEL
Are you alright?
JULIAN
(NODS YES)
ABEL
Have the police been here yet?
ANNA
He was left in the middle of the
highway without a truck, they
brought him in.
ABEL
Can you speak?
ANNA'S temper is rising.
ANNA
Not for a couple days... Can I
speak with you outside?
ANNA heads out into the hallway. ABEL looks around a beat
then follows.
EXT. HOSPITAL HALLWAY -SAME TIME
ANNA is waiting in the hallway.
ANNA
Did they sign the contract?
ABEL
Yes.
ANNA
And took the deposit?
ABEL
Yes.
ANNA
So it's a go?
ABEL
(he gives a nice nod yes)
ANNA
Congratulations.
13
ABEL
To you as well.
ANNA
We have thirty days?
He nods ever so slightly yes, and she gives him a knowing
smile back of equal measure. We are beginning to see that
they actually work quite well together.
ABEL
These fucking guys. This poor kid
has been working his ass off.
ANNA
Do you want me to speak to my
Brother about this?
ABEL
No...don't talk to him or your
father.
ANNA
This can't continue.
ABEL
It won't.
ANNA
It will if we don't do something.
ABEL
I'm meeting with the D.A. in the
morning.
ANNA
Oh, fuck the D.A. He's more
interested in coming after us than
helping us.
ABEL looks around in disapproval. She thinks this through and
then looks in at JULIAN.
ANNA (CONT'D)
It's not fair to them. You're at
war here.
ABEL
No we are not.
ANNA
Really... because they are.
14
ABEL
Well I'm not.
They look each other over. She then finally leans in and
gives him a caring kiss, she walks off.
ANNA
And you're going out to check on
the new house?
ABEL
Yes.
He watches her walk away then looks back into the hospital
room. He enters.
INT. HOSPITAL EMERGENCY ROOM - DAY
ABEL walks into the room and looks at JULIAN. He looks up and
ABEL has trouble putting it to words.
ABEL
I have to get going.
JULIAN gives a nod.
ABEL (CONT'D)
Can we get you anything?
Nods no.
ABEL (CONT'D)
We'll pick you up when they let you
out of here.
They look at each other.
ABEL (CONT'D)
These men are cowards. Too weak to
make a living... or even fight with
their own hands, and too stupid to
think up anything else to do.
Finally he turns and leaves.
EXT. ABANDONED RACETRACK PARKING LOT - QUEENS NY - DAY
ABEL drives up to the drop off scene. There is the large bulk
transport truck and one lone police car just sitting in the
middle of the parking lot.
15
ABEL gets out, walks up, and stops to stare at the truck. A
young beat cop is sitting on the hood of his car waiting.
ABEL
May I take it?
BEAT COP
Excuse me?
ABEL
May I take it now?
BEAT COP
Is it yours?
ABEL
Yes.
BEAT COP
Well, I'm sorry about that. Once
the owner or an owner's
representative files the claim form
in Corona she's yours... again.
ABEL
So you guys have done what you
needed to?
BEAT COP
Yes.
ABEL
And what was that?
BEAT COP
I'm sorry?
ABEL
You just said you've done what you
needed to... so what was it that
you've done?
BEAT COP
(looks back dumbfounded)
ABEL
Did you fingerprint or anything?
BEAT COP
No need, these guys always wear
gloves.
ABEL
So you've done nothing.
16
BEAT COP
I'm not exactly sure, I just got
here at four. My shift is actually
up.
ABEL
So who's coming?
They stare at each other, then the truck. ABEL then climbs up
and we see he knows his way around the truck. He goes up top
and opens and looks into a valve, the tank is empty.
BEAT COP
Sorry.
The cop gets in his car and prepares to drive away.
BEAT COP (CONT'D)
Why did they want it?
ABEL
They stole the $6,000 of fuel that
was in it.
The cop leaves. ABEL is left standing on top of the truck in
the parking lot alone with his battered truck. He looks down
at the open loading valve and begins to come up with an idea.
The sun is setting.
EXT. STANDARD HEATING TRUCK YARD - DAY
A sign on the inside of the gate reads. "It's not safety
first... It's safety always". The motor on the gate starts in
and it opens. In drives ABEL'S car.
INT. ANNA'S OFFICE STANDARD HEATING OIL - DAY
ANNA is working away on an adding machine in her office. She
is listening to the radio that sits behind her on the desk.
We can see that she is in her comfort zone.
INT. BROOKLYN ASSISTANT DISTRICT ATTORNEY'S OFFICE - DAY
The ASSISTANT D.A. is sitting behind his desk as DEPUTY LANGE
stands off to the side. He is only in his early thirties but
with confidence and ego to spare. They know each other.
A.D.A. LAWRENCE
Andrew.
17
ANDREW WALSH
Lawrence. Thank you for seeing us
on such short notice.
A.D.A. LAWRENCE
Of course. And Mr. Morales. Please
sit. I didn't realize you were
coming as well.
ANDREW WALSH
Yes...
A.D.A. LAWRENCE
So what can I do for you?
ANDREW WALSH
We need your help.
A.D.A. LAWRENCE
In what way?
ANDREW WALSH
Our trucks. They are being robbed.
A.D.A. LAWRENCE
(he looks over at DEPUTY
LANGE)
ANDREW WALSH
We have a serious security issue.
DEPUTY LANGE
There have been a series of
hijackings of bulk-fuel delivery
vehicles.
A.D.A. LAWRENCE
Yes.
ANDREW WALSH
Our drivers are being put in
danger.
A.D.A. LAWRENCE
Mr. Walsh, as I know you know, this
office has been investigating your
entire industry.
ANDREW WALSH
Of course.
There is an awkward pause as LAWRENCE decides how he should
continue.
18
A.D.A. LAWRENCE
And as much as I'd like to be able
to help you, you know this is a
police issue. It's not what we do
here.
ANDREW WALSH
I understand. But this is turning
into an urgent and pressing matter
for us.
A.D.A. LAWRENCE
Urgent?
ANDREW WALSH
Yes.
A.D.A. LAWRENCE
I'm not sure what you mean. There
were more murders and rapes in this
city last year then there ever have
been, so if you have come to tell
me that we have a urgent security
issue here, trust me I'm aware.
ABEL cuts in. He can't help himself.
ABEL
My people are at risk just driving
around in this city, just trying to
do their jobs. And I... I have done
everything you have asked of me.
It's been two years since you first
started investigating my company
and I have spent thousands of
dollars hiring lawyers for this and
that to provide you with every
piece of information your office
has requested. And I expect that
you have been asking the same from
my competitors. So with all this
information that you have gained...
We are just asking if you have any
idea who has been doing this to us?
A.D.A. LAWRENCE
I don't.
This sits unanswered.
19
A.D.A. LAWRENCE (CONT'D)
I understand your frustration. And
although everyone else seems to
have given up and left this city
for dead, I haven't. And as you
know we have been investigating
industry-wide corruption in your
business that seems to have been
going on for years. And the simple
fact is that the only person who
could do anything with 8000 gallons
of heating oil in a matter of
minutes after stealing a truck is
someone from within that industry.
And almost certainly someone with
local storage capacity. So you're
right. That means you all are
stealing from each other. Which is,
as far as I can tell, just a
refreshing new take on what you've
been doing to your customers and
fellow taxpayers for the last
fifteen years.
This sits in the room for a long beat.
ABEL
First, please know that we respect
the work you are doing to try to
help our business and the city. But
also know I have never taken
anything I haven't earned from
anyone so when you say you've...
He pulls himself back.
ABEL (CONT'D)
We are on the same side here.
A.D.A. LAWRENCE
Well yes and no. See, all that I
can do is to try and put people
away in the simplest and most
economical way possible with the
limited resources at my disposal.
It doesn't really matter to us who
it is or how we do it as long as
it's progress.
ABEL
Well, it makes a difference to me.
20
A.D.A. LAWRENCE
I know it does. This city is a very
difficult place to do business
right now.
ABEL
Yes.
This more conciliatory tone makes LAWRENCE think through his
next reply for a long beat.
A.D.A. LAWRENCE
You know... Mr. Morales you seem
like a decent man, and because of
that I'm really not comfortable
just sitting here with you
pretending that the elephant
perched on the corner of my desk
isn't there.
LAWRENCE looks over at DEPUTY LANGE whose body language says
`don't go down this road'. But he does.
A.D.A. LAWRENCE (CONT'D)
I can't go into specifics at this
moment but we believe that you and
your company have broken the law
and that we have enough evidence to
prove that. So next week, Monday
actually, we will be bringing a
case against you.
This drops like a bomb. ABEL and LAWRENCE stare at each
other. Then ABEL glances to the corner of the desk. We see
that a large draft copy of the case is actually sitting
there. ABEL looks back up.
A.D.A. LAWRENCE (CONT'D)
I'm sorry to do this in person.
It's awkward, obviously, but I
didn't want to have this happen on
Monday not having said something
here in person today, out of
respect.
ABEL
I understand.
ABEL stands up to leave and ANDREW is still a little stunned
but stands.
21
ABEL (CONT'D)
You have your job to do. But know
that you are wrong and that we will
take advantage of every opportunity
to prove that.
A.D.A. LAWRENCE
I'm sure you will.
They turn to leave. And LAWRENCE has one more thought.
A.D.A. LAWRENCE (CONT'D)
One more thing... Have you been
doing anything different in your
business over the last year?
ABEL
I'm sorry?
A.D.A. LAWRENCE
I'm just looking here through these
reports. It looks like out of the
nineteen registered heating oil
companies in the city your trucks
have been getting hit three to one.
ABEL
Yes?
A.D.A. LAWRENCE
So are you maybe doing something to
bring this on yourself?
ANDREW WALSH
Like what?
A.D.A. LAWRENCE
Like enter a new market?
ABEL
I am always trying to expand my
business.
A.D.A. LAWRENCE
Of course. But I think you
understand what I'm saying... there
are always some markets that are
more difficult than others to
enter.
ABEL
Every new market is a difficult
market.
(MORE)
22
ABEL (CONT'D)
But my driver was assaulted and my
truck and oil were stolen in broad
daylight in front of fifteen toll
collectors and six police officers
yesterday. And yet no one saw
anything. That is a problem... no?
A.D.A. LAWRENCE
I have a lot of problems coming
across my desk every day Mr.
Morales.
ABEL
I'm sure you do.
INT. HALLWAY OF BROOKLYN D.A. COURT BUILDING - DAY
ABEL walks out in front of ANDREW.
ANDREW WALSH
Abel. Abel.
He stops and turns.
ANDREW WALSH (CONT'D)
(his words escape him)
ABEL
Exactly.
ANDREW WALSH
No... let's not overreact. We don't
even know what they are bringing
against us. It could be total
bullshit, and they are just trying
to use us along the way. This isn't
anything yet.
ABEL
I know.
INT. ANNA'S OFFICE STANDARD HEATING OIL - DAY
ANNA is working away on an adding machine in her office. She
is listening to the radio that sits behind her on the desk.
We can see that she is in her comfort zone. ABEL enters.
ANNA
How'd it go?
23
ABEL
The DA... He said he's going to
bring down charges on us next week.
ANNA
For what?
ABEL
We don't know yet.
ANNA
Who else?
ABEL
Right now they are just saying us.
Beat.
ABEL (CONT'D)
Where are we exposed?
ANNA
We follow standard industry
practice on every front.
ABEL
Anna?
ANNA
I need to know what they are saying
we did.
Beat.
ABEL
Okay.
INT. HOSPITAL LONG HALLWAY - DAY
ABEL walks down the long hallway and enters a room.
INT. HOSPITAL ROOM - DAY
JULIAN is sitting on the edge of the bed, waiting. His jaw is
in bandages, and there are crutches sitting next to him, but
he looks much better than the previous day. They look at each
other intensely but say nothing.
24
INT. SHIT-HOLE TENEMENT STAIRWELL - DAY
ABEL is helping JULIAN up the stairs. They struggle together.
Finally they get to the top floor and stand outside apartment
number . JULIAN stops, not really wanting to open the door in
front of his boss.
ABEL
I'm very sorry this happened. Do
you need anything else?
(JULIAN nods no)
If you do, you call the office...
Okay then.
He turns to leave and walks back to the stairs.
JULIAN
Abel?
ABEL turns and looks at him.
JULIAN (CONT'D)
Do you think I am ready to move
into sales?
ABEL thinks this through.
ABEL
I don't.
JULIAN
I... I'm not sure I will be able...
ABEL
You will.
JULIAN changes the subject.
JULIAN
Did you get the truck back?
ABEL
Yes. They took the load.
JULIAN
This is the sixth one?
ABEL
Seventh... you get some rest.
25
EXT. BUILDING BY ABEL'S CAR - DAY
ABEL comes out of the building and walks towards his car
where a group of TOUGH-LOOKING KIDS in their early twenties
are sitting, looking to see who is going to come and claim
the brand new car. He walks right though them without being
overly aggressive but without a hint of being intimidated. He
gets in and drives away.
INT. BROOKLYN BARBERSHOP - NIGHT
ABEL is sitting in the barber chair getting a trim. Through
the window we see ARNOLD KLINE, a competitor of ABEL'S
walking by. They see each other. ARNOLD KLINE comes into the
shop followed by a BODYGUARD. He sits down next to ABEL. This
conversation happens with them both looking at each other in
the mirror.
ARNOLD KLINE
Well, look who it is.
ABEL
Arnold.
ARNOLD KLINE
Just a touch off the side Jimmy.
Not all of us are as lucky as Mr.
Morales here in terms of keeping
our hair.
BARBER JIMMY
You're a good looking man.
ARNOLD KLINE
I know I am. So I hear
congratulations are in order?
ABEL
What's that?
ARNOLD KLINE
You got yourself in contract over
there.
ABEL
We are working on it.
ARNOLD KLINE
Thirty day close I hear, you better
be.
ABEL
We are, thanks for your concern.
26
BARBER JIMMY finishes ABEL, and he stands up to leave. ABEL
has his back to KLINE as he pays.
ARNOLD KLINE
I saw a couple of your trucks over
in Rego Park the other day.
This brings ABEL around to look at him square.
ABEL
Really? When was that?
ARNOLD KLINE
A couple times.
ABEL
It's possible.
ARNOLD KLINE
Is it?
ABEL
Yes.
ARNOLD KLINE
That's a tough market.
ABEL
It is.
ARNOLD KLINE
My father struggled for years
before he broke in there.
ABEL
Any new market is a tough one. I'll
see you.
ABEL walks out of the shop and looks around. It is now dark
outside.
EXT. COUNTRY ROAD - NEXT MORNING
ABEL is jogging again but this time he is deep in the woods.
He runs along the road. We then hear a car coming from behind
him. The car noise then turns into more of a truck noise. He
stops and turns around as we see a large truck coming towards
him.
He gets himself over to the side of the road. We have a
slight fear it might hit him. But as it passes we see it's a
large moving truck. There's a second one following right
behind it.
27
As the trucks pass it registers on ABEL's face. He cuts into
a path in the woods.
EXT. DRIVEWAY
ABEL walks up to his house, and we see the moving trucks
preparing to unload. ANNA gets out of her car with the kids,
and they run around and check out the house as ANNA directs
the movers.
ABEL comes up and stands next to her. They smile a protected
smile at their new home. ABEL gives her a kiss.
INT. DINING ROOM OF NEW HOUSE - NIGHT
The whole family sits around the table in candlelight. They
are eating takeout, but with a mismatch of formal and
everyday tableware that has been unpacked. There are boxes
all around them.
ANNA
I know it has been a long road, and
that not all of you wanted to do
this, but thank you. For me...
ABEL
A toast.
All six raise a glass.
ABEL (CONT'D)
A toast to our new home. It's as
beautiful as my wife and daughters
and as strong as me...(kids laugh)
May we be happy, prosperous and
safe here. Cheers.
INT. GYMNASIUM GIRLS YOUTH SOCCER GAME - NEXT MORNING
ABEL is standing watching the game as he waits for his coffee
to come out of the snack bar. Over his shoulder we hear...
