AMVY+Script

7ABELNo... I imagine I want it for thesame reason you did.JOSEPHAnd what’s that?To grow.ABELJOSEPHWell, I am in the garment businessso I appreciate that sentiment. ButI inherited this land from myuncle. Sadly he had no children ofhis own. He was the one that letthem build these tanks here. Sothis place can do little for me...in fact thanks to all those testsyou’ve done it may be a liability.As you know I offered to lease thesite to you at a fair price, butyou were not interested?No.Why not?ABELJOSEPHLong pause.ABELI like to own the things I use.JOSEPHI can see that.So.ABELJOSEPHYes. This contract here, yourlawyers have fully reviewed it?ANDREW WALSHOf course.JOSEPHAnd you have brought the money?(ABEL nodes yes)So you realize you have only thirtydays to close this transaction?(MORE)

8JOSEPH (CONT'D)No extensions, no... contingencieswhatsoever.ABELI understand.JOSEPHI want you to know this up front. Iam a very fair man but I believe inhonoring contracts. You willfulfill your end of this contractand the property is yours. If youcan’t we will keep your money andwill sell it to your competitor whohas been chasing us almost as badlyas you have. I like you, but knowthat the only reason I am choosingyou is because of the favorableterms of this contract. So this isbusiness... and when you signthis....ABELI understand.JOSEPHWell then, let’s see this money,and then I will sign these papers.ABEL turns to ANDREW and gives a slight nod. ANDREW pulls theblack briefcase onto the table and opens it. It has sevenhundred thousand dollars in cash in it. He slides it over totheir side. The old man signs the contract and they shakehands.EXT. MASSIVE OIL TANK FARM PARKING LOT - DAYABEL stands next to ANDREW’s car.ANDREW WALSHCongratulations.ABELIt’s not ours yet.ANDREW WALSHWell, it was a hell of a job justgetting them to this point. It’s agood day for us. Take a walkaround. Enjoy it for a second.ANDREW gets in his car and drives away. ABEL looks around anddecides to go for a little walk.

9He heads out towards the tanks and walks among them. Theytower seven stories above him. As he walks, he is cut offlike a maze from any other visual input. (Similar to beinginside a Richard Serra sculpture) Finally he emerges intosome light and as ABEL looks up the camera reveals his view.It’s midtown Manhattan in all its glory, just across the EastRiver from the site. He stares at the city and we see thetrue depths of his ambition lock on his face. He looks to hiswatch.INT. 1981 MERCEDES 500 SECABEL drives away from New York City. We see it behind hishead.INT. CAR ON MERRITT PARKWAYThe terrain turns to upscale country.EXT. COUNTRY HOUSE - DAYABEL’s car drives into a long driveway through the woods.Then an architect-designed, 80’s modern house, still underconstruction, appears. He pulls up in front.He gets out of the car and stands there looking at the largehouse. He walks into the house and we see more clearly thatit is nearing completion. It is empty.INT. 80’S MODERN HOUSE - DAYABEL walks over to the massive floor-to-ceiling windows andstands looking over the large pond that sits down the hillfrom the house. As he stares out his CONTRACTOR comes quietlywalking in behind him.Hello?CONTRACTORABELThere he is.He walks up behind him and they both look out in silence fora beat.ABEL (CONT’D)You have done a beautiful job here.CONTRACTORThank you.

10ABELI mean it. You and your men shouldbe very proud.We are.CONTRACTORABELMost people don’t have anythingbeautiful like this to show fortheir day’s work. You are a luckyman.I am.CONTRACTORABELWell I thank you... my family willbe very happy here.CONTRACTORI hope so.ABELNow I think I owe you some money.CONTRACTORThat may be true.It is.ABELABEL reaches into his jacket pocket and takes out a thickenvelope of cash. As he does we see a transformation of hispersonality from pleasant philosopher to a direct voice ofunquestioned authority.ABEL (CONT’D)This is the seventeen outstanding.But we are arriving here in fourdays. It must be done.Yes.CONTRACTORABELWell, 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...