PETER FORENTE
So you made the move?
ABEL turns and sees PETER FORENTE standing there. He's in his
mid-forties, very well-dressed, and handsomely bald.
ABEL
Peter... it's official as of
yesterday.
28
COUNTER PERSON
Sir.
ABEL picks up his coffee, and they both walk back over to the
sideline together. Although they are standing a bit off to
the side from everyone else.
PETER FORENTE
So I heard about your rig getting
picked off again.
ABEL
Yes.
PETER FORENTE
We should probably get together to
discuss this and go over some of
the preventative measures that
we've been taking. We haven't had
an incident since November. It
doesn't do any of us any good to
have this kind of attention brought
to us.
They both stare out at the court for beat.
PETER FORENTE (CONT'D)
So I think I may have seen one of
your new trucks the other day.
They look at each other.
PETER FORENTE (CONT'D)
Out near here, at the Miller Road
diner?
ABEL
That's possible.
PETER FORENTE
The driver looked like a member of
the Hitler Youth. I haven't seen a
teamster that blond and blue-eyed
since I was a kid.
ABEL
He's from Ohio. Played football. I
like my drivers to fit in with the
neighborhood...
PETER FORENTE
That's new territory for you, no?
This brings them both back in to look at each other.
29
ABEL
Just picked up a few new accounts
over there. Weekend houses of some
old clients from in the city.
PETER gives a bit of a stronger look. Then finally turns back
towards the field.
PETER FORENTE
Which one is yours?
ABEL
Right there.
They look out.
PETER FORENTE
She's beautiful.
ABEL
Thank you.
PETER FORENTE
Welcome to the neighborhood. You
should be proud.
ABEL
Proud?
PETER FORENTE
Yes.
INT. GARAGE OF THE NEW HOUSE - DAY
The garage is filled with boxes. ABEL stands in the middle of
a few that are partially unpacked. He has set up an old radio
in the corner of the garage, and it is playing a New York
Giants football game. ABEL takes an object out of one of the
boxes and looks at it with significance.
Coming from the main house we hear the doorbell ring. ABEL'S
oldest daughter, ANNIE, comes to the door of the garage.
ANNIE
Dad. Mr. Walsh is here.
ABEL looks around behind ANNIE to see ANDREW standing there.
He waves him into the garage. The boxes are stacked almost
to the ceiling around them.
30
ANDREW WALSH
I'm sorry for the dramatic drop in
but your phone doesn't seem to be
working.
ABEL
It's not set up yet... So I am
guessing this isn't good news here
on a Sunday night.
ANDREW WALSH
No... It looks like they are coming
after us.
ABEL
That describes many people at this
point.
Slight smile.
ANDREW WALSH
The D.A.
ABEL
How bad?
ANDREW WALSH
I still haven't seen it yet. But my
guy in his office just gave me a
heads up an hour ago. It's not
good.
ABEL
Where are we exposed?
ANDREW WALSH
I'm not sure, a couple places
probably.
ABEL
A couple places?
This hits ABEL. He thinks for a beat than goes over to the
door to the house and calls for his wife.
ABEL (CONT'D)
Anna... Anna!
They wait. She enters, she is a bit surprised to see ANDREW
in her garage.
ANNA
Andrew.
31
ANDREW WALSH
Anna... sorry you've got no phone.
ABEL
As of tomorrow I'll have my new
radio hooked up though so you
should be able to reach me wherever
I am...
He is making light of the situation, but as she looks at
their faces she knows there is a problem.
ANDREW WALSH
The D.A. is going to bring down
charges on us tomorrow.
ANNA
For what?
ANDREW WALSH
We don't know yet.
ANNA
Who else?
ANDREW WALSH
Right now they are just saying us.
ABEL
Where are we exposed?
ABEL looks at his wife. She looks at ANDREW.
ANNA
We follow standard industry
practice on every front.
They all give each other a long look, as this means they have
been bending the rules in several places, as do all their
competitors.
ABEL
What does that mean?
ANNA
You know what that means.
ANDREW WALSH
It means we may have some
accounting exposure where we have
pushed things a little too far.
ABEL
How far?
32
ANDREW WALSH
You always told us to push until we
couldn't push any further. Well, we
may have hit that line. So we will
handle it and move on.
ABEL
Anna?
ABEL shoots her a stinging worried glance.
ANNA
I need to know what they are saying
we did.
ANDREW WALSH
Let's not get ahead of ourselves
here. You have always followed
standard industry practices. We
aren't even sure what this is yet.
I just wanted to make sure you had
all the information I do. This is a
badge of honor, it means we are big
enough to give a shit about now.
Don't worry.
That sits for a beat.
ABEL
Okay.
ANNA
Thank you for coming by Andrew.
ABEL reaches into his pocket and takes out a remote for the
automatic garage door opener. As it opens you can see the
pride in his face as this remote is a fairly high-tech new
item. They all sit and watch as it opens the whole way then
stops in silence.
ANDREW is now standing outside in the driveway.
ANDREW WALSH
Very impressive.
ABEL
Thank you.
ANNA
It only cost him a year of the
kid's tuition.
33
ANDREW WALSH
And one more thing. I got a call
from the union... O'Leary.
This grabs both their attention.
ANDREW WALSH (CONT'D)
They've been getting word back from
our drivers.
ANNA
What word?
ANDREW WALSH
There is real concern about their
safety.
ABEL
Who?
ANNA
All of them.
ANDREW WALSH
The drivers are feeling
unprotected.
ANNA
Because they are.
ANDREW WALSH
I just think you should talk to
them about it. Before it grows into
something.
ABEL
Okay.
ANDREW WALSH
Good night.
INT. ABEL AND ANNA'S BEDROOM - NIGHT
ABEL is lying in bed, awake. ANNA is as well. He is staring
at the ceiling. Their dog is lying at the foot of the bed
asleep as well. Eventually the dog wakes up and looks out
towards the doorway. He growls ever so lightly. Then he
stops, listens, and starts growling a little more.
ANNA looks up ever so slightly.
ANNA
What's he doing?
34
ABEL is now standing up to go look.
ABEL
Quiet... don't worry. It's nothing.
ANNA tries to go back to sleep.
INT. HALLWAYS/KID'S ROOMS - NIGHT
ABEL walks out of the bedroom and slowly heads down the hall
to his kids' rooms. He looks in each room and the CHILD is
sleeping soundly with nothing out of place.
INT. KIDS' ROOMS/HALLWAY- SAME TIME
As he comes out of the last bedroom back into the hallway he
sees his dog standing at the top of the stairs looking down
over the balcony into the living room. The dog is starting to
quietly growl once again.
ABEL'S face goes from total comfort that his kids are safe to
total paranoia. He slowly walks down the hall. He stops off
in his bedroom closet and grabs a mid-size baseball bat/billy
club. Now he is heading down the stairs with the club trying
not to freak himself out.
INT. OPEN LIVING ROOM/ENTRY HALL/FRONT DOOR - NIGHT
ABEL walks down the stairs and the dog just stands at the
top, still growling every now and then. ABEL comes into the
living room and everything seems perfectly normal. He then
relaxes and turns towards the dog.
ABEL
Quiet. It's nothing. Come down
here.
He snaps his fingers and calls the dog. The dog finally comes
down the stairs.
ABEL now heads towards the kitchen in a relaxed state, but
then the dog starts growling again and looking out the
windows next to the front door. ABEL comes over, he opens the
front door but the dog refuses to go out.
ABEL (CONT'D)
Go. Oh come on. Go.
ABEL thinks he hears something. He clicks on the lights and
pulls his bat back up into position. He heads outside.
35
EXT. FRONT DOOR TO ABEL'S HOUSE - NIGHT
ABEL comes to the end of the front walk and there is nothing.
The dog has now followed him outside and is slowly heading
over to a area where a small exterior hallway leads to a side
entrance. It is dark. The dog starts barking and going crazy.
ABEL slowly heads over to the covered passageway.
All hell now breaks lose. A BURGLAR, in all black, comes
blasting out of the shadows. The dog tries to bite him as he
goes by. ABEL swings his club and hits BURGLAR square on the
shoulder but he keeps coming. He knocks ABEL over and runs
towards the driveway. ABEL is up and chasing after him faster
than we expect.
EXT. BASE OF THE RAVINE DEEP IN WOODS- CONTINUOUS
There is a pretty good moon out so we can see them running
full throttle through the very thick woods. ABEL is keeping
up with him and in fact may be gaining on him.
ABEL is still in his pajamas. He has a rage that has been
building up inside him for a good two weeks that is now
pouring out of him in the energy to chase this guy down.
They come to the top of a small ravine which ABEL seems to
know from his runs through the woods and ABEL takes a bit of
an easier/quicker path down.
EXT. WOODS BEHIND ABEL'S HOUSE - CONTINUOUS
ABEL now cuts him off at an angle and swings the bat at his
legs. BURGLAR trips and goes flying. ABEL falls as he swings
at him. They both sit on the ground for a beat. ABEL is
exhausted. They stare at each other.
A brief look of panic comes across BURGLAR's face. Then he is
up again and running off into the woods.
ABEL gets himself up and chases after him.
EXT. ROAD NEXT TO THE WOODS - NIGHT
ABEL comes out of the woods into the middle of the road, and
in the distance we see BURGLAR run up to a waiting van with
its lights and engine on. The guy gets into the passenger
side of the van, and it peels out.
ABEL is left standing in the middle of the road, barely able
to breathe and holding the bat.
36
EXT. ABEL FRONT DOOR - NIGHT
ABEL comes walking back towards his front door. ANNA is
standing with all the lights on and with the dog sitting next
to her. She looks at him in shock.
ANNA
Where were you?
ABEL
(looking to the dog)
A lot of help you were.
ANNA
Abel?
They both look down at his bare feet. He has been in some
kind of shock and hasn't even noticed that his bare feet are
cut up to pieces from running in the woods through the ice.
His feet are bleeding all over the walkway.
INT. POWDER ROOM OF ABEL AND ANNA'S HOUSE - NIGHT
ANNA is in warrior mode. Any panic in her voice has
disappeared, and she is speaking with a calm yet deadly
seriousness. She is cleaning the cuts on his feet and putting
bandages on them as they talk.
ANNA
Who was it?
ABEL
What do you mean, how am I supposed
to know who it was?
She gives him a look.
ABEL (CONT'D)
I don't know.
She gives him another look.
ABEL (CONT'D)
I think it was just some punk,
looking to rip us off.
ANNA
If you...
ABEL
Ouch! If they had wanted to send a
message he could have... and he
didn't.
37
ANNA
Seems like a message was sent loud
and clear.
ABEL
Please. Don't get going on this. We
are a big new house. He probably
wanted the TV. He didn't have a
gun, he had nothing. The alarm will
be in on Monday. It was some kid.
They aren't coming back.
She looks at him with considerable concern.
He leans in and starts kissing her. She holds still at first
then gives in.
INT. TRAINING ROOM AT STANDARD HEATING OIL - NEXT MORNING
ABEL is in a suit but is kneeling and almost lying on his
back showing three SALES RECRUITS what they should be looking
for. Another INSTRUCTOR looks on. We see ABEL in his element.
He is a salesman.
ABEL
What you are looking for here is
the opening to the burn chamber.
Now at this point you have not
tipped your hat in anyway. From the
minute you walked in the house you
should have been working to create
an impression of total
impartiality. But now...
He reaches over and opens the small door. A fire is burning
inside. On cue the instructor hands ABEL a crisp clean white
handkerchief.
ABEL (CONT'D)
When this door opens you begin to
close. It must always be spotless.
If they see you have ever done this
before it is over.
He takes it and reaches up into a small exhaust chimney.
ABEL (CONT'D)
Now, you do this and only this...
You look down at the cloth and
don't say a word... You just keep
staring at the cloth and then you
slowly just start shaking your
head. Very very slowly and small.
(MORE)
38
ABEL (CONT'D)
Don't look up at them. Just at the
cloth.
Then ABEL makes a small clicking noise.
INSTRUCTOR
Do you hear that noise... that's
the noise.
SALES STUDENT ALEX
What noise?
ABEL
It means you are close... Then
after sitting in silence way longer
than is comfortable, you turn. And
say "I'd love to run a few numbers
for you. Is there somewhere more
comfortable we could sit." They
will almost always take you to the
dining room table and will offer
you something. And whatever it is
you always take the fancy option.
INSTRUCTOR
Can I get you a coffee or tea?
ABEL
A tea please.
INSTRUCTOR
We have some homemade lemonade or a
soda.
ABEL
I'd love a lemonade, thank you.
SALES STUDENT ALEX
Why?
ABEL
Because, we are never going to be
the cheapest option, so we have to
be the best. And they want... no,
need... to feel that you want the
best too. That's why our trucks are
the newest or cleanest, and our
drivers are approachable.
Just then the woman who works behind the front desk (STANDARD
FRONT DESK) comes to the door.
STANDARD FRONT DESK
They need you.
39
ABEL
I gotta go, but the final point I
will make is the hardest one. Once
you have done the math and shown
them what we can save them over the
long haul through proper
maintenance, you need them to sign.
And the problem is by hiring you
that means they are firing someone
else. And that's never easy. So to
get them over the line you need to
close them. So when you show them
the number look up at them both...
and just stare at them...
ABEL begins staring at the recruits. He continues to stare.
ABEL (CONT'D)
You stare longer than you should.
Because this is not a joke. You
will only keep this job if you
close. And that's not funny to you.
And I am only interested in this
company growing, and when it isn't
I don't think it's funny at all.
These people work very hard for
their money and these other guys
are ripping them off, treating them
poorly, because they don't know...
so when you look them in the eye
you have to believe that we are
better, and we are, but you will
never do anything as hard as
staring a person straight in the
eye and telling the truth.
ABEL then does exactly that to them. And he holds it for a
long beat.
ABEL (CONT'D)
Well... it was great to meet you.
Welcome and I wish you luck.
ABEL walks out of the room and straight into.
INT. LARGE STAFF MEETING ROOM - DAY
There is a great high/low nature to the way ABEL runs the
company. While he wears great suits and his trucks are
impeccable, he does not waste money. So this room where the
drivers have company meetings is very basic.
40
The room is filled with all of the drivers. There is a bit
of a nervous energy in the room. It quiets as ABEL comes in.
He stands aside.
STANDARD FRONT DESK
Trucks 16 through 23 you should be
ready to go...
As STANDARD FRONT DESK sees ABEL standing behind her, she
stops. ABEL walks forward a few steps.
ABEL
Good morning. First off, I picked
up Julian yesterday and he is back
home and doing much better. And I
just wanted to make sure you are
all aware that we are doing
everything we can to deal with this
situation. We are working with law
enforcement, and they seem to be
closing in on these guys. But,
sadly these are the times we are
living in and we must rise above
them. So, on that front we have
these.
He puts one of the new radios on the dais. ANDREW comes into
the room behind ABEL and stands.
ABEL (CONT'D)
These will be in every truck by the
end of the week. Much to my wife's
concern I spent some serious coin
and we now have our own closed
channel that shouldn't have any
blackout areas. You will always be
in contact with us.
(a hand goes up in the
BACK)
Yes, Eddy.
SENIOR DRIVER EDDY
I have heard that the union is
considering recommending other more
active options for us to consider.
Do you know about this?
ABEL looks to ANDREW.
ABEL
We have been in constant contact
with the union and they aren't
considering any new course of
action at this time.
41
SENIOR DRIVER EDDY
So this radio is what we got?
ABEL
Yes.
EXT. ABEL AND ANNA'S HOUSE - DAY
ANNA is walking back from the mailbox looking through the
day's mail. As she approaches the house she looks up and sees
the two younger daughters, ELIZABETH (6 years old) and
CATHERINE (4 years old), playing in front of the house.
CATHERINE comes out from under a bush near the side door with
something in her hand.
ANNA looks back down at the mail. As she gets closer to the
house we see a look of concern come across her face. The look
then turns to one of complete horror but as she gets closer
to CATHERINE she tries to control her emotions.
ANNA
Catherine... Catherine. Katie!
She drops the mail. And goes right up to her daughter.
CATHERINE
Mommy.
As ANNA comes up to CATHERINE we now see that the little girl
is holding a large very real looking handgun in her little
hands. ANNA is besides herself.
ANNA
Where did you get this? Catherine
where did you find this?
CATHERINE
Right here.
The little girl points over towards the bushes near the side
door where LOUIS SERVIDIO was hiding and got hit the night
before.
ANNA
Show me.
The little girl walks over to bushes and kneels down.
CATHERINE
It was just sitting right here.
ANNA turns to the middle daughter, ELIZABETH.
42
ANNA
Did you see this?
ELIZABETH
Yeah, she went under there to get
that ball and came out with it.
ANNA
Maria!
ANNA yells towards in the house.
ELIZABETH
What is it?
ANNA walks towards the front door to retrieve the NANNY
MARIA.
ANNA
Maria!
ELIZABETH
Mom, is it real?
INT. ABEL'S OFFICE STANDARD HEATING OIL - DAY
ABEL is sitting down at his desk. ANNA comes to the door. She
gets his attention and then walks right up to the desk. She
puts the handgun down right in front of him.
ABEL
What is that?
ANNA
A gun... It's a gun Abel.
ABEL
Where did you get it?
ANNA
Your youngest daughter found it in
the bushes outside our front door.
She was playing with it.
ABEL is totally speechless.
ANNA (CONT'D)
It's loaded... with the safety off.
This sits like a bomb in the room.
43
ANNA (CONT'D)
Those weren't kids looking to rip
off our TV Abel, that was a fucking
goon with a loaded gun looking in
our windows! What the hell is going
on here?
ABEL
Let me see that. I'll take care of
this.
ANNA
Damn right we will. Who is this?
ABEL
I don't know, but I will take care
of it.
ANNA
What does that mean you will take
care of it. This isn't a brick
through our car window or some
other cute little warning that I've
put up with in the past. This is
your daughter playing with a loaded
gun!
He turns back quickly. And stares at her.
ABEL
(YELLS)
I know what it is!
He slowly walks back across the room and picks up the gun.
His hand shows a shake ever so slightly as he touches it.
ABEL (CONT'D)
Let me deal with this.
ANNA
You better. Because you won't like
what's going to happen once I start
getting involved.
This causes him to stop in his tracks. He turns very
seriously.
ABEL
You are not to tell your father
about this.
She looks back at him with a tinge of a smile.
44
ABEL (CONT'D)
Do you hear me.
ANNA'S look changes and she understands.
ANNA
...I won't.
ANDREW comes to the door and knocks.
ANDREW WALSH
Can I talk with you both?
ANNA
I found a gun outside our front
door. Somebody left it there last
night.
ANDREW WALSH
Who?
ABEL
I don't know.
ANNA looks over to ANDREW letting him know her disgust.
ANDREW WALSH
Well...
He looks around then closes the door behind him and gets
their attention.
ANDREW WALSH (CONT'D)
It's not good... It's bad
He takes out a folder containing the formal indictment and
hands it to ABEL.
ANDREW WALSH (CONT'D)
It's a fourteen count indictment.
Most of it is crap. Piggyback
issues. But...
As ANDREW keeps talking, trucks go rumbling by behind them.
ANDREW WALSH (CONT'D)
The first three counts are where we
start to have real issues. They
know what's going on in this
industry. They say we are rigging
scales and under-reporting income.
We don't know what they have or how
they got it. But no matter how they
got it, it's a problem.
45
ABEL
That truck just went out filthy.
ABEL looks out the window as a truck leaves the yard.
ANNA
Abel!
ANDREW WALSH
We are going to owe them some
money.
This brings him back.
ABEL
How much?
ANDREW WALSH
That depends on a bunch of factors.
But that's an accounting question.
They both look to ANNA
ANDREW WALSH (CONT'D)
And there is one other thing. The
bank...
This hits ABEL.
ANDREW WALSH (CONT'D)
We need to sit down with them
immediately. I set a dinner. We
need you both there to lay
everything out and be totally up-
front. This shouldn't be a problem.
Lord knows they've given money to
bigger crooks than us. But I don't
want us hiding anything from them.
ABEL does not like this joke.
ABEL
You need to get home and start
going through our set of books. How
far back are they going?
ANDREW WALSH
Seems like all the way back to when
you bought out Anna's father.
ANNA
I'll get into it.
46
He looks out the window and sees a Cadillac pull in..
ABEL
What is O'Leary doing here?.
Abel looks to ANDREW.
ANDREW WALSH
He's been wanting to talk to you
for days.
ABEL
(under his breath)
Jesus.
ABEL gets up to go out. As ANDREW shuffles to leave ANNA
STOPS HIM:
ANNA
Andrew can I talk to you for a
minute.
ABEL leaves and they stay.
EXT. STANDARD HEATING OIL YARD - DAY
ABEL
How are you Bill?
BILL O'LEARY
I'm ok. Can't say I'm used to
making house calls like this
anymore though.
ABEL
I would have come to see you.
BILL O'LEARY
That's alright. You've got bigger
things to worry about. (Long pause)
So, I can't have this situation
with your guys continuing.
ABEL
My guys.
BILL O'LEARY
Your drivers.
47
ABEL
Good. I would love you to help on
this. Because I can't have it going
on any longer either.
BILL O'LEARY
So let them protect themselves,
that would stop all this very
quickly.
ABEL
I respectfully disagree.
BILL O'LEARY
They are picking on your men
because they are just sitting
there... weak.
ABEL
They are taking shots at me because
I am growing, expanding, getting
stronger not weaker.
This frustrates Bill because he knows ABEL is right. He tries
a new tack.
BILL O'LEARY
It's quite simple for me: I can't
have my drivers getting hit like
this. It looks like I can't protect
them.
ABEL
Well, it appears that you can't.
This is a little too sharp for the head of the NYC teamster's
taste.
BILL O'LEARY
I can. And will. Because of all my
job descriptions that is the one I
consider most sacred.
ABEL
I agree. But these are truck
drivers, not soldiers, this will
lead to chaos.
BILL O'LEARY
It will stop immediately.
ABEL
No, it won't.
48
He resets, again.
BILL O'LEARY
You seem to be under pressure from
many sides right now... which I
understand. Trust me I understand.
So let me think this through. But
whatever decision I make on this,
it stands. Those men show up every
morning for you because I tell them
to. It's important for you to
realize that these are very
dangerous times, and we need to
adapt. It's not like when we were
driving.
ABEL
Yes.
BILL O'LEARY
Sometimes the weak man is the
stronger man if he has the right
tools.
ABEL
It may seem that way... but if you
are weak eventually it will show...
it always does. And if you want
this to all be behind us, help me
find out who is doing this. You
know a lot of people, and that
would be the most help to me.
BILL O'LEARY
It's not always as simple as it
appears.
ABEL
I'm sure that's true.
BILL O'LEARY
It is... well, I got to get going.
ABEL
Thank you for coming Bill.
EXT. GATE AT STANDARD HEATING OIL - DAY
O'LEARY walks over to ANDREW as he is getting in his car.
ANDREW WALSH
How did that go?
49
BILL O'LEARY
Not well.
ANDREW WALSH
He feels very strongly about this.
BILL O'LEARY
I can see that.
ANDREW WALSH
I don't think he fully understands
it.
BILL O'LEARY
What's to understand?
ANDREW WALSH
It's illegal.
BILL O'LEARY
It's not illegal if I say it isn't.
My responsibility is to provide
safe and timely passage of goods
and products into and around this
city. And because of this situation
it is appearing to those whose
opinions I care about that I can't
do my job. That can not and will
not continue.
ANDREW WALSH
I understand.
BILL O'LEARY
So talk to him. You need to protect
yourself. This is very serious.
Just know that.
ANDREW thinks this through.
ANDREW WALSH
How would this work?
BILL O'LEARY
What does that mean?
ANDREW WALSH
I guess I'm not even sure exactly
what you are suggesting.
BILL O'LEARY
Are you kidding me with this?
50
ANDREW WALSH
No.
BILL O'LEARY
Every driver in your fleet gets a
handgun.
ANDREW WALSH
And a permit?
O'LEARY nods yes.
ANDREW WALSH (CONT'D)
When?
BILL O'LEARY
By Friday.
ANDREW WALSH
Are the permits legit?
BILL O'LEARY
That depends what they do with it.
If they kill their wife with them,
then no. Then that is a very fake
permit, and I'll walk away very
quickly. But they just need to show
that they are defending themselves,
and this will stop.
ANDREW WALSH
Who is it?
BILL O'LEARY
I don't fucking know...
ANDREW WALSH
I'll talk to him.
INT. MORALES' GARAGE - DAY
ANNA is struggling through the boxes in the garage. She moves
some things and then finds what she is looking for. A pile of
about nine matching file boxes that are all labeled the same.
It is their off the books bookkeeping.
INT. STUDY/LIBRARY OF THE NEW HOUSE - DAY
The library is filled with custom made bookshelves that are
still waiting to be filled. There is a large desk sitting in
the corner that hasn't been fully unpacked yet.
51
ANNA comes in struggling carrying the file boxes from the
garage, she piles them on the desk.
She looks around her feet at the pile, it's literally the
skeletons from her closet. She resets, walks over to the
window to look out over her new beautiful home. Then she
turns back at the pile of boxes that hold their past and
their future.
EXT. LONG SUBURBAN DRIVEWAY - DAY
A Standard Oil DRIVER steers his truck down the driveway. As
he approaches the end he sees a massive bulk oil truck of one
of their competitors parked blocking the exit of the
driveway. He stops his truck and gets out warily. He looks
around. No one is in the cab of the truck. But he sees a
small note taped to the window. It reads: "Engine trouble,
back later... Fuck you."
INT. STUDY/LIBRARY OF THE NEW HOUSE
The phone starts ringing. ANNA gets up from her work and
answers it. We stay on her as she gets the news.
ANNA
He's not here.
Her face fills with building anger as she hears.
ANNA (CONT'D)
Okay. I will.
ANNA hangs up the phone and walks over to the window and
looks out and over at the other main wing of her new
beautiful home. Then she turns back and looks at the pile of
boxes that hold their past and their future.
EXT. GATE AT STANDARD HEATING OIL
O'LEARY walks over to ANDREW as he is getting in his car.
ANDREW WALSH
How did that go?
BILL O'LEARY
Not well.
ANDREW WALSH
He feels very strongly about this.
52
BILL O'LEARY
I can see that.
ANDREW WALSH
I don't think he fully understands
it.
BILL O'LEARY
What's to understand?
ANDREW WALSH
It's illegal.
BILL O'LEARY
It's not illegal if I say it isn't.
This takes ANDREW back a step.
BILL O'LEARY (CONT'D)
My responsibility is to provide
safe and timely passage of goods
and products into and around this
city. And because of this situation
it is appearing to those whose
opinions I am concerned with, that
I can't do that right now. That can
not and will not continue.
ANDREW WALSH
I understand.
BILL O'LEARY
So talk to him. You need to protect
yourself. As a company.
ANDREW WALSH
I will try to talk with him.
BILL O'LEARY
This is very serious. Just know
that.
ANDREW WALSH thinks this through.
ANDREW WALSH
How would this work?
BILL O'LEARY
What does that mean?
ANDREW WALSH
I guess I'm not even sure exactly
what you are suggesting.
53
BILL O'LEARY
Are you kidding me with this?
ANDREW WALSH
No.
BILL O'LEARY
Every driver in your fleet gets a
handgun.
ANDREW WALSH
And a permit?
O'LEARY nods yes.
ANDREW WALSH (CONT'D)
When?
BILL O'LEARY
By Friday.
ANDREW WALSH
Are the permits legit?
BILL O'LEARY
That depends what they do with it.
If they kill their wife with them,
then no. Then that is a very fake
permit, and I'll walk away very
quickly. But they just need to show
that they are defending themselves,
and this will stop.
ANDREW WALSH
Who is it?
BILL O'LEARY
I don't fucking know...
INT. ABEL'S OFFICE - LATER
ANDREW comes to the door. ABEL is staring out the window but
looks up as ANDREW sits down.
ANDREW WALSH
They just got another truck.
ABEL
I know.
ANDREW WALSH
Who was driving?
54
ABEL
Leo.
ANDREW WALSH
Is he alright?
ABEL
Yes.
ANDREW WALSH
The drivers' security aside... this
shit is starting to have a very
significant financial effect on us
here. It can't continue.
ABEL
I know.
ANDREW WALSH
How was your talk? (nothing)
I spoke with him after. He's going
to keep going `til he gets the
answer he's looking for.
ABEL
I said I wouldn't do it.
They sit for a long beat.
ANDREW WALSH
I'm not sure we are in a position
to say that.
ABEL
What's that?
ANDREW looks around. He's getting paranoid.
ANDREW WALSH
Do you want to go for a walk?
ABEL
Are you really serious with this,
this is what it's come to, walking
around outside like fucking
gangsters?
ANDREW WALSH
I am and it is.
55
EXT. STANDARD HEATING OIL TRUCK - DAY
Throughout this conversation ABEL is walking over to a
section of the yard where WORKERS are loading some sort of
additive chemical to the fuel trucks.
ANDREW WALSH
It is looking like we must do this.
ABEL
I must?
This gets a little personal.
ANDREW WALSH
They will shut you down.
ABEL
These men, they work for me. These
trucks they drive, the customers
they serve. They are here because
we built this.
ANDREW WALSH
That's true, until its not. And the
last person in the world right now
that we need working against us is
the president of the fucking
teamsters. This company is out of
business in a month if he gets
these guys to walk. We are running
out of cash.
ABEL
What are you even talking about
here?
ANDREW WALSH
The union provides a handgun and a
permit to every one of the drivers.
And they think this whole thing is
over in a week.
ABEL
These men are fucking truck
drivers. This is insane. You know
who is gonna get it in the end
here, me. This comes back to me.
ANDREW WALSH
It does either way.
ABEL
I'm not doing it.
56
ANDREW WALSH
Would you put everything at risk to
stand by that.
ABEL thinks this through.
ABEL
It will be the end of everything I
have worked for. If one of these
guys shoots somebody it's me they
will bring down for it...I'll talk
to him... And we need to close this
deal. We can't stay like this any
longer. We must close on that
property... We are so weak right
now.
They are now standing on top of one of the trucks tanks as a
worker pours the additive into the tank. The container says
"GREEN DYE #7" on it. ABEL looks down as it flows in.
He stands up and looks out across the fence at the container
property.
ANDREW WALSH
Why do you want this so badly?
ABEL
Because I have my entire savings at
risk with this deposit. It is
everything.
ANDREW WALSH
That's not what I mean. Why did you
want it so badly in the first
place? It was a risk... always.
ABEL thinks this through.
ABEL
I don't know.
ANDREW WALSH
You don't know? Have you ever
thought about it?
ABEL
I've thought about it every day for
the last five years. This place was
sitting over that fence mocking....
ANDREW WALSH
I didn't mean have you ever thought
about that place...
(MORE)
57
ANDREW WALSH (CONT'D)
I mean have you ever thought why
you want it so badly?
ABEL
I don't know what you mean.
ABEL looks to him in a sincere way wanting him to answer but
ANDREW just waits. Finally.
ABEL (CONT'D)
I know what you are asking and
no... I never ask myself why I do
this. It just feels right...
wanting to be bigger feels better.
It feels right.
ANDREW WALSH
That's very simple.
ABEL
Yes...
With this he gives him a deadly serious look.
ABEL (CONT'D)
...It is.
ANDREW WALSH
You take these risks...
ABEL
Only when necessary.
ANDREW WALSH
We have to get going, we need them
to show up.