11CONTRACTORIt’s being replaced, as I mentionedto your wife, that was an error onour part. Congratulations on yourhome.ABELThank you.EXT. TOP OF HILL ON OTHER SIDE OF POND LOOKING BACK AT HISHOUSE. - DAYABEL stands, surrounded by massive trees in the thick forest,looking across the ridge back at his house. He is a littleout of breath after climbing the hill but he looks strangelycomfortable even though he is standing in the woods in asuit, tie, and dress shoes. He takes a nice cigar out of hispocket, lights it and has a real moment of joy. He looks upto the tops of the trees, then back at the new house. Heexhales a long deep breath. Then we hear a large truck comerumbling in the driveway. He hears it. His face shows that heknows the sound immediately.EXT. HOUSE DRIVEWAY - DAYABEL comes out of the woods and sees a smaller heating oildelivery truck (with the same Standard Heating Oil logo)parked in the driveway. His face shows it probably isn’tgreat news.INT. HOSPITAL EMERGENCY ROOM - DAYABEL comes down a hallway and then turns through a curtaininto a treatment area. Sitting on the table is the youngdriver of the truck, JULIAN.He has a contraption on his head that is holding his jaw shutin place. His eye is black. ABEL goes over and gives him atight hug. But then he ever so slightly checks himself andplaces him back down on the table.ABEL looks up and sees ANNA, standing in the corner. She isall business. They stare at each other.ANNAThey broke his jaw.ABELHave they found the truck?

12Yes.ANNAABELAre you alright?JULIAN(nods yes)ABELHave the police been here yet?ANNAHe was left in the middle of thehighway without a truck, theybrought him in.ABELCan you speak?ANNA’S temper is rising.ANNANot for a couple days... Can Ispeak with you outside?ANNA heads out into the hallway. ABEL looks around a beatthen follows.EXT. HOSPITAL HALLWAY -SAME TIMEANNA is waiting in the hallway.ANNADid they sign the contract?Yes.ABELANNAAnd took the deposit?Yes.ABELANNASo it’s a go?ABEL(he gives a nice nod yes)ANNACongratulations.

13ABELTo you as well.ANNAWe have thirty days?He nods ever so slightly yes, and she gives him a knowingsmile back of equal measure. We are beginning to see thatthey actually work quite well together.ABELThese fucking guys. This poor kidhas been working his ass off.ANNADo you want me to speak to myBrother about this?ABELNo...don’t talk to him or yourfather.ANNAThis can’t continue.It won’t.ABELANNAIt will if we don’t do something.ABELI’m meeting with the D.A. in themorning.ANNAOh, fuck the D.A. He’s moreinterested in coming after us thanhelping us.ABEL looks around in disapproval. She thinks this through andthen looks in at JULIAN.ANNA (CONT’D)It’s not fair to them. You’re atwar here.ABELNo we are not.ANNAReally... because they are.

14ABELWell I’m not.They look each other over. She then finally leans in andgives him a caring kiss, she walks off.ANNAAnd you’re going out to check onthe new house?Yes.ABELHe watches her walk away then looks back into the hospitalroom. He enters.INT. HOSPITAL EMERGENCY ROOM - DAYABEL walks into the room and looks at JULIAN. He looks up andABEL has trouble putting it to words.JULIAN gives a nod.Nods no.ABELI have to get going.ABEL (CONT’D)Can we get you anything?ABEL (CONT’D)We’ll pick you up when they let youout of here.They look at each other.ABEL (CONT’D)These men are cowards. Too weak tomake a living... or even fight withtheir own hands, and too stupid tothink up anything else to do.Finally he turns and leaves.EXT. ABANDONED RACETRACK PARKING LOT - QUEENS NY - DAYABEL drives up to the drop off scene. There is the large bulktransport truck and one lone police car just sitting in themiddle of the parking lot.

15ABEL gets out, walks up, and stops to stare at the truck. Ayoung beat cop is sitting on the hood of his car waiting.ABELMay I take it?BEAT COPExcuse me?ABELMay I take it now?BEAT COPIs it yours?Yes.ABELBEAT COPWell, I’m sorry about that. Oncethe owner or an owner’srepresentative files the claim formin Corona she’s yours... again.ABELSo you guys have done what youneeded to?Yes.BEAT COPABELAnd what was that?BEAT COPI’m sorry?ABELYou just said you’ve done what youneeded to... so what was it thatyou’ve done?BEAT COP(looks back dumbfounded)ABELDid you fingerprint or anything?BEAT COPNo need, these guys always weargloves.ABELSo you’ve done nothing.

16BEAT COPI’m not exactly sure, I just gothere at four. My shift is actuallyup.ABELSo who’s coming?They stare at each other, then the truck. ABEL then climbs upand we see he knows his way around the truck. He goes up topand opens and looks into a valve, the tank is empty.Sorry.BEAT COPThe cop gets in his car and prepares to drive away.BEAT COP (CONT’D)Why did they want it?ABELThey stole the $6,000 of fuel thatwas in it.The cop leaves. ABEL is left standing on top of the truck inthe parking lot alone with his battered truck. He looks downat the open loading valve and begins to come up with an idea.The sun is setting.EXT. STANDARD HEATING TRUCK YARD - DAYA sign on the inside of the gate reads. “It’s not safetyfirst... It’s safety always”. The motor on the gate starts inand it opens. In drives ABEL’S car.INT. ANNA’S OFFICE STANDARD HEATING OIL - DAYANNA is working away on an adding machine in her office. Sheis 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 - DAYThe ASSISTANT D.A. is sitting behind his desk as DEPUTY LANGEstands off to the side. He is only in his early thirties butwith confidence and ego to spare. They know each other.Andrew.A.D.A. LAWRENCE

17ANDREW WALSHLawrence. Thank you for seeing uson such short notice.A.D.A. LAWRENCEOf course. And Mr. Morales. Pleasesit. I didn’t realize you werecoming as well.Yes...ANDREW WALSHA.D.A. LAWRENCESo what can I do for you?ANDREW WALSHWe need your help.A.D.A. LAWRENCEIn what way?ANDREW WALSHOur trucks. They are being robbed.A.D.A. LAWRENCE(he looks over at DEPUTYLANGE)ANDREW WALSHWe have a serious security issue.DEPUTY LANGEThere have been a series ofhijackings of bulk-fuel deliveryvehicles.Yes.A.D.A. LAWRENCEANDREW WALSHOur drivers are being put indanger.A.D.A. LAWRENCEMr. Walsh, as I know you know, thisoffice has been investigating yourentire industry.ANDREW WALSHOf course.There is an awkward pause as LAWRENCE decides how he shouldcontinue.

18A.D.A. LAWRENCEAnd as much as I’d like to be ableto help you, you know this is apolice issue. It’s not what we dohere.ANDREW WALSHI understand. But this is turninginto an urgent and pressing matterfor us.Urgent?Yes.A.D.A. LAWRENCEANDREW WALSHA.D.A. LAWRENCEI’m not sure what you mean. Therewere more murders and rapes in thiscity last year then there ever havebeen, so if you have come to tellme that we have a urgent securityissue here, trust me I’m aware.ABEL cuts in. He can’t help himself.ABELMy people are at risk just drivingaround in this city, just trying todo their jobs. And I... I have doneeverything you have asked of me.It’s been two years since you firststarted investigating my companyand I have spent thousands ofdollars hiring lawyers for this andthat to provide you with everypiece of information your officehas requested. And I expect thatyou have been asking the same frommy competitors. So with all thisinformation that you have gained...We are just asking if you have anyidea who has been doing this to us?I don’t.A.D.A. LAWRENCEThis sits unanswered.

19A.D.A. LAWRENCE (CONT’D)I understand your frustration. Andalthough everyone else seems tohave given up and left this cityfor dead, I haven’t. And as youknow we have been investigatingindustry-wide corruption in yourbusiness that seems to have beengoing on for years. And the simplefact is that the only person whocould do anything with 8000 gallonsof heating oil in a matter ofminutes after stealing a truck issomeone from within that industry.And almost certainly someone withlocal storage capacity. So you’reright. That means you all arestealing from each other. Which is,as far as I can tell, just arefreshing new take on what you’vebeen doing to your customers andfellow taxpayers for the lastfifteen years.This sits in the room for a long beat.ABELFirst, please know that we respectthe work you are doing to try tohelp our business and the city. Butalso know I have never takenanything I haven’t earned fromanyone so when you say you’ve...He pulls himself back.ABEL (CONT’D)We are on the same side here.A.D.A. LAWRENCEWell yes and no. See, all that Ican do is to try and put peopleaway in the simplest and mosteconomical way possible with thelimited resources at my disposal.It doesn’t really matter to us whoit is or how we do it as long asit’s progress.ABELWell, it makes a difference to me.