INT. WHITE TABLECLOTH RESTAURANT - NIGHT
ANNA leads the boys to the table, and we see a whole new side
to her. She is going to get this done. As they approach the
table we see two BANKERS stand to greet them. The Bank
President, ARTHUR LEWIS, and Bank VP IAN THOMPSON.
ANNA
Arthur.
ARTHUR LEWIS
Anna, you look amazing as always.
ANNA
Thank you.
58
ARTHUR LEWIS
Gentlemen. Do you know Ian
Thompson? One of our new VP's.
ANNA
Ian.
They all shake hands and sit. The WAITER comes over.
WAITER
So what can I get you to drink?
ABEL
A lot.
Awkward laughter.
ABEL (CONT'D)
A wine list please.
WAITER
I'll be right back.
ARTHUR LEWIS
So how are you?
ABEL
We've been better... but we are
good.
ARTHUR LEWIS
Yes I heard about that... if you
stay in business long enough it's
bound to happen eventually.
ANNA
Well that's exactly right. And we
wanted to sit down with you tonight
to make sure we were being totally
up-front with everything that is
going on and make sure that you
understand the nature of the
complaints and are comfortable that
it is not going to affect our
business in an adverse way.
ANDREW WALSH
Did you have a chance to look over
the outline that I sent over?
ARTHUR LEWIS
Yes, we did.
59
ANNA
Hopefully it made clear that even
in a worst case situation we will
pay off any and all fines and be
able to move forward with very
comfortable capital on hand.
ABEL jumps in taking some offense.
ABEL
But you should know Arthur that
this man has been digging through
our industry for over two years
looking for anything he can find.
And as you know probably better
than anyone, having worked with
some of our competitors the thought
that he would have singled us out
is ridiculous. It reeks of
everything that is wrong with this
city right now. We run a fair and
clean business and follow every
standard industry practice and I
will fight `til my last day to
prove that...
This silences the table for a long beat.
ABEL (CONT'D)
But... but...
ABEL holds up his finger and points at ARTHUR across the
table to make his point.
ABEL (CONT'D)
...Don't think for a moment that I
am going to allow this mess to
interfere with our plan to grow. We
need to know you are standing by
us.
BANK VP IAN THOMPSON
Yes, what is it with this piece of
property that you find so integral
or that can't be put off `til after
this legal matter is dealt with?
ABEL is a little taken aback by this comment. It goes against
everything that comes naturally to him as a person. ANNA and
ANDREW know this and are concerned he might go off.
ABEL thinks it through.
60
ABEL
That's a very good question. This
property gives us many things...
firstly direct access to the river.
So I can bring in fuel directly
from any provider in the world
straight to my tanks, then it has
over 10 million gallons of storage
capacity, so I can buy in the
summers when my price is low and
sell to my customers and most
importantly some of my competitors
when the price is high. I won't
just drive trucks anymore... I will
control my fate... but the real
answer to your question...
Now ABEL stares right at IAN THOMPSON.
ABEL (CONT'D)
... is that when it feels scary to
jump Ian... that is exactly when
you must jump... or you risk ending
up staying in the same place your
whole life... and that I can't do.
IAN THOMPSON awkwardly laughs a bit as ABEL just stays deadly
serious staring right at him. Finally.
ARTHUR LEWIS
We've always been there with you
and know that we will continue to
be.
INT. ABEL'S CAR - NIGHT
ABEL is driving, and ANNA sits in silence looking out the
passenger window. They are heading along the main backwoods
road to their house.
ANNA
Well, that went about as well as
could be expected.
ABEL
Yes. Arthur is a good man.
ANNA
Do you think they will close?
ABEL
Of course.
61
Just as he says this a deer comes running out in front of
them. ABEL tries to slam on the brakes but isn't able to stop
in time. The car hits the deer and it careens over the
windshield and on to the road behind the car.
He continues to slam on the brakes and comes to a complete
stop.
They both catch their breath and look around to make sure
they are both okay. Then they look back at the deer. It is
laying on the road but is still breathing.
ABEL (CONT'D)
Are you okay?
ANNA
Yes... you need to go put it out of
its misery.
ABEL
Jesus.
ANNA
I mean it. We can't just leave it
here.
EXT. BACKWOODS ROAD - NIGHT
ABEL gets out of the car and looks at his smashed hood. He
then walks back and approaches the animal. It is laying on
the side of the road.
He comes right up to it and stares into its eyes. It stares
back at him. ABEL walks back to the car.
ANNA
Is it dead?
ABEL
No.
ANNA
Well you need...
ABEL
I know.
He reaches down to open the trunk.
ANNA
What are you doing?
62
ABEL
Getting the tire iron!
This whole situation has stressed them out and they are on
edge.
ABEL goes to the trunk and gets out the large wrench. He
walks back over to the deer. He bends down next to it and
stares into its eye again. ABEL is thinking back on
something, or many things.
He makes a small starting movement like he is going to hit it
over the head but he stops himself. He can't quite do it.
Then he sits with the animal a beat longer.
We come in very close to ABEL and see his hand is struggling
to deliver the blow. Just as he grips the tire iron
waiting... BANG! BANG!
Two very loud GUNSHOTS go off from right over his shoulder.
He ducks for cover then slowly turns behind him. ANNA stands
there holding a small-yet-powerful Saturday Night Special-
style handgun. Smoke is still rising from the end of the
pistol. The deer is dead.
He looks at her dumbfounded... where did she get this gun?
She gives him a look. Then turns and walks back to the car.
He stays and struggles to get the deer out of the road.
INT. ABEL'S DAMAGED CAR - NIGHT
ANNA is sitting in the car waiting. We hear ABEL'S footsteps
as he approaches the open driver's side door. He gets in
without saying a word. We stay with them as they drive on in
silence.
INT. MORALES HOUSE, FRONT HALLWAY - NIGHT
The door opens and ABEL walks in. ANNA is already in the
house talking with NANNY MARIA who's been baby-sitting.
ANNA
Hello Maria, sorry we are a bit
late. They were fine?
NANNY MARIA
Oh yes. All is good.
ANNA
Great, thank you. We'll see you in
the morning then.
63
NANNY MARIA
Okay.
NANNY MARIA comes around the corner and passes ABEL who is
just standing in the living room. He only gives her a nod.
ANNA is standing on the other side of the room just waiting
in silence as well. NANNY MARIA goes over to the closet and
gets her coat out and puts it on. The tension is building
like a kettle. Finally NANNY MARIA gets herself together and
walks out and as the door shuts they come immediately at each
other.
ANNA
What?
ABEL
What?
ANNA
Yes... what?
ABEL
Are you kidding?
ANNA
No.
ABEL
Okay then... what is this gun?
ANNA
I told you I wasn't going to just
continue to stand around and let
these people come and get me and my
children. So unlike you who seems
to be totally comfortable just
standing around like some...
fucking pussy... I did something
about it.
ABEL is slightly stammering at this point, not quite sure
what to do. They are still standing on opposite sides of the
room from each other. He just waits... finally.
ABEL
Where did you get it?
ANNA
You know where I got it.
ABEL
Do you have a permit?
64
ANNA
Not yet.
This sets him off. He comes walking across the room at her as
if he might hit her. He gets closer and closer.
ABEL
You must be a bigger fucking idiot
than I even thought. You are trying
to protect your children? Protect
them? Do you have any idea what
happens if you get caught using
that thing?
He is now standing right over her.
ABEL (CONT'D)
You dress yourself up in these
fancy clothes, and look at you here
in your mansion. I've given you
everything you could possibly want
but you still can't stop thinking
like the Brooklyn corner-store
gangster's daughter that you are.
ANNA
You've given me? You? Are you
delusional? Do you even understand
how ridiculous that makes you
sound?
They are really going at it now. He tries to grab her purse,
which she still has over her shoulder. They struggle for it.
ABEL
Where is this thing? Let me see it.
ANNA
Abel.
ABEL
Let me see it. Is this going to
make you safe?
With that he uses brute force, probably hurting her arm, but
she doesn't let on. He takes the purse from her. He opens it
and takes out the small gun.
ABEL (CONT'D)
You know who uses guns like this?
(HE SCREAMS)
Whores!
65
With that, she SLAPS him across the face. They just stare at
each other for a very long time.
ABEL (CONT'D)
It's a trap... and you are walking
right into it... You need to get
that thing out of our house.
ANNA
You need to protect us.
ABEL
That is what I'm doing.
He walks out the front door.
INT. MAIN LIVING/DINING ROOM OF MORALES HOUSE - NEXT DAY
There are twelve SEVEN-YEAR-OLDS sitting around the dining
room table yelling "Happy Birthday" to one of the Morales
daughters as she blows out the candles. A large GROUP of the
PARENTS surround the table.
GROUP
Happy Birthday!
Just as ELIZABETH blows out the candles the doorbell rings.
NANNY MARIA heads to the front door. The camera stays with
the party. NANNY MARIA comes back into the room and standing
behind her, we see a POLICE OFFICER holding some kind of
clipboard.
ABEL walks over quickly trying not to create a scene. He
leads the POLICE OFFICER back over to the front door. The
PARENTS certainly notice and start stirring.
EXT. FRONT STEPS - DAY
ABEL leads the OFFICER outside, and as he looks up he sees
that his driveway is packed with four police cars, some
unmarked and there are about five OFFICERS waiting to come
into the house.
ABEL
I understand. But as you can see
this is a terrible time for us. I
am having my daughter's birthday
party.
ABEL is trying to remain calm and not lose his temper.
66
POLICE OFFICER
I understand and I apologize, I do.
But this is a warrant and we need
to gain complete access to the
property.
They stare at each other just as ANNA comes to the door. She
sees the scene in her driveway.
ANNA
What is this?
POLICE OFFICER
Let me go check something.
ANNA
Are they serious?
ABEL is seething and can only manage a slight nod.
As they look across the driveway they see the OFFICER talking
to someone. The officer shifts out of the way and they see he
is talking to ASSISTANT D.A. LAWRENCE.
ABEL
I'm going to kill this guy.
ANNA
Abel.
ANNA is trying to get his attention quietly.
ABEL
Abel.
He turns and they look at each other. She signals towards the
library and they share a knowing, concerned glance.
ABEL (CONT'D)
Give me five minutes.
She nods and heads down the path towards the police and
LAWRENCE. Abel heads back in the doorway.
ABEL (CONT'D)
Maria. Keep the kids playing for a
few minutes.
ANNA walks up to the LAWRENCE.
ANNA
Mr. Lawrence is it?
67
A.D.A. LAWRENCE
Yes.
ANNA
Anna Morales.
She reaches out her hand to shake his with a smile.
ANNA (CONT'D)
May I speak with you for a minute.
A.D.A. LAWRENCE
(thinks, then)
Yeah.
They walk away from the others down the driveway a stretch.
ANNA
I understand you and your men have
a job to do here. But we are in the
middle of a seven-year-old's
birthday party.
A.D.A. LAWRENCE
I understand, and I'm sorry. But we
are coming in.
She turns a little on him.
ANNA
That's not a problem, as we have
nothing to hide from you. It's just
that, we recently moved to this
area, and there are twenty guests
in our house... please... can you
give me five minutes so we can ask
everyone to leave calmly before you
come into my home?
He thinks this through.
A.D.A. LAWRENCE
You can get them out of the house.
ANNA
Thank you.
INT./EXT. HALLWAY OUTSIDE STUDY/DECK
ABEL comes down the hall carrying file boxes and brings them
out onto the deck. ANNA comes out onto the deck as he is
looking over the edge.
68
ANNA
Where are you going?
ABEL
Bring the last few out.
ANNA
You've got three minutes.
ABEL
What's going on out there.
ANNA
Our guests are leaving.
ABEL tries to speak but can only shake his head. Finally he
jumps over the edge and she starts handing boxes down to him.
He then stops again.
ABEL
Do we even need to be doing this?
What exactly are we hiding here?
She thinks this through.
ANNA
I don't want them going through all
this before I've had a chance to.
EXT. GROUND BELOW DECK
The camera is now on the ground level with ABEL.
ABEL
Is that the last one. Get back out
there.
ABEL looks around for a place to stash them.
EXT. WOODS - DAY
ABEL exhales then takes three of the boxes and sneaks off
into the woods. We follow him as he struggles. Finally he
gets to a small clearing and starts to stack them.
EXT. FRONT LAWN - DAY
ANNA is standing out front trying to hand out goody bags and
to maintain pleasantries with the parents as they leave.
69
ANNA
Thank you for coming. Here you go.
Bye, Rebecca. Thanks. I'm sorry.
Bye.
When the last one goes she looks up at the ASST. DA to give
him the all-clear. But as she does she gives him a look that
could kill. The police file into the house in front of her.
EXT. UNDERNEATH THE DECK - DAY
ABEL has placed the load of file boxes underneath the deck
and is putting the last one in place. He sits down on the
pile and looks out into the woods in sadness.
INT. MAIN LIVING/DINING ROOM OF MORALES HOUSE
ANNA is looking around the house as the cops search through
everything. She seems oddly calm. She decides that they are
being respectful and heads out into the driveway.
EXT. DRIVEWAY
ANNA walks outside and stands, waiting. LAWRENCE comes out of
the house and stands near her. They wait.
ANNA
This is probably one that you are
going to regret.
LAWRENCE looks at her trying to figure her out.
A.D.A. LAWRENCE
Excuse me?
ANNA
My husband is a very honorable man.
Coming on a Saturday? It's very
aggressive.
A.D.A. LAWRENCE
This is standard.
ANNA
Really? I know you think you are
just doing your job. But we are not
what you think we are. And you have
embarrassed him in front of his
family and friends.
She gives him a long, almost scary look.
70
A.D.A. LAWRENCE
I think I know your father.
ANNA
Good for you. My husband is not my
father. Not even close. So if I
were you I would start treating us
with a little more respect or he'll
make it our only mission to ruin
you. This was very disrespectful...
and you are not going to find a
fucking thing.
With that she walks back towards the house as the POLICE
start filing out.
INT. ABEL'S OFFICE - MORNING
ABEL is sitting at his desk looking out the window as the
trucks come and go. As he looks across the lot he sees JULIAN
coming walking across towards the locker room. A smile
crosses ABEL'S face.
INT. STANDARD HEATING OIL HALLWAY - CONTINUOUS
As ABEL comes out into the hallway SALES STUDENT ALEX is
walking by his door. ABEL stops to check in.
ABEL
Hey, how are you?
SALES STUDENT ALEX
Good. A bit nervous. I'm heading
out on my first calls alone today.
ABEL
You'll do great. Remember... When
you get them there. Hold the eye
contact longer than you would
like... but you watch what happens.
He gives him a big smile and a pat on the back and sends him
on his way.
ABEL (CONT'D)
Good luck.
INT. DRIVER LOCKER ROOM- DAY
ABEL comes into the room and JULIAN is getting ready.
71
ABEL
It is good to see you back here.
You look good.
JULIAN
Thank you.
JULIAN is very quiet and timid. He is missing a spark.
ABEL
Are you ready to get back to work?
JULIAN
I think so.
ABEL
You are.
JULIAN
Thank you.
ABEL
Where are you heading?
JULIAN
Bulk delivery to Chase.
ABEL
Manhattan. That's a cakewalk.
JULIAN does not agree. ABEL can no longer ignore his young
protege's concern.
JULIAN
I feel very vulnerable.
ABEL jumps on this.
ABEL
Good... Because you are. We all
are. Someone came to my house a
couple nights ago to rob me...
A large truck rumbles by and they wait for silence to return.
ABEL (CONT'D)
I tried to chase them away... but
really there's nothing I can do. I
am vulnerable. We all are. They can
come back tonight. But to succeed
and be great you must keep going
back. And I know what all these
guys want to be doing. But it
doesn't make you any safer.
(MORE)
72
ABEL (CONT'D)
And then they will come after me
with everything they have... So
this is what we do. And the times
will get better and safer. They
will. So go. You are strong just by
going. Stronger in fact.
JULIAN looks down at the ground, shuffles a foot, then climbs
into the waiting truck.
EXT. FRONT PORCH SMALL OF HOUSE IN OZONE PARK - DAY
SALES STUDENT ALEX gets out of his car and walks up to the
front door. He is nervous. He builds the courage and finally
rings the doorbell. He waits.
The door opens and a nice lady in her 40's comes to the door.
SALES STUDENT ALEX
Hi Mrs. Rose. I'm Alex with
Standard Heating Oil, we had an
appointment.
MRS. ROSE
Of course, come in.
INT. CAB OF LARGE BULK OIL TRUCK - DAY
JULIAN is back behind the wheel and trying to convince
himself that all is well. He is making a difficult right turn
to get onto the 59th Street Bridge.
INT. OZONE PARK HOUSE BASEMENT - DAY
SALES STUDENT ALEX is now leaning down on the ground next to
the furnace doing the exact same procedure that ABEL did in
the training session.
SALES STUDENT ALEX
Now as I mentioned on the phone
this is a 17 point inspection that
will help us to decipher if our
maintenance plan will improve your
efficiency.
Just then he brings out the white cloth and wipes the inside
of the exhaust. And he then does the pause and the look just
as he was taught. He holds the look for a very long beat. We
hear a door opening upstairs and then feet walking across the
floor.
73
MRS. ROSE
Oh good, it's my husband.
SALES STUDENT ALEX
Great.
INT. TRUCK CAB, 59TH STREET BRIDGE - DAY
JULIAN is up on the bridge moving slowly along with the
traffic. He is getting paranoid. Looking in his rearview
mirror. Looking around. But there is nothing. No one.
INT. OZONE PARK HOUSE BASEMENT - DAY
The SALES KID is still on his knees next to the furnace as
feet come into frame coming down the basement steps. Slowly
the HUSBAND comes into frame.
MRS. ROSE
Here he is.
The SALES KID stands up to shake his hand.
SALES STUDENT ALEX
Mr. Rose, I am Alex with Standard
Heating Oil.
HUSBAND
Hey.
SALES STUDENT ALEX
I was just showing your wife the
results of my inspection. Should we
head upstairs to run through some
numbers?
HUSBAND
Sure. I just had one question about
our exhaust chimney. Would you be
willing to take a look.
SALES STUDENT ALEX
Of course.
HUSBAND
It's just outside on the other side
of this wall here.
MRS. ROSE
I'm going to head up. Can I get you
something to drink? Coffee... tea?
74
The KID gives himself an ever-so-tiny smile.
SALES STUDENT ALEX
Tea would be great.
The man walks over to a back basement door and opens it. He
ushers the SALES KID through.
HUSBAND
Please.
I/E. DOORWAY OZONE PARK BASEMENT - DAY
As the SALES KID goes through the door a massive fist of
SOMEONE who has been waiting on the other side of the door
comes swinging into frame and pounds the side of our KID'S
head. Knocking him out instantly.
INT. TRUCK CAB, 59TH STREET BRIDGE RAMP - DAY
JULIAN is close to getting off the bridge and is starting to
feel better. Just as the traffic in front of him starts to
clear up, out of the corner of his eye he sees something.
In his side-view mirror he sees LOUIS SERVIDIO getting out of
a random car behind him. His heart starts racing. He looks
over in the other mirror and there is THUG #2 walking up.
Again.
JULIAN thinks for a second then reaches for the CB RADIO.
JULIAN
Cathy! They are coming again. Over.
Help. Help. On Bridge.
He then fumbles the CB and it drops to the floor of the cab.
He looks up into the mirrors again and sees that they are
still coming for him.
The camera now comes in tight on his face and he pauses for a
long second, and he then makes his decision. He reaches under
his seat and takes out a handgun. He doesn't really seem to
know what he is doing with it.
But he opens the door of the truck and gets out. He aims the
gun at LOUIS SERVIDIO walking towards him. LOUIS SERVIDIO
sees him and is very surprised and stops.
LOUIS SERVIDIO
Whoa, whoa, whoa! Take it easy
there.
75
He glances over at THUG #2.
JULIAN
Get the fuck away from me!
LOUIS SERVIDIO
Okay, man.
People in the cars behind the truck are starting to honk.
Then LOUIS SERVIDIO gives a nod signal to THUG #2 who is on
the other side of the truck, and JULIAN'S gun fires by
mistake. It totally misses THUG #2. He jumps out of the way
and is hiding behind the wheel.
LOUIS SERVIDIO (CONT'D)
Watch it now, man. You're going to
hurt someone.
JULIAN is now in a total state of panic. He is hiding back in
front of the truck. The three men are basically doing a slow-
motion, very stressful hide-and-seek around the truck. The
two THUGS now have their guns out.
The honking has now reached a total insane level as traffic
is backing up.
Then THUG #2 makes one last play to take the truck. He tries
to climb into the cab and JULIAN goes into a rage. He quickly
fires three shots, missing THUG #2 with each one, but that
forces LOUIS SERVIDIO to shoot two shots of his own at JULIAN
to protect THUG #2. They miss as well, but one hits the main
section of the tank and a small but steady stream of heating
oil starts pouring out onto the roadway.
Just then we hear sirens starting to come closer in the
background. This adds a new element.
LOUIS SERVIDIO (CONT'D)
Where are you?
THUG #2
Over here.
LOUIS SERVIDIO
Where is he?
THUG #2
Over here.
JULIAN is just trying to decide what to do next. The sirens
are now getting much closer.
76
LOUIS SERVIDIO
Get the car!
THUG #2 takes off. This now leaves JULIAN and LOUIS SERVIDIO
all alone with the police coming. As JULIAN is hiding, trying
to figure out what to do next, LOUIS SERVIDIO goes running by
him. As he does:
LOUIS SERVIDIO (CONT'D)
Run for it!
JULIAN thinks for a second and then runs.
EXT. 59TH STREET BRIDGE - DAY
JULIAN runs all along the bridge and then sees LOUIS SERVIDIO
run through a small door into the body of one of the four
massive stone anchor structures that hold up the bridge.
INT. THE 59TH STREET BRIDGE, SUPPORT COLUMN - DAY
Once he is inside, there's another set of stairs. He locks
the door behind him and starts racing down the stairs. As he
heads down he hears someone just in front of him.
He stops and looks down the center column of the stairs and
looking up at him about three flights away is LOUIS SERVIDIO.
LOUIS SERVIDIO
Oh, there he is. Had to be the hero
eh?
JULIAN
Fuck you.
LOUIS SERVIDIO
Couldn't just let us take the
truck.
JULIAN
Fuck you!
JULIAN is screaming in a fit of panic at this point.
LOUIS SERVIDIO
Hey man relax... calm down. Did
they see you come in here?
JULIAN can't stop breathing very heavy at this point.
JULIAN
I don't think so.
77
LOUIS SERVIDIO
Did they or not?
He thinks.
JULIAN
No.
LOUIS SERVIDIO
Alright, there's a door down here
about four more flights. Don't go
out there, that's the street. Go
down about two more flights after
that and you'll come out below the
bridge. They won't be there.
JULIAN
Fuck you!
LOUIS SERVIDIO
You're welcome.
Then LOUIS SERVIDIO's head disappears and we can hear his
feet flying down the steps again.
JULIAN thinks for a beat, then he starts off down the stairs
again as well. The camera stays right where it was as JULIAN
heads down out of sight. We just hear the sounds of his feet
getting lower and lower.
INT. BRIDGE GROUND FLOOR - DAY
JULIAN comes to the first door and looks at it. We can hear
sirens in the distance on the other side of the door. He
keeps going.
Down two more flights, just as he said, there is another
doorway. JULIAN walks up to that door very carefully. He
listens on the other side but doesn't hear anything but his
own breath.
INT. STAIR LANDING LOWEST LEVEL - DAY
Then we hear the door back up top fly open. JULIAN then
quietly opens the door in front of him and right in front of
his face is a woman in full jogging clothes running by him.
He looks around, and after a second to get himself
orientated, we see he's on a riverfront esplanade where there
are many people jogging and walking, enjoying the evening.
78
JULIAN looks at his hand and realizes he is still holding the
gun out in the open. He puts it away and then looks up at the
bridge that is hovering above him.
He knows he left his life as he knew it up on that bridge.
FADE TO BLACK.
Over the black we begin to hear the rumble of a very large
truck. It gets louder and louder.
INT. OF A VERY LARGE EMPTY DUMPSTER - DAY
We now see that SALES STUDENT ALEX is inside a massive, empty
construction dumpster. And as he looks around, we realize it
is on the back of a truck that is currently driving pretty
fast. With each bump that the truck goes over the noise
inside the dumpster is deafening. As the KID comes to his
senses he tries to stand up. As he does, we see that the
sides of the dumpster are at least eight feet tall and the
interior is very slick without anything to grab or stand on.
He is trapped.
Just then the truck goes over another huge bump and comes to
a stop. It idles for a minute then begins backing up. It
stops. A warning, beeping alarm is heard, and finally one end
of the dumpster begins rising. As it gets higher and higher
our KID tries to hold himself back, but he begins to slide
towards the low end. As he does he sees that the end that he
is heading towards is on a hinge and it is starting to swing
open. Finally the thing is at such an angle that he can't
hold on any longer and he slides towards the opening.
As he falls out he/we see that he's being dumped over the
edge of a cliff of some sort. He falls probably 10-12 feet,
into a pile of garbage. As he gathers himself and tries to
stand, we see he is standing in a massive landfill. He looks
around as the truck pulls away. He's left totally alone.
INT. TENNIS COURT OF SUBURBAN MANSION - DAY
ABEL is led by a MAID into an indoor tennis court. The house
is massive and designed like an English Country Estate.
As ABEL walks up we see PETER FORENTE on the court playing
against an automatic tennis ball machine. He is in full
tennis whites as he hammers the balls back at the machine.
ABEL approaches the court and watches for a beat.
79
PETER FORENTE
It's a pretty cool machine, isn't
it?
ABEL nods.
PETER FORENTE (CONT'D)
I was paying a guy five bucks an
hour to do this with me last year.
ABEL
Peter.
This causes PETER to look up and see the serious look on
ABEL's face. He hits one last shot and walks a little closer
to ABEL. The machine is still hitting balls behind PETER.
PETER FORENTE
Yes.
ABEL
I need to speak with you.
PETER FORENTE
I see that.
PETER walks over to the machine and unplugs it. He points
over towards the chairs courtside. He and ABEL sit down.
ABEL
This has gotten out of control...
There was a guy with a gun at my
house.
ABEL lets this sit for a minute, and he is intently reading
PETER's face. He hopes not, but he is judging to see if PETER
had anything to do with all these attacks. PETER just looks
back at him with a very strong poker face.
ABEL (CONT'D)
My wife and children were home at
the time.
PETER FORENTE
Is everyone okay?
ABEL
Yes. I managed to chase him off.
PETER FORENTE
Well, I'm sorry, that must have
been scary... what can I do.
80
ABEL
I need to know who is doing this.
PETER FORENTE
Abel...
ABEL
It's one thing to come after my
trucks and drivers... and to steal
from me... but this... it's
different.
PETER FORENTE
Yes.
ABEL
Have you ever dealt with anything
like this?
PETER FORENTE
Have you met my father?
They both smile. His father is an old-school gangster.
PETER FORENTE (CONT'D)
A bunch of thugs invaded our home
when I was a baby... My mother was
there with us... My brother
remembers it. Nothing happened.
They were trying to scare my
father. They ended up just leaving
and we never found out who it was.
But after that we moved to a
fortress just like this. And those
guys who let you in. They are here
to shoot anyone who isn't invited.
ABEL
I refuse to live my life that way.
I won't do it... I am going to ask
for a meeting.
They both look out and think it through a bit.
PETER FORENTE
Who?
ABEL
Anyone with more than 20k of
storage. Can I count on you being
there?
PETER looks away for a long beat.
81
PETER FORENTE
Yes... When are you closing on the
terminal?
ABEL
Monday.
PETER FORENTE
Congratulations.
ABEL
Hold that... it's not done yet...
you may be hearing from me.
(Trailed by an awkward laugh.)
PETER FORENTE
Well, good luck.
ABEL stands up ready to go.
ABEL
Thank you for seeing me. I want
more than this...
PETER FORENTE
I know you do. My father is in
jail... as you know. And I have
always wanted to conduct myself
differently than he did.
ABEL
And you have.
PETER FORENTE
Almost exclusively, yes. But I know
why he did what he did. Because at
the time it's easier.
ABEL
But it's not.
PETER FORENTE
Yes it is. You are a good man. I
will see what I can find out. This
isn't good for any of us.
ABEL
Thank you.
82
EXT. PETER FORENTE'S DRIVEWAY - DAY
ABEL is walking across the beautifully-manicured driveway,
and as he gets nearer to his car he starts to hear the mayhem
that is coming from the CB radio in the front seat. As he
gets closer he gets more and more details.
RADIO DISPATCHER V.O.
Where is the truck now?
RESPONDING DRIVER V.O.
It's still on the bridge.
RADIO DISPATCHER V.O.
Is it still leaking oil?
RESPONDING DRIVER V.O.
No. They have stopped the leak.
RADIO DISPATCHER V.O.
Did it reach the river?
RESPONDING DRIVER V.O.
Some did.
RADIO DISPATCHER V.O.
How many shots were fired?
ABEL now slams open the door and gets into the driver side
and picks up the microphone.
ABEL
Joanne it's me. What are you
talking about... what shots?
The camera now comes around to the outside of the car looking
back at ABEL through the windshield. The mansion is looming
in the background. We see ABEL'S face react as he hears the
news of the incident on the bridge. The camera pulls back as
ABEL'S face goes totally cold.
INT. COURT ROOM - DAY
ABEL walks into an almost empty courtroom. LAWRENCE is
packing up his things at the front of the room. They catch
each others eye. ABEL makes his way forward as everyone else
leaves. They look at each other for a beat.
A.D.A. LAWRENCE
I heard.
83
ABEL
I need to make sure you know that
we had nothing to do with this.
It's not the way I do business. In
fact I have been warning my men
against doing this sort of thing.
It is terrible for me.
A.D.A. LAWRENCE
It's not good... for either of us.
ABEL
Yes.
A.D.A. LAWRENCE
In my job we use whatever leverage
we can gain, as I'm sure you do in
your business. It's an ongoing
investigation, and it will be just
one piece of many. So while I
appreciate you coming here... I
have nothing I can tell you.
LAWRENCE looks around the room thinking while ABEL says
nothing, just waiting.
A.D.A. LAWRENCE (CONT'D)
What a fucking mess this place
is... Do you know where he is?
ABEL
No... but I'll find him.
A.D.A. LAWRENCE
You should. And when you do, bring
him to us. A situation like this,
happening in such a dangerous and
public way, within an industry I'm
charged with cleaning up. It's very
bad for me... professionally
speaking.
They look at each other one last time. ABEL gets the message.
EXT. SMALL QUIET SIDE STREET, QUEENS - DAY
SALES STUDENT ALEX is walking down the street looking
terrible. His clothes are ruined by garbage, and he is
scared. As he approaches his car his face drops.
The car has a two-by-four slammed through the shattered
windshield.
84
He stops dead in his tracks and then carefully looks around
and scans the street looking for anything. It is eerily
empty.
EXT. OUTER GATE, STANDARD HEATING OIL YARD - DAY
ABEL pulls up in his car and the gate starts to open. As it
does we see ARTHUR LEWIS standing waiting next to his car.
ABEL pulls in next to him and gets out. There is an
overriding, almost unsettling calm to this conversation.
ARTHUR LEWIS
Abel.
ABEL
Arthur.
ARTHUR LEWIS
I wanted to come and talk to you in
person... We aren't going to be
able to show up for you on Monday.
We can't do the loan.
ABEL
I...
ARTHUR LEWIS
I wanted to let you know as soon as
possible so that you could try to
put something else together.
ABEL
Thank you for coming... This is not
right.