20A.D.A. LAWRENCEI know it does. This city is a verydifficult place to do businessright now.Yes.ABELThis more conciliatory tone makes LAWRENCE think through hisnext reply for a long beat.A.D.A. LAWRENCEYou know... Mr. Morales you seemlike a decent man, and because ofthat I’m really not comfortablejust sitting here with youpretending that the elephantperched on the corner of my deskisn’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 thismoment but we believe that you andyour company have broken the lawand that we have enough evidence toprove that. So next week, Mondayactually, we will be bringing acase against you.This drops like a bomb. ABEL and LAWRENCE stare at eachother. Then ABEL glances to the corner of the desk. We seethat a large draft copy of the case is actually sittingthere. ABEL looks back up.A.D.A. LAWRENCE (CONT’D)I’m sorry to do this in person.It’s awkward, obviously, but Ididn’t want to have this happen onMonday not having said somethinghere in person today, out ofrespect.ABELI understand.ABEL stands up to leave and ANDREW is still a little stunnedbut stands.

21ABEL (CONT’D)You have your job to do. But knowthat you are wrong and that we willtake advantage of every opportunityto prove that.A.D.A. LAWRENCEI’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 beendoing anything different in yourbusiness over the last year?ABELI’m sorry?A.D.A. LAWRENCEI’m just looking here through thesereports. It looks like out of thenineteen registered heating oilcompanies in the city your truckshave been getting hit three to one.Yes?ABELA.D.A. LAWRENCESo are you maybe doing something tobring this on yourself?ANDREW WALSHLike what?A.D.A. LAWRENCELike enter a new market?ABELI am always trying to expand mybusiness.A.D.A. LAWRENCEOf course. But I think youunderstand what I’m saying... thereare always some markets that aremore difficult than others toenter.ABELEvery new market is a difficultmarket.(MORE)

22ABEL (CONT'D)But my driver was assaulted and mytruck and oil were stolen in broaddaylight in front of fifteen tollcollectors and six police officersyesterday. And yet no one sawanything. That is a problem... no?A.D.A. LAWRENCEI have a lot of problems comingacross my desk every day Mr.Morales.ABELI’m sure you do.INT. HALLWAY OF BROOKLYN D.A. COURT BUILDING - DAYABEL walks out in front of ANDREW.He stops and turns.ANDREW WALSHAbel. Abel.ANDREW WALSH (CONT’D)(his words escape him)Exactly.ABELANDREW WALSHNo... let’s not overreact. We don’teven know what they are bringingagainst us. It could be totalbullshit, and they are just tryingto use us along the way. This isn’tanything yet.I know.ABELINT. ANNA’S OFFICE STANDARD HEATING OIL - DAYANNA is working away on an adding machine in her office. Sheis listening to the radio that sits behind her on the desk.We can see that she is in her comfort zone. ABEL enters.ANNAHow’d it go?

23ABELThe DA... He said he’s going tobring down charges on us next week.For what?ANNAABELWe don’t know yet.Who else?ANNAABELRight now they are just saying us.Beat.ABEL (CONT’D)Where are we exposed?ANNAWe follow standard industrypractice on every front.Anna?ABELANNAI need to know what they are sayingwe did.Beat.Okay.ABELINT. HOSPITAL LONG HALLWAY - DAYABEL walks down the long hallway and enters a room.INT. HOSPITAL ROOM - DAYJULIAN is sitting on the edge of the bed, waiting. His jaw isin bandages, and there are crutches sitting next to him, buthe looks much better than the previous day. They look at eachother intensely but say nothing.

24INT. SHIT-HOLE TENEMENT STAIRWELL - DAYABEL is helping JULIAN up the stairs. They struggle together.Finally they get to the top floor and stand outside apartmentnumber . JULIAN stops, not really wanting to open the door infront of his boss.ABELI’m very sorry this happened. Doyou 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.Abel?JULIANABEL turns and looks at him.JULIAN (CONT’D)Do you think I am ready to moveinto sales?ABEL thinks this through.I don’t.ABELJULIANI... I’m not sure I will be able...You will.ABELJULIAN changes the subject.JULIANDid you get the truck back?ABELYes. They took the load.JULIANThis is the sixth one?ABELSeventh... you get some rest.