ARTHUR LEWIS
I know.
ABEL
What can I do?
ARTHUR LEWIS
Nothing... The loan review
committee met this afternoon and
won't meet again for two weeks.
ABEL
And you are aware of the position
this is putting me in?
ARTHUR LEWIS
I am.
85
ABEL
I paid off my first loan to you
eleven years ago.
ARTHUR LEWIS
I know.
ABEL
Do you remember the term on that
loan?
ARTHUR LEWIS
I don't.
ABEL
I had seven years to pay you back.
They both nod knowing what's coming next.
ABEL (CONT'D)
Do you know how long it took me to
pay you off?
ARTHUR LEWIS
Seven months?
ABEL
Six and a half.
ARTHUR LEWIS
I'm sorry.
ABEL
I put 40 percent down as a deposit
on this. It's all we had.
ARTHUR LEWIS
You now have three separate serious
pending legal cases against you.
One with sixteen counts of
misconduct ranging from fraud to
tax evasion. And then in the middle
of our meeting today I get a report
saying you had armed your entire
fleet of drivers which led to a
shoot-out on the 59th Street
Bridge.
ABEL
None of it is true.
ARTHUR LEWIS
That may be.
86
ABEL
May?
They look at each other.
ARTHUR LEWIS
It doesn't matter.
ABEL
It does matter, that you know we
didn't do this.
ARTHUR LEWIS
I do... I do. But it doesn't
matter, I can't do anything. I'm
sorry.
ABEL's demeanor shifts.
ABEL
I'll find it.
ARTHUR LEWIS
I know you will.
The banker gets into his car and backs out. The gate opens
and he drives out. Just as it is about to close it starts
opening again. SALES STUDENT ALEX drives in with his car
trashed. He pulls up and gets out of the car looking at ABEL.
He knows what has happened and is crushed. Neither of them
say a word, finally ABEL gives the kid a cautious but
meaningful hug around the shoulder and leads him inside.
INT. ABEL AND ANNA'S LIVING ROOM - THAT NIGHT
ABEL walks into the room and ANNA is sitting at the large
dining table smoking a cigarette inside. She has been crying.
ANNA
It's horrible.
ABEL
Yes.
ANNA
Where is he?
ABEL
We're looking for him.
ANNA
And they haven't gotten the other
guys?
87
ABEL
Of course not.
ANNA
Are you okay?
ABEL
No... I'm not... They're out.
This gets her attention.
ANNA
Who?
ABEL
The bank.
With that ABEL walks out of the room and heads up the stairs
to his bedroom. When he's halfway up the stairs she stops
him.
ANNA
So what does that mean?
ABEL
It means we need to find the money
somewhere else.
ANNA
We have two days!
ABEL
I'll figure it out.
INT. ANNA'S CAR, WESTCHESTER SCENIC HIGHWAY - DAY
ABEL is driving ANNA'S car towards the city. ANNA is in the
passenger seat and the three DAUGHTERS are in the back. ANNA
and ABEL do not look any better. In fact there is now a tinge
of anger mixed into the sadness.
The DAUGHTERS are arguing about who's taking up too much room
in the back seat.
DAUGHTERS
Move.
ANNA
Quiet.
DAUGHTERS
You move.
88
ANNA turns and snaps at them a bit.
ANNA
Stop. I've told you guys not to
push it this morning, this is not
the morning to be doing this... but
since the second you all woke up.
It's this, it's that. Just stop.
The world does not revolve around
you!
This shuts them up for a beat. ABEL is seething. But then
ELIZABETH (middle) nudges ANNIE (oldest) so she gives
CATHERINE (youngest) a good hit. ANNA sees it and freaks.
ANNA (CONT'D)
That's it Annie we've told you...
Before ANNA can get the full sentence out ABEL suddenly pulls
the car off the side of the highway into the grass. Everyone
in the car is taken aback. The road is a smaller scenic
highway not some eight lane affair but this whole sequence
still plays out with the menacing roar of the cars going by
right next to them.
EXT. HIGHWAY - DAY
ABEL gets out of the car and slams the door. He walks around
the back of the car as the cars fly by them on the highway.
He goes around to his oldest daughter's door and pulls ANNIE
from the car. They stand behind the car and go at it with the
traffic flying by. ABEL is louder than he has been in the
entire film. He is losing it from all the pressure but his
daughter bears the brunt.
ABEL
You are thirteen years old. What
are you doing? Your mother asks you
an hour ago to help her get out of
the house smoothly and you are
acting like an...
ANNIE
Oh fuck you!
ABEL
What? What? What are you talking
about?
ABEL is looking around for someone to help him and witness
this. He then switches, he has had enough and gets right up
in her face.
89
ABEL (CONT'D)
I'm not sure who the hell you think
you are, but you don't talk to me
that way... You are in serious
danger of becoming a rich little
spoiled brat and I can tell you
from experience there is nothing
worse in the world than a rich
little girl who thinks the whole
world revolves around her.
ANNIE is yelling back over the traffic.
ANNIE
The world revolves around me? Me!
What about her? And what about you?
You're both so totally obsessed
with your stupid business. You
walk around like you are saving the
world but what are you doing...
nothing!
This stings. He now changes his tone to a quiet low roar. But
he can't keep quiet and by the end of the line he is yelling
again.
ABEL
First off I don't walk around like
I am saving anything. I chose this
business because I looked at the
world and said `What's the last
bill people stop paying every month
when they are low on cash?' `Cause
that's a business I want to be in.
`Cause failure wasn't much of an
option for me. I lived in
reality... not whatever this world
is you are living in. And we help
people stay warm... which isn't all
that bad.
(now he is yelling again)
Maybe you've got grander ambitions
but for now this is how you eat,
sleep, and get all dressed up... So
you better shape the fuck up and
NEVER speak to me like this again!
ANNA
Stop!!
They both look over and ANNA is standing there. A calmness
suddenly falls down on all of them.
90
INT. ANNA'S CAR ON HIGHWAY - DAY
All five of them are sitting in the car, sadness prevails.
INT. ANNA MORALES' LIBRARY - NIGHT
The camera moves slowly across a dark hallway. We hear the
sounds of a manual adding machine grinding away. As we come
through the doorway we see ANNA MORALES sitting at her desk
in a pool of light from the desk lamp. She is deep in it
crunching numbers. Finally ABEL walks into the doorway, he
looks exhausted.
ABEL
Hey.
She looks up with a small but sweet smile.
ANNA
Hi.
ABEL
How's it coming?
ANNA
I've made it to 1975.
ABEL
That was a good year.
ANNA gives a slight look that the numbers may not totally
support that claim.
ABEL (CONT'D)
Well it was for me...how is it?
ANNA
I'm not sure yet... but it's not as
bad as they are saying it is...
Turns out I kinda knew what I was
doing.
They give each other a slight smile.
ANNA (CONT'D)
How'd you do?
ABEL
I got us a three more days... and
one piece... from Saul. But we're
still about a million short.
They look at each other with concern.
91
ANNA
You're going to see your little
brother?
ABEL
First thing.
ANNA
And Peter?
ABEL
Probably.
As they look at each other ABEL
ANNA
This is all worth it.
He pauses just long enough to think.
ABEL
Of course.
A sense of caring and resolve comes over them. At least now
they know what needs to be done.
ABEL (CONT'D)
You should get to bed.
ANNA
I'll be up.
ABEL
I love you.
ANNA
I love you too.
ABEL turns to go upstairs as ANNA starts in again with the
machine.
INT. HALLWAY, OUTSIDE OF JULIAN'S APARTMENT - DAY
ANDREW stands in the hallway about to knock, but he waits for
a beat. He knocks.
The door opens to a young woman, presumably JULIAN'S wife,
LUISA.
ANDREW WALSH
Is Julian here?
92
LUISA
No.
ANDREW WALSH
Abel would like to speak with him.
To help him.
LUISA
I will tell him.
JULIAN steps into the frame from behind her.
EXT./INT. LARGE LATE-MODEL AMERICAN CAR, PARKED - DAY
A DRIVER is sitting in the driver's seat. ANDREW walks up and
gets in the front seat. JULIAN gets into the back and looks
over at ABEL who is sitting next to him. They drive off and
nobody says a word for a very, very long time.
EXT. EMPTY PARKING LOT - DAY
The car finally pulls into a large empty parking lot. For a
couple beats JULIAN has a look on his face that he may be
getting rubbed out.
Then off in the distance we see two cop cars. The car pulls
up to them and stops. ABEL and the DRIVER get out of the car
without a word, but ANDREW stays and turns around and now
gives him a total debrief.
JULIAN
He's turning me in?
ANDREW looks at him without much remorse.
ANDREW WALSH
Of course we are turning you in.
You have put everything that man
has worked for for the last 20
years at risk. If it was up to me
we would be dealing with this in a
very different way.
JULIAN
But I know things...
This causes ANDREW to turn quickly back to him with as sharp
a look as he has.
ANDREW WALSH
Really?
93
JULIAN
Yes.
ANDREW WALSH
And what things do you know?
JULIAN looks back at him.
ANDREW WALSH (CONT'D)
I strongly suggest you think that
through before you answer it.
Because even if you did, what does
it do for you? Nothing. There is
nothing there for you to gain.
Nothing.
JULIAN
I'm sorry.
ANDREW WALSH
I am too.
ANDREW now changes his tone.
ANDREW WALSH (CONT'D)
They say they have you firing four
shots, is that right?
JULIAN
I don't know.
ANDREW WALSH
Where's the gun?
JULIAN stutters for a moment, then.
JULIAN
I threw it in the river.
ANDREW WALSH
Good. Your background check with us
says you have never been arrested,
is that true?
JULIAN
Why is this putting everything at
risk?
ANDREW WALSH
Have you ever been arrested?
JULIAN
No.
94
ANDREW WALSH
Because no bank will touch us right
now. So we can't close on the new
property. And he's going to lose
everything on his deposit.
This sits heavily on JULIAN. ANDREW hands him a card.
ANDREW WALSH (CONT'D)
This is a lawyer who will meet you
when they bring you to the station.
You no longer work for us. You've
been fired. But Abel wants to pay
for the lawyer. So... this guy
should be able to help you. Good
luck.
With that JULIAN gets out of the car. ABEL is standing there.
They meet.
JULIAN
I'm sorry.
ABEL
I know.
JULIAN
I was scared.
ABEL
I know.
JULIAN
Aren't you scared?
ABEL
Sometimes.
JULIAN
What do you do?
ABEL thinks this through long and hard.
ABEL
I have always been much more scared
of failure than anything else.
JULIAN
I...
ABEL
It wasn't always like this.
95
JULIAN
Are you ruined?
ABEL
Not today... but by the end of the
week... maybe.
JULIAN
I'm sorry.
ABEL
Good...
JULIAN
No... I am not strong.
ABEL
That does not have to be true.
JULIAN
Trust me... I am not... I'm sorry.
With that JULIAN walks across the parking lot towards the
POLICE to turn himself in. ANDREW walks up behind ABEL and
stands there looking.
ANDREW WALSH
I'm late. I will meet you at four.
ABEL
I'm gonna try to get us a little
more time.
The three COPS are standing waiting as JULIAN walks towards
them. ABEL turns around, facing the camera, and closes his
eyes in sadness.
With ABEL in the foreground we see JULIAN make it halfway to
the COPS, then he stops.
COP 1
Hey.
ABEL'S face tells us he knows what is coming.
JULIAN sets off running. Before the COPS can get close to him
he is off. ABEL turns and sees what is happening. He does not
follow chase. His head just drops.
96
EXT. VARIOUS 1980'S URBAN DECAY LANDSCAPES
We are now with JULIAN again, running. But as this chase
continues we see his face turn from fear, to desperation, to
a creeping sense of evil. He does not know how it has come to
this, but as he jumps down from fences and runs across
deserted lots we see that his weakness is turning.
As he runs through some of the most bombed-out, destroyed
sections of Queens, he just never stops. With each step his
fear turns to... anger.
EXT. BLOWN-OUT BUILDING
He stops, collapses, and hides behind a blown-out building
wall just as a COP CAR drives by. He starts to almost cry,
but then it again becomes something else. His survival
instinct is taking over and we are not sure what will become
of it. Anger.
INT. OLDEST HASIDIC BUSINESSMAN'S LIVING ROOM - DAY
ABEL sits across from the oldest Hasidic member of the
family, JOSEPH, from the first scene.
ABEL
Thank you for seeing me.
JOSEPH
Of course.
ABEL
I need more time.
JOSEPH
Of course you do.
ABEL
I know our agreement doesn't allow
for that. But... I need more time.
JOSEPH
Why?
This takes ABEL back a bit.
ABEL
Thank you for asking. Many, many
reasons.
97
JOSEPH
It's a difficult time to do
business.
ABEL
Yes... it is.
JOSEPH
I'll give you three more days. Then
it's over.
ABEL
Thank you.
INT. ASSISTANT DA'S OFFICE - DAY
ANDREW sits across from LAWRENCE and DEPUTY LANGE. They wait
while LAWRENCE writes something down on a pad in front of
him. He finishes.
A.D.A. LAWRENCE
So. I should start by thanking you
for your assistance in... in
attempting to bring in your driver?
ANDREW WALSH
We didn't think he'd react that
way.
A.D.A. LAWRENCE
Yes... Well, the officers there
didn't set it up very well on their
end either.
ANDREW WALSH
I'm sorry.
A.D.A. LAWRENCE
We are looking for him.
ANDREW WALSH
So are we... it's very sad. He was
very close to Abel.
A.D.A. LAWRENCE
I understand. Well... Ms. Lange.
DEPUTY LANGE
It has been brought to our
attention that it might be
beneficial on your end to resolve
this issue in a time sensitive way.
98
ANDREW WALSH
Possibly.
DEPUTY LANGE
So we have prepared an offer for
you to review.
They slide the offer across the table. ANDREW opens it and
gives it a once over.
ANDREW WALSH
I'll show this to them. He'll never
go for it, but it's a start.
A.D.A. LAWRENCE
This could get a lot worse for you
all.
ANDREW WALSH
I know... I will present it to him.
ANDREW gets up and prepares to leave. LAWRENCE stands with
him and walks him out into the hallway.
ANDREW WALSH (CONT'D)
Thank you.
A.D.A. LAWRENCE
And Andrew, one other thing.
He turns. They are now alone in the hallway.
INT. IMPOSSIBLY LONG HALLWAY - DAY
A.D.A. LAWRENCE
I need this to stop.
ANDREW WALSH
You need what to stop?
A.D.A. LAWRENCE
This fucking bullshit with the open
warfare. I won't put up with it.
It's starting to be a real problem.
ANDREW WALSH
Starting to be? No shit.
A.D.A. LAWRENCE
Not for you... but for me.
This lingers for a beat as the meaning sinks in.
99
A.D.A. LAWRENCE (CONT'D)
I need the driver.
ANDREW WALSH
I understand. The kid went out and
got his own gun. This was not us.
No matter what you think of him,
Abel doesn't work this way.
A.D.A. LAWRENCE
I really could give a fuck, but you
need to get your man to talk to
these people, give in, stop doing
whatever you are doing to bring
this shit on you. It needs to stop.
ANDREW WALSH
He wants to talk to them. We've
been trying to set up a meeting.
O'Leary hasn't been able to get it
done.
A.D.A. LAWRENCE
I'll talk to him.
ANDREW gives him a look.
A.D.A. LAWRENCE (CONT'D)
He's an old friend... and get that
kid back in here. I'm up in it a
little bit here and I need
something.
LAWRENCE turns and walks back into his office. ANDREW walks
down the hallway all alone then stops. He reaches into his
briefcase and takes out the offer. He looks it over again.
Then he looks towards the ground and almost looks like he
might cry. There is a distinct sense of responsibility for
the situation that ABEL finds himself in that is starting to
bring ANDREW to the edge.
EXT. CEMETERY - DAY
ABEL is waiting standing next to his car. ANDREW comes
driving into the lot next to him and gets out.
ABEL
I talked to the Hasid, I got us
three days.
ANDREW nods.
100
ANDREW WALSH
Is that enough?
ABEL
I don't know.
ANDREW WALSH
Well here it is. It's just a first
pass.
He hands him the plea deal from the DA. ABEL looks it over
but shows almost no emotion. Then.
ABEL
Felons can't vote.
This takes ANDREW back.
ANDREW WALSH
I'm sorry?
ABEL
This plea has me...
ANDREW WALSH
I know. It's just a first offer.
ABEL
I would never take this.
ANDREW WALSH
I know.
ABEL looks off and resets.
ANDREW WALSH (CONT'D)
He's going to get us the meeting.
ABEL
Who?
ANDREW WALSH
Lawrence, he's tight with O'Leary.
ABEL
Of course he is.
ANDREW WALSH
Does Julian have anything?
ABEL gives him a look?
ANDREW WALSH (CONT'D)
Anything on us?
101
ABEL
All the drivers could have us on
scales. Why?
ANDREW WALSH
If we are cutting deals, we can't
have anything new come up at the
last minute.
ABEL
He would never do that.
ANDREW WALSH
We need to find him... Lawrence
needs him.
INT. JULIAN'S APARTMENT - DAY
ABEL stands outside the door for a very long beat then
finally knocks.
JULIAN'S wife, LUISA, opens the door. She gestures him in.
He enters the apartment and looks around. She gestures for
him to sit. He chooses a seat right across from her. He
stares at her for a beat. Then for the first time we hear him
speak Spanish. (This whole conversation is in Spanish)
ABEL
Thank you for letting me in.
LUISA
Of course.
ABEL moves his chair closer. It's meant to be, and is a bit
threatening.
ABEL
Have you seen Julian?
LUISA
No.
ABEL questions her with a look.
ABEL
We need to find him.
LUISA
I know.
ABEL
I am worried about him.
102
LUISA
So am I.
ABEL
You know we were going to support
him. I do not know why he ran.
LUISA
He was scared.
ABEL shakes his head.
ABEL
I know.
LUISA
He has always wanted to make you
proud. You know that right?
ABEL
Yes. Well this time that hasn't
worked out.
LUISA
No... How did you do it?
ABEL
Do what?
LUISA
This.
She motions towards his suit.
LUISA (CONT'D)
Success... that's all he wanted.
ABEL
I know. It makes me very sad,
because he is a very talented young
man. But there are some decisions
that you cannot come back from. I
need to know where he is. And I
need him to turn himself in. His
actions are hurting me and my
business. And I refuse to let other
people's weaknesses hurt me. I
don't know how it has come to this,
but it has. If he does the right
thing I will help to take care of
his responsibilities. You and your
family. When you see him. Tell him
this. Please.
103
LUISA
I will.
ABEL gets up and starts looking around the apartment a bit.
He walks over to a small cabinet.
ABEL
Does he have any money?
LUISA
I'm sorry?
ABEL
Money? Has he taken money out of
your bank account?
LUISA
I don't know?
ABEL
You need to start looking into
these things. It is very important
that we find him safely.
And with that JULIAN comes smashing out of the tiny cabinet
where he was hiding and knocks over ABEL. JULIAN runs to the
front door with ABEL chasing him.
He starts flying down the stairs at top panic speed. ABEL
follows him down half the flight and realizes it is useless.
ABEL (CONT'D)
(IN ENGLISH)
Stop! Stop running away! Andrew!
He's coming your way!
This is screamed at the top of his lungs but JULIAN never
stops. We just hear his footsteps going down.
INT. BOTTOM/TOP OF JULIAN'S STAIRWELL - DAY
ANDREW comes up the first few steps and we see him waiting
for JULIAN.
ABEL then looks back up the half flight of stairs and sees
LUISA standing there in the hall. He walks back up to her in
an aggressive way. We fear for her. He gets right up in her
face but does not touch her.
ABEL
(in Spanish again)
I understand why you lied, but it
is not smart.
(MORE)
104
ABEL (CONT'D)
There are other people looking for
him. I am as good an option as he
has. Know this.
And with that he heads down the stairs.
EXT. BACK OF JULIAN'S APARTMENT/PARK STAIRS - DAY
JULIAN is running out the back of the building and down a
huge exterior staircase that is in a small park. He is about
half way down when ANDREW gets to the top. ANDREW screams.
ANDREW WALSH
Fuck You! You better run!
INT. A SLIGHTLY RUNDOWN CONFERENCE ROOM - DAY
ABEL sits across a table from an OLD MAN in his late-70's who
seems to have early-onset dementia and a WOMAN in her early-
20's, LORRAINE LEFKOWITZ who's overweight, but confident. The
old man, SAUL LEFKOWITZ, just sits there through the scene.
ABEL
Thank you both for agreeing to meet
with me.
LORRAINE LEFKOWITZ
Of course.
ABEL
I think we have met before but I
didn't realize you were Saul's
Granddaughter.
LORRAINE LEFKOWITZ
I am.
ABEL
I'm sorry to ask but how old are
you?
LORRAINE LEFKOWITZ
I'm 23.
ABEL
Oh.
LORRAINE LEFKOWITZ
My Grandfather didn't trust any of
his children to run the business.
105
ABEL
Yes.
LORRAINE LEFKOWITZ
I know that you tried to buy the
company from my Grandfather several
times.
ABEL
Yes.
LORRAINE LEFKOWITZ
His goal was to stay healthy long
enough to be able to give the
company to me. Which he thankfully
did.
They both give a slight smile.
LORRAINE LEFKOWITZ (CONT'D)
So, while I appreciate your visit
we are still not for sale.
ABEL
I understand. And I hope that your
Grandfather was able to communicate
to you how much I have always
respected him. And it was only out
of respect for the business he had
built, and because I knew of his
reservations and feelings about
your uncles and your father that I
made those offers.
LORAINE LEFKOWITZ
I understand.
ABEL
But, I am not here to offer to buy
your company.
LORAINE LEFKOWITZ
Oh.
ABEL
As I'm sure you will soon learn
some years are good... others not
so. I am in contract with a
significant hard deposit at risk to
purchase the old Bayfront terminal.
LORAINE LEFKOWITZ
I see.
106
ABEL
And due to circumstances beyond my
control my bank has left me at the
altar.
LORAINE LEFKOWITZ
I'm sorry.
ABEL
So, I am here, hat in hand, looking
for a loan. I certainly expect the
terms to be in your favor as I
could not be at a weaker place.
But, if your Grandfather trusted
you with his company, I would be
willing to trust you as my lien
holder.
They all stare at each other. Then the old man shifts in his
chair.
SAUL LEFKOWITZ
How much?
ABEL
I need $500,000.
SAUL and his GRANDDAUGHTER look at each other. They say
nothing but clearly know each other well.
LORAINE LEFKOWITZ
Would you give us a minute.
ABEL
Of course.
INT. WAITING AREA, OUTSIDE THE CONFERENCE ROOM - DAY
ABEL sits in a simple chair outside the conference room
looking around at an office that is similar to his. A phone
on the receptionist's desk rings. She picks it up.
LEFKOWITZ RECEPTIONIST
You can go back in.
INT. SLIGHTLY RUNDOWN CONFERENCE ROOM - DAY
ABEL sits down.
LORAINE LEFKOWITZ
We can offer you the 500k at 20
percent for a year.
(MORE)
107
LORAINE LEFKOWITZ (CONT'D)
And we would need a five-year
straight wholesale holding
agreement for 250,000 gallons a
year at your new facility.
This hits ABEL hard.
ABEL
Okay. Thank you.
They shake hands and then he hugs the old man good bye.
LORAINE LEFKOWITZ
So, I guess we will see you
tonight?
ABEL
Tonight? Oh yes, of course.
INT. LONG ISLAND ITALIAN RESTAURANT - NIGHT
A HOSTESS leads ABEL and ANDREW through the whole main dining
room and through a side kitchen.
INT. ITALIAN RESTAURANT - PRIVATE DINING ROOM - NIGHT
Finally they come through a door and into a small back
private dining room where fifteen of their COMPETITORS, a
couple of whom we have already met (Including LORRAINE and
SAUL LEFKOWITZ, and ARNOLD KLINE), are sitting around the
table meeting and waiting for them to arrive. The whole room
looks up at them.
O'LEARY is at the head of the table at the far end of the
room. He stands up to greet them and then so does the rest of
the room.
BILL O'LEARY
Abel. Please sit.
Finally everyone settles and the room falls quiet.
BILL O'LEARY (CONT'D)
Abel.
Now the room is silent as it waits and waits for him to
speak.
ABEL
Stop...
108
ABEL is deadly serious. He just lets this sit and looks
around the room at each person. They all seem to be waiting
for him to continue. But he doesn't. He just lets this sit.
Finally PETER FORENTE, who is across from ABEL, shifts in his
seat and leans forward.
PETER FORENTE
Um... Abel... we had a chance to
meet for a little bit before you
got here and... of course everyone
in this room is fully capable of
lying to their own mothers on their
deathbeds, but... the conclusion we
have come to... I should say we are
fairly convinced after a very frank
conversation... that these guys who
are doing this... that they don't
actually work for anyone in this
room. As you know there are many
other smaller providers in the area
that might be responsible who are
not here tonight.
This sits in the room for a long beat. Everyone then shifts
back their attention to ABEL waiting for his response.
Finally.
ABEL
Peter... thank you... That may be
true.
He stops and thinks about how to continue.
ABEL (CONT'D)
But over the last six months
110,000 gallons of fuel has been
stolen from my family and I. Now
the reason we asked Bill to get you
all here is because the people in
this room are the only people
within two hundred miles of here
who have the ability to purchase
and store that kind of quantity.
So... no matter what bullshit you
have been telling each other one of
you... or two... or three... has
been allowing this to happen by
buying this from these cowards or
worse yet hiring these guys just to
do it. And profiting from it. So
what I am saying is... Stop! Now.
Have some pride in what you do and
stop.
109
INT. ANNA MORALES' LIBRARY - NIGHT
The camera moves slowly across a dark hallway. We hear the
sounds of a manual adding machine grinding away. As we come
through the doorway we see ANNA MORALES sitting at her desk
in a pool of light from the desk lamp. She is deep in it
crunching numbers. Finally ABEL walks into the doorway, he
looks exhausted.
ABEL
Hey.
She looks up with a small but sweet smile.
ANNA
Hi.
ABEL
How's it coming?
ANNA
I've made it to 1975.
ABEL
That was a good year.
ANNA gives a slight look that the numbers may not totally
support that claim.
ABEL (CONT'D)
Well it was for me...how is it?
ANNA
I'm not sure yet... but it's not as
bad as they are saying it is... I
guess I knew what I was doing.
They give each other a slight smile.
ANNA (CONT'D)
How'd you do?
ABEL
I got us a three more days... and
one piece... from Saul. But we're
still about a million short.
Concern and exhaustion creep onto Abel's face.
ANNA
You're going to see your little
brother?
110
ABEL
First thing.
ANNA
And Peter?
ABEL
Probably.
Abel is now sitting down on the chair.
ABEL (CONT'D)
How are the girls? I feel like I
haven't seen them in days.
ANNA
They're fine.
ANNA gets up from her desk and comes over to him.
ANNA (CONT'D)
This is all worth it.
He pauses just long enough to think.
ABEL
Of course.
ANNA
Look at us...it is.
ABEL
I know.
A sense of caring and resolve comes over them. At least now
they know what needs to be done.
ABEL (CONT'D)
We should get to bed.
ANNA
I'll be up.
ABEL
I love you.
ANNA
I love you too.
ABEL turns to go upstairs as ANNA starts in again with the
machine.
111
INT. ABEL'S CAR - DRIVING - DAY
ABEL is driving towards the office and is listening to the
idle chatter on the radio between the dispatcher and the
drivers who are out. They are underneath the Brooklyn Queens
Expressway in stop and go traffic.
Suddenly a panic stricken VOICE blasts through on the radio.
SENIOR DRIVER EDDY V.O.
Motherfuckers!
RADIO DISPATCHER V.O.
Who's that?
SENIOR DRIVER EDDY V.O.
It's 17. Two guys are coming at me.
RADIO DISPATCHER V.O.
Where are you?
We now hear the driver yell at the TWO GUYS coming at him.
SENIOR DRIVER EDDY V.O.
Fuck you!
RADIO DISPATCHER V.O.
Where are you!
SENIOR DRIVER EDDY V.O.
Hall Street and Flushing Ave. I'm
out of...
RADIO DISPATCHER V.O.
Eddy? Eddy?
ABEL looks up at the street where they are and realizes this
is going down right down the street from them. He's had
enough.
He pulls across the intersection and heads down a street. He
comes to the next intersection and right in front of him the
truck comes flying by.
He looks to his right and sees EDDY standing at the side of
the road. But he wants to end this. So he pulls out and
starts following the truck leaving EDDY behind.
ABEL follows the truck for several blocks through the
industrial neighborhood. He is tempted to pull up alongside
of it to see who is driving but doesn't. He continues to
follow him.
112
They get to a light and the truck makes a right hand turn
and, as they are turning, LOUIS SERVIDIO who is sitting in
the passenger seat looks behind him and sees that ABEL is
following him. It now turns into a high speed chase as the
driver steps on it.
They race down a ramp into a railyard. ABEL chases the truck
as it crosses the tracks and heads towards an abandoned
tunnel. The truck races into the tunnel and ABEL follows. The
truck is throwing up a dust storm and ABEL has a difficult
time seeing where he is going but he keeps up.
The roadway is very bumpy and both the truck and ABEL'S car
are thrown around and the truck almost hits the sides of the
tunnel.
The light at the end of the tunnel starts to appear through
the dust but we can't see the truck. As ABEL comes into the
light he has to SLAM on his brakes because the TRUCK has
flipped over in front of him.
As he gets out of his car he sees LOUIS SERVIDIO jumping down
from the overturned cab and run off into the train yard. ABEL
looks at the crushed cab of the truck and sees the DRIVER has
been killed. There is a gun sitting on the dash of the truck
and ABEL looks and thinks. He then picks up the gun and
chases after LOUIS SERVIDIO.
In the distance he sees LOUIS SERVIDIO leave the yard and
head up into an elevated subway station.
EXT. SUBWAY STATION - DAY
ABEL runs up the stairs of the station and hops onto a
leaving train just as the doors shut. ABEL looks around.
There are three people in his car. It is covered in graffiti.
He starts making his way down to the end of the train where
the guy is.
He looks into the last car and sees LOUIS SERVIDIO and just
bull rushes him to the ground. He starts beating on him very,
very badly with the pistol. All the rage comes out of him. He
then aims the gun at LOUIS SERVIDIO.
LOUIS SERVIDIO
Please. Please.
They stare at each other.
ABEL
Your friend is dead... who do you
work for.
113
LOUIS SERVIDIO
You know I could never tell you
that.
ABEL
Stop... just stop.
LOUIS SERVIDIO
This was it anyway. Okay... Okay.
ABEL looks right through him and then finally lowers the gun
and releases his hands from around his jacket and he gets up
and looks back at ABEL.
LOUIS SERVIDIO (CONT'D)
Thank you.
LOUIS SERVIDIO then runs out of the car as the door opens.
ABEL sits up and slows his breathing down. Finally he looks
around the trashed car and sees that a woman has been in the
car with them the whole time and she is just staring at him.
INT. BROOKLYN BARBERSHOP - DAY
ABEL walks into the shop and is a little put back together
but is worse for the wear. ARNOLD KLINE is sitting in one of
the chairs waiting. He turns to ABEL.
ARNOLD KLINE
Hey.
ABEL
Jimmy, can you give me a minute?
Jimmy looks around then walks into the back.
ARNOLD KLINE
Abel, that was well said.
ABEL
Thank you.
ARNOLD KLINE
What can I do for you?
ABEL
I've just come to collect that
check you owe me.