25EXT. BUILDING BY ABEL’S CAR - DAYABEL comes out of the building and walks towards his carwhere a group of TOUGH-LOOKING KIDS in their early twentiesare sitting, looking to see who is going to come and claimthe brand new car. He walks right though them without beingoverly aggressive but without a hint of being intimidated. Hegets in and drives away.INT. BROOKLYN BARBERSHOP - NIGHTABEL is sitting in the barber chair getting a trim. Throughthe window we see ARNOLD KLINE, a competitor of ABEL’Swalking by. They see each other. ARNOLD KLINE comes into theshop followed by a BODYGUARD. He sits down next to ABEL. Thisconversation happens with them both looking at each other inthe mirror.ARNOLD KLINEWell, look who it is.Arnold.ABELARNOLD KLINEJust a touch off the side Jimmy.Not all of us are as lucky as Mr.Morales here in terms of keepingour hair.BARBER JIMMYYou’re a good looking man.ARNOLD KLINEI know I am. So I hearcongratulations are in order?ABELWhat’s that?ARNOLD KLINEYou got yourself in contract overthere.ABELWe are working on it.ARNOLD KLINEThirty day close I hear, you betterbe.ABELWe are, thanks for your concern.

26BARBER JIMMY finishes ABEL, and he stands up to leave. ABELhas his back to KLINE as he pays.ARNOLD KLINEI saw a couple of your trucks overin Rego Park the other day.This brings ABEL around to look at him square.ABELReally? When was that?ARNOLD KLINEA couple times.ABELIt’s possible.Is it?Yes.ARNOLD KLINEABELARNOLD KLINEThat’s a tough market.It is.ABELARNOLD KLINEMy father struggled for yearsbefore he broke in there.ABELAny new market is a tough one. I’llsee you.ABEL walks out of the shop and looks around. It is now darkoutside.EXT. COUNTRY ROAD - NEXT MORNINGABEL is jogging again but this time he is deep in the woods.He runs along the road. We then hear a car coming from behindhim. The car noise then turns into more of a truck noise. Hestops and turns around as we see a large truck coming towardshim.He gets himself over to the side of the road. We have aslight fear it might hit him. But as it passes we see it’s alarge moving truck. There’s a second one following rightbehind it.

27As the trucks pass it registers on ABEL’s face. He cuts intoa path in the woods.EXT. DRIVEWAYABEL walks up to his house, and we see the moving truckspreparing to unload. ANNA gets out of her car with the kids,and they run around and check out the house as ANNA directsthe movers.ABEL comes up and stands next to her. They smile a protectedsmile at their new home. ABEL gives her a kiss.INT. DINING ROOM OF NEW HOUSE - NIGHTThe whole family sits around the table in candlelight. Theyare eating takeout, but with a mismatch of formal andeveryday tableware that has been unpacked. There are boxesall around them.ANNAI know it has been a long road, andthat not all of you wanted to dothis, but thank you. For me...A toast.ABELAll six raise a glass.ABEL (CONT’D)A toast to our new home. It’s asbeautiful as my wife and daughtersand as strong as me...(kids laugh)May we be happy, prosperous andsafe here. Cheers.INT. GYMNASIUM GIRLS YOUTH SOCCER GAME - NEXT MORNINGABEL is standing watching the game as he waits for his coffeeto come out of the snack bar. Over his shoulder we hear...PETER FORENTESo you made the move?ABEL turns and sees PETER FORENTE standing there. He’s in hismid-forties, very well-dressed, and handsomely bald.ABELPeter... it’s official as ofyesterday.

28Sir.COUNTER PERSONABEL picks up his coffee, and they both walk back over to thesideline together. Although they are standing a bit off tothe side from everyone else.PETER FORENTESo I heard about your rig gettingpicked off again.Yes.ABELPETER FORENTEWe should probably get together todiscuss this and go over some ofthe preventative measures thatwe’ve been taking. We haven’t hadan incident since November. Itdoesn’t do any of us any good tohave this kind of attention broughtto us.They both stare out at the court for beat.PETER FORENTE (CONT’D)So I think I may have seen one ofyour new trucks the other day.They look at each other.PETER FORENTE (CONT’D)Out near here, at the Miller Roaddiner?ABELThat’s possible.PETER FORENTEThe driver looked like a member ofthe Hitler Youth. I haven’t seen ateamster that blond and blue-eyedsince I was a kid.ABELHe’s from Ohio. Played football. Ilike my drivers to fit in with theneighborhood...PETER FORENTEThat’s new territory for you, no?This brings them both back in to look at each other.

29ABELJust picked up a few new accountsover there. Weekend houses of someold clients from in the city.PETER gives a bit of a stronger look. Then finally turns backtowards the field.They look out.PETER FORENTEWhich one is yours?ABELRight there.PETER FORENTEShe’s beautiful.ABELThank you.PETER FORENTEWelcome to the neighborhood. Youshould be proud.Proud?Yes.ABELPETER FORENTEINT. GARAGE OF THE NEW HOUSE - DAYThe garage is filled with boxes. ABEL stands in the middle ofa few that are partially unpacked. He has set up an old radioin the corner of the garage, and it is playing a New YorkGiants football game. ABEL takes an object out of one of theboxes and looks at it with significance.Coming from the main house we hear the doorbell ring. ABEL’Soldest daughter, ANNIE, comes to the door of the garage.ANNIEDad. Mr. Walsh is here.ABEL looks around behind ANNIE to see ANDREW standing there.He waves him into the garage. The boxes are stacked almostto the ceiling around them.

30Slight smile.ANDREW WALSHI’m sorry for the dramatic drop inbut your phone doesn’t seem to beworking.ABELIt’s not set up yet... So I amguessing this isn’t good news hereon a Sunday night.ANDREW WALSHNo... It looks like they are comingafter us.ABELThat describes many people at thispoint.The D.A.How bad?ANDREW WALSHABELANDREW WALSHI still haven’t seen it yet. But myguy in his office just gave me aheads up an hour ago. It’s notgood.ABELWhere are we exposed?ANDREW WALSHI’m not sure, a couple placesprobably.ABELA couple places?This hits ABEL. He thinks for a beat than goes over to thedoor to the house and calls for his wife.ABEL (CONT’D)Anna... Anna!They wait. She enters, she is a bit surprised to see ANDREWin her garage.Andrew.ANNA

31ANDREW WALSHAnna... sorry you’ve got no phone.ABELAs of tomorrow I’ll have my newradio hooked up though so youshould be able to reach me whereverI am...He is making light of the situation, but as she looks attheir faces she knows there is a problem.ANDREW WALSHThe D.A. is going to bring downcharges on us tomorrow.For what?ANNAANDREW WALSHWe don’t know yet.Who else?ANNAANDREW WALSHRight now they are just saying us.ABELWhere are we exposed?ABEL looks at his wife. She looks at ANDREW.ANNAWe follow standard industrypractice on every front.They all give each other a long look, as this means they havebeen bending the rules in several places, as do all theircompetitors.ABELWhat does that mean?ANNAYou know what that means.ANDREW WALSHIt means we may have someaccounting exposure where we havepushed things a little too far.How far?ABEL

32ANDREW WALSHYou always told us to push until wecouldn’t push any further. Well, wemay have hit that line. So we willhandle it and move on.Anna?ABELABEL shoots her a stinging worried glance.ANNAI need to know what they are sayingwe did.ANDREW WALSHLet’s not get ahead of ourselveshere. You have always followedstandard industry practices. Wearen’t even sure what this is yet.I just wanted to make sure you hadall the information I do. This is abadge of honor, it means we are bigenough to give a shit about now.Don’t worry.That sits for a beat.Okay.ABELANNAThank you for coming by Andrew.ABEL reaches into his pocket and takes out a remote for theautomatic garage door opener. As it opens you can see thepride in his face as this remote is a fairly high-tech newitem. They all sit and watch as it opens the whole way thenstops in silence.ANDREW is now standing outside in the driveway.ANDREW WALSHVery impressive.ABELThank you.ANNAIt only cost him a year of thekid’s tuition.