This takes him back a step.
ARNOLD KLINE
What check is that?
114
ABEL
The one for $213,000.
ARNOLD KLINE
I'm sorry?
ABEL
That's how much has been taken from
me over the last six months.
ARNOLD KLINE
I had nothing to do with that.
ABEL
Your Far Rockaway facility bought a
load of fuel last week off one of
my stolen trucks.
ARNOLD KLINE
That's not possible.
ABEL
I was standing on top of one of my
hi-jacked trucks a couple weeks ago
thinking about the cowards who did
this when I remembered I had bought
the load of fuel off a friend's
tanker straight from Texas. As I'm
sure you know Texas #4 is marked.
But that was just one load, so
every truck that has left my lot
for the last two weeks has been
marked with dye that I've put in...
And luckily four more of my trucks
got jacked since.... My guess is
there are at least 4600 gallons of
marked fuel in your small tank
right now.
No answer. Finally.
ARNOLD KLINE
How much?
ABEL
I said...213,000.
ARNOLD KLINE
I'll need a day.
ABEL
Okay.
ABEL gets ready to leave.
115
ARNOLD KLINE
I've just been buying this stuff
off these guys, it was only a
couple loads, I don't know who they
are. I would never do that.
ABEL
My goal was to have you out of
business by the end of next year.
And if you're this fucking
desperate it doesn't seem like it
will even take that long.
He walks away.
ARNOLD KLINE
Abel, I wasn't the only person
buying this shit.
He turns.
ABEL
I don't care.
ARNOLD KLINE
It may ruin me.
ABEL
When you find out who else it was
you can get them to pay you back
the difference. Kinda makes you
miss having your father around? But
I need the whole lot tomorrow or
the feds will be at your doorstep
by noon.
He leaves.
EXT. UNIVERSITY ATHLETIC FIELD - DAY
ABEL is sitting on a bleacher totally alone watching a prep
school football practice. We stay with him as he sits quietly
just watching.
Eventually his 21-YEAR-OLD YOUNGER BROTHER, ELIAS, comes
walking off the field over to him. PLAYERS start leaving the
field.
ABEL
You look good out there.
ELIAS
I didn't know you were coming.
116
ABEL
I didn't either... I didn't mean to
take you away.
ELIAS
We're done.
He sits down next to him. They both look out for a long, long
beat.
ELIAS (CONT'D)
Thanks for coming.
ABEL
Of course. You've grown.
ELIAS
You saw me a month ago.
ABEL
I know... but you have.
ABEL looks across as a small group of GIRLS FIELD HOCKEY
PLAYERS walk across the field in front of them. They watch
them pass and walk away.
ABEL (CONT'D)
The girls at this place... they are
so beautiful?
He looks over with a wry smile.
ELIAS
Yes.
ABEL
I don't know how you get anything
done around here.
ELIAS
I don't.
Slight smile at each other.
ABEL
I'm in a bit of a rough patch.
ELIAS
Yes...
ABEL
It happens.
117
ELIAS
I know.
ABEL
Good...
ABEL stands and looks around for a good bit. Then thinks
about sitting down again.
ABEL (CONT'D)
That will be your burden...
ELIAS
What will?
ABEL
Not having had one.
Then he sits.
ABEL (CONT'D)
I need your signature on this.
ELIAS looks over.
ELIAS
What is it?
ABEL
I need to take out a short term
mortgage on our apartment building.
ELIAS
That thing isn't worth more than
150 grand though?
ABEL
210.
ELIAS
Since when do you need to be taking
out sucker mortgages for 200 grand?
ABEL
I'm up against it a bit. It will be
fine.
They look at each other for a long beat. And then he signs
it.
ABEL (CONT'D)
Thank you... It's good to see your
face.
118
ELIAS
I love you.
ABEL
I love you too.
They hug and then ELIAS walks off. ABEL sits back down and
just watches him walk away.
INT. FORENTE TENNIS COURT - NIGHT
ABEL walks into the darkened tennis court and looks around.
We aren't sure what he is there for. On the other side of the
court a light is on in a attached lounge. PETER comes into
the light.
PETER FORENTE
Well here he is. The caped
crusader.
ABEL
Yes.
PETER FORENTE
Come over. Are you alright?
ABEL
I am.
PETER FORENTE
Did they catch any of them? Sit.
INT. TENNIS COURT LOUNGE - CONTINUOUS
ABEL
The one guy didn't make it out of
the crash, and the other guy
disappeared.
PETER FORENTE
That was very well said last night.
ABEL
Thank you. And thanks for seeing
me.
PETER FORENTE
Of course. So what is it?
ABEL
I need a loan.
119
PETER'S face scrunches up like he tasted a lemon and he turns
away for a beat. Then comes back.
PETER FORENTE
You don't want to do that.
ABEL
No shit... but I'm here.
PETER FORENTE
What are we talking about here.
ABEL
Six hundred thousand.
PETER FORENTE
Jesus. Abel, that's a problem.
ABEL
Yes... but if I don't get it...
PETER FORENTE
What's my collateral?
ABEL
The terminal.
PETER FORENTE
Yeah me and how many other people
will be coming after it. No way.
ABEL
You'll get your money.
PETER FORENTE
Abel, you know I respect everything
you've done. Because of it we
haven't come down on you the way I
should have for coming into my
service area and poaching my
customers. You're good at what you
do, probably better than us, and I
accept that. But this would be
different. I don't want you to be
in this position. We are not nice
people to borrow three quarters of
million dollars from.
ABEL
I know that.
PETER FORENTE
Let's sleep on this. Both of us.
120
INT. ABEL AND ANNA'S LIVING ROOM - NIGHT
ABEL comes in as ANNA is sitting at the table smoking. He
walks over and sits down at the table with her.
She gives him a great sly smile.
ANNA
What a day.
ABEL
Yeah.
ANNA
Are you okay?
ABEL
Yes.
ANNA
Car chases?
ABEL
Yeah.
ANNA
Who knew?
She gives him a loving look.
ANNA (CONT'D)
How was your brother?
ABEL
He seemed good... But the girls up
at that place are...
ANNA
Stop.
ABEL
I can tell you the girls didn't
look like that where I went to
school...
ANNA
Enough.
After a brief light moment the cloud comes back over him.
ABEL
How are we here?
121
ANNA
It was a lot of things all at once.
ABEL
Yeah.
ANNA
How did it go?
ABEL
We can probably pull it off. Three
different parties... it'll be a
mess... and the terms... Peter
suddenly showed me his true colors.
He lets out a brutal sigh.
ANNA
I'm sorry.
ABEL
I spent my whole life trying not to
become a gangster...
ANNA
I know.
ABEL
...And now... on the biggest deal
in my career they will all control
me.
He sits there for a long beat and then she comes and hands
him a piece of paper with a series of numbers on it. He looks
up at her.
ABEL (CONT'D)
What is this?
ANNA
It's a bank account.
ABEL just waits for more but gets nothing.
ABEL
Whose?
ANNA
Ours.
ABEL
How much is in it?
122
ANNA
A lot.
ABEL
What does that mean?
ANNA
It will help. You could replace
Peter's money and get him out of
the deal.
ABEL
Where did it come from?
ANNA
Abel.
ABEL
Where did it come from?
She stops and thinks, then:
ANNA
Since 1971 I have been skimming
money out of the company. Some
years a little... others a lot. In
the beginning it was just in case
times got tough but then it was
because you were taking all these
chances... I didn't know what else
to do... I couldn't risk having us
be left with nothing.
This knocks him back.
ANNA (CONT'D)
I'm sorry.
ABEL
What do you expect me to do with
this?
ANNA
Use it.... Abel...
ABEL
Is it clean?
ANNA
What does that mean?
He thinks that through.
123
ABEL
It means if you walked into the
office of the people who have been
trying to put us in jail right now
and slapped a check from that
account down on their desk would it
push me further into hell or help
to get me out?
ANNA
It's as clean as every other dollar
we've ever made.
ABEL
That's a fucking bullshit answer.
ANNA
I can clear it on the books.
ABEL
Well it sounds like you should take
this money and keep it right where
it is... because I'm going to
pretend that we never had this
conversation. And you can use that
when they drag me off to jail!
With that he tries to get passed her and head upstairs. She
follows and is standing looking up at him.
ANNA
So what's your plan here?
He turns to her and squares off.
ABEL
I'll get it done. And it won't be
as a cheat.
ANNA
(Yelling, but controlled enough to
not wake the kids.)
Oh you are too much. You've been
walking around your whole life like
this all happened because of your
hard work, good luck, and charm.
Mr. Fucking American Dream. Well
this is America... but it's not a
dream, and that wasn't good luck
helping you out all those years...
IT WAS ME! Doing the things you
didn't want to know about...
124
ABEL
You stole from me!
This stops her in her tracks. And eventually a little smile
comes across her face. She comes way down and almost delivers
this line in a whisper.
ANNA
Oh... You have always been very
good about not letting your ego get
in the way of business. Don't start
now just because it's me.
With that ABEL turns up the stairs and heads to bed.
INT. MASTER BATHROOM - MORNING
ABEL is getting ready for the day shaving. He looks
exhausted. ANNA comes into the room. She stands at the
entryway just looking at him for a very long beat.
ABEL
We'll use the money... your money.
It's the smart play.
ANNA
It's our money.
ABEL
I know...
FADE TO BLACK.
Before we see anything, we hear the sound of a pen writing on
paper.
INT. THE TEMPORARY OFFICE TRAILER - DAY
ABEL and ANDREW are sitting around the folding table opposite
the HASIDS. ABEL signs the document and then picks it up and
heads outside.
EXT. TEMPORARY TRAILER - DAY
ABEL comes out and we see ANNA standing outside the trailer
in the cold because these guys don't do business with women.
He hands her the document. Under her breath:
ANNA
These fucking guys...what's this
additional $11,000?
125
ABEL
I guess there is still some fuel in
two of the tanks... they gave us a
fair price on it.
With that they both smile, she signs it and then gives him a
kiss.
INT. TEMPORARY TRAILER - DAY
ABEL comes back in and hands the docs to JOSEPH, the oldest
Hasid, who signs them.
JOSEPH
Mazel Tov.
EXT. TRAILER/TANK FARM - DAY
ABEL walks across the lot with joy although it seems masked
by a sadness. He looks around as ANDREW and ANNA come up next
to him.
ANDREW WALSH
Congratulations.
ABEL
To you too. Did you know...about
the money?
ANNA
Abel.
ANDREW looks him right in the eye.
ANDREW WALSH
Yes.
ABEL
You should have told me.
ANDREW WALSH
I know. I'm sorry.
ANNA
Abel...congratulations. Now cheer
up. And can someone give me a tour
of this place we just paid two
million bucks for?
ABEL, ANDREW, and ANNA walk towards the tanks looking around.
They come around the corner to THE VIEW.
126
EXT. BEHIND THE TANKS, WITH A VIEW OF THE CITY - DAY
They all look out.
ANNA
What a hell-hole this city is.
ABEL
No.
ANDREW WALSH
I don't know why but I guess I
never realized we even had this
view from back here.
That line sits for a long beat.
ABEL
I did.
Then they hear someone behind them. They turn. It's JULIAN.
He is standing holding a gun. They stare for a long beat.
ABEL (CONT'D)
I thought you said you threw that
into the river?
JULIAN
I didn't.
ABEL
I see that.
JULIAN
I have nowhere to go.
ABEL
Nowhere easy.
JULIAN
Fuck you. I have nothing. And
somehow you've ended up with
everything you wanted.
ABEL looks at the gun in his hand.
ABEL
It wasn't meant to be.
JULIAN
What is that supposed to mean?
127
ABEL
I know what you wanted. But you
need to forget that. You are
looking backward. Only look
forward, that is what you can
control.
JULIAN
I'm sorry. You gave me a very good
chance. Right?
ABEL
Yes.
JULIAN
Probably a better chance than I
deserved.
ABEL
No.
JULIAN
Please take care of my family.
ABEL
Julian.
JULIAN
Please...
ABEL looks at him trying to read where this poor kid is at.
ABEL
I will.
With that JULIAN takes the gun and puts it in his mouth and
pulls the trigger.
The gun goes off and the red blood sprays on the white side
of the fuel tank that is behind him.
ABEL and the rest are left totally in shock. They are beside
themselves. But out of the corner of his eye ABEL notices
that the bullet has also pierced through the tank and amid
the red spray a flow of black heating oil is pouring out
through the bullet hole onto the ground.
ABEL steps around JULIAN'S body and goes over to the hole. He
picks up an old rag from the ground and stuffs it into the
hole plugging the flow of oil.
ANDREW WALSH
What... what should we do?
128
ABEL turns and looks back at him.
ABEL
We call the police.
ANDREW WALSH
Really?
ABEL
Yes!
With that he walks off behind the tanks.
EXT. PARKING LOT, NEXT TO THE TANK FARM SITE - DAY
There are now POLICE VEHICLES everywhere. ABEL is standing
off alone. The DA gets out of a car all alone and walks over
to ABEL.
A.D.A. LAWRENCE
I'm very sorry. Did you know him
well?
ABEL
I did.
A.D.A. LAWRENCE
He must have been under a hell of a
lot of pressure.
ABEL
Yeah. For a while I thought he
was... it's just...
A.D.A. LAWRENCE
I'm sorry.
They look out across the city.
ABEL
You really do have to be lucky.
A.D.A. LAWRENCE
Yes... so you are chasing down
hijackers now?
ABEL
I was right there... I couldn't
help myself.
LAWRENCE nods approval.
129
ABEL (CONT'D)
Have you found the driver?
A.D.A. LAWRENCE
No.
ABEL
You'll find him.
A.D.A. LAWRENCE
Probably not.
ABEL
Well, thank you for coming. I
wanted to make sure this was
handled correctly.
A.D.A. LAWRENCE
Of course.
ABEL
I'm not sure how I got here.
A.D.A. LAWRENCE
Yeah.
ABEL
So... I should tell you that I
won't be able to take that deal you
offered. There is no way I would
ever accept a felony charge for
anything we've done.
A.D.A. LAWRENCE
I know.
ABEL
I am not a felon.
A.D.A. LAWRENCE
That's probably true.
ABEL
But I also can't have you digging
around my life and keeping this
hanging around my neck for the next
ten years. I love fighting a good
battle but this... it's very bad
for my business.
This gets Lawrence's attention.
130
ABEL (CONT'D)
So, we need to come to some sort of
conclusion.
A.D.A. LAWRENCE
We can probably do that.
ABEL
Good.
They both look out for a beat.
A.D.A. LAWRENCE
I hear you closed on this terminal
today?
ABEL
It looks that way.
A.D.A. LAWRENCE
I didn't realize that you had that
in the works.
ABEL
For a very long time.
A.D.A. LAWRENCE
That will put you in quite a
powerful position.
ABEL
Within my business it has that
potential.
LAWRENCE shifts his tone ever so slightly.
A.D.A. LAWRENCE
If you get this place up and
running again it will have
significant influence...
politically speaking.
ABEL picks up on the word POLITICALLY and stares down
LAWRENCE.
A.D.A. LAWRENCE (CONT'D)
We all have our ambitions.
ABEL
Yes.
LAWRENCE gives a slight smile and then pauses.
131
A.D.A. LAWRENCE
And sometimes we need help to get
there... You've come a very long
way.
ABEL
Yes, I have.
A.D.A. LAWRENCE
In a very short time.
ABEL
It doesn't feel that way... But
please know that I have always
chosen the path that was the most
right.
A.D.A. LAWRENCE
The most right?
ABEL
Yes.
A.D.A. LAWRENCE
That one makes my head hurt a
little.
ABEL
The result is never in question for
me. Just what path do I take to get
there. And I have never questioned
my path. There is always one that
is most right. And that is what
this is.
A.D.A. LAWRENCE
I hope so.
They look at each other and then out over the city.
THE END
| A Most Violent Year
Writers : J.C. Chandor
Genres : Action Crime Drama
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