33ANDREW WALSHAnd one more thing. I got a callfrom the union... O'Leary.This grabs both their attention.ANDREW WALSH (CONT’D)They’ve been getting word back fromour drivers.ANNAWhat word?ANDREW WALSHThere is real concern about theirsafety.Who?ABELANNAAll of them.ANDREW WALSHThe drivers are feelingunprotected.ANNABecause they are.ANDREW WALSHI just think you should talk tothem about it. Before it grows intosomething.Okay.ABELANDREW WALSHGood night.INT. ABEL AND ANNA’S BEDROOM - NIGHTABEL is lying in bed, awake. ANNA is as well. He is staringat the ceiling. Their dog is lying at the foot of the bedasleep as well. Eventually the dog wakes up and looks outtowards the doorway. He growls ever so lightly. Then hestops, listens, and starts growling a little more.ANNA looks up ever so slightly.ANNAWhat’s he doing?

34ABEL is now standing up to go look.ABELQuiet... don’t worry. It’s nothing.ANNA tries to go back to sleep.INT. HALLWAYS/KID’S ROOMS - NIGHTABEL walks out of the bedroom and slowly heads down the hallto his kids’ rooms. He looks in each room and the CHILD issleeping soundly with nothing out of place.INT. KIDS’ ROOMS/HALLWAY- SAME TIMEAs he comes out of the last bedroom back into the hallway hesees his dog standing at the top of the stairs looking downover the balcony into the living room. The dog is starting toquietly growl once again.ABEL’S face goes from total comfort that his kids are safe tototal paranoia. He slowly walks down the hall. He stops offin his bedroom closet and grabs a mid-size baseball bat/billyclub. Now he is heading down the stairs with the club tryingnot to freak himself out.INT. OPEN LIVING ROOM/ENTRY HALL/FRONT DOOR - NIGHTABEL walks down the stairs and the dog just stands at thetop, still growling every now and then. ABEL comes into theliving room and everything seems perfectly normal. He thenrelaxes and turns towards the dog.ABELQuiet. It’s nothing. Come downhere.He snaps his fingers and calls the dog. The dog finally comesdown the stairs.ABEL now heads towards the kitchen in a relaxed state, butthen the dog starts growling again and looking out thewindows next to the front door. ABEL comes over, he opens thefront 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 andpulls his bat back up into position. He heads outside.

35EXT. FRONT DOOR TO ABEL’S HOUSE - NIGHTABEL comes to the end of the front walk and there is nothing.The dog has now followed him outside and is slowly headingover to a area where a small exterior hallway leads to a sideentrance. 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, comesblasting out of the shadows. The dog tries to bite him as hegoes by. ABEL swings his club and hits BURGLAR square on theshoulder but he keeps coming. He knocks ABEL over and runstowards the driveway. ABEL is up and chasing after him fasterthan we expect.EXT. BASE OF THE RAVINE DEEP IN WOODS- CONTINUOUSThere is a pretty good moon out so we can see them runningfull throttle through the very thick woods. ABEL is keepingup with him and in fact may be gaining on him.ABEL is still in his pajamas. He has a rage that has beenbuilding up inside him for a good two weeks that is nowpouring out of him in the energy to chase this guy down.They come to the top of a small ravine which ABEL seems toknow from his runs through the woods and ABEL takes a bit ofan easier/quicker path down.EXT. WOODS BEHIND ABEL’S HOUSE - CONTINUOUSABEL now cuts him off at an angle and swings the bat at hislegs. BURGLAR trips and goes flying. ABEL falls as he swingsat him. They both sit on the ground for a beat. ABEL isexhausted. They stare at each other.A brief look of panic comes across BURGLAR’s face. Then he isup again and running off into the woods.ABEL gets himself up and chases after him.EXT. ROAD NEXT TO THE WOODS - NIGHTABEL comes out of the woods into the middle of the road, andin the distance we see BURGLAR run up to a waiting van withits lights and engine on. The guy gets into the passengerside of the van, and it peels out.ABEL is left standing in the middle of the road, barely ableto breathe and holding the bat.

36EXT. ABEL FRONT DOOR - NIGHTABEL comes walking back towards his front door. ANNA isstanding with all the lights on and with the dog sitting nextto her. She looks at him in shock.ANNAWhere were you?ABEL(looking to the dog)A lot of help you were.Abel?ANNAThey both look down at his bare feet. He has been in somekind of shock and hasn’t even noticed that his bare feet arecut 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 - NIGHTANNA is in warrior mode. Any panic in her voice hasdisappeared, and she is speaking with a calm yet deadlyseriousness. She is cleaning the cuts on his feet and puttingbandages on them as they talk.ANNAWho was it?ABELWhat do you mean, how am I supposedto 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.If you...ANNAABELOuch! If they had wanted to send amessage he could have... and hedidn’t.

37ANNASeems like a message was sent loudand clear.ABELPlease. Don’t get going on this. Weare a big new house. He probablywanted the TV. He didn’t have agun, he had nothing. The alarm willbe 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 firstthen gives in.INT. TRAINING ROOM AT STANDARD HEATING OIL - NEXT MORNINGABEL is in a suit but is kneeling and almost lying on hisback showing three SALES RECRUITS what they should be lookingfor. Another INSTRUCTOR looks on. We see ABEL in his element.He is a salesman.ABELWhat you are looking for here isthe opening to the burn chamber.Now at this point you have nottipped your hat in anyway. From theminute you walked in the house youshould have been working to createan impression of totalimpartiality. But now...He reaches over and opens the small door. A fire is burninginside. On cue the instructor hands ABEL a crisp clean whitehandkerchief.ABEL (CONT’D)When this door opens you begin toclose. It must always be spotless.If they see you have ever done thisbefore 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 anddon’t say a word... You just keepstaring at the cloth and then youslowly just start shaking yourhead. Very very slowly and small.(MORE)

38ABEL (CONT’D)Don’t look up at them. Just at thecloth.Then ABEL makes a small clicking noise.INSTRUCTORDo you hear that noise... that’sthe noise.SALES STUDENT ALEXWhat noise?ABELIt means you are close... Thenafter sitting in silence way longerthan is comfortable, you turn. Andsay “I’d love to run a few numbersfor you. Is there somewhere morecomfortable we could sit.” Theywill almost always take you to thedining room table and will offeryou something. And whatever it isyou always take the fancy option.INSTRUCTORCan I get you a coffee or tea?ABELA tea please.INSTRUCTORWe have some homemade lemonade or asoda.ABELI’d love a lemonade, thank you.Why?SALES STUDENT ALEXABELBecause, we are never going to bethe cheapest option, so we have tobe the best. And they want... no,need... to feel that you want thebest too. That’s why our trucks arethe newest or cleanest, and ourdrivers are approachable.Just then the woman who works behind the front desk (STANDARDFRONT DESK) comes to the door.STANDARD FRONT DESKThey need you.

39ABELI gotta go, but the final point Iwill make is the hardest one. Onceyou have done the math and shownthem what we can save them over thelong haul through propermaintenance, you need them to sign.And the problem is by hiring youthat means they are firing someoneelse. And that’s never easy. So toget them over the line you need toclose them. So when you show themthe 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. Youwill only keep this job if youclose. And that’s not funny to you.And I am only interested in thiscompany growing, and when it isn’tI don’t think it’s funny at all.These people work very hard fortheir money and these other guysare ripping them off, treating thempoorly, because they don’t know...so when you look them in the eyeyou have to believe that we arebetter, and we are, but you willnever do anything as hard asstaring a person straight in theeye and telling the truth.ABEL then does exactly that to them. And he holds it for along 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 - DAYThere is a great high/low nature to the way ABEL runs thecompany. While he wears great suits and his trucks areimpeccable, he does not waste money. So this room where thedrivers have company meetings is very basic.

40The room is filled with all of the drivers. There is a bitof a nervous energy in the room. It quiets as ABEL comes in.He stands aside.STANDARD FRONT DESKTrucks 16 through 23 you should beready to go...As STANDARD FRONT DESK sees ABEL standing behind her, shestops. ABEL walks forward a few steps.ABELGood morning. First off, I pickedup Julian yesterday and he is backhome and doing much better. And Ijust wanted to make sure you areall aware that we are doingeverything we can to deal with thissituation. We are working with lawenforcement, and they seem to beclosing in on these guys. But,sadly these are the times we areliving in and we must rise abovethem. So, on that front we havethese.He puts one of the new radios on the dais. ANDREW comes intothe room behind ABEL and stands.ABEL (CONT’D)These will be in every truck by theend of the week. Much to my wife’sconcern I spent some serious coinand we now have our own closedchannel that shouldn’t have anyblackout areas. You will always bein contact with us.(a hand goes up in theback)Yes, Eddy.SENIOR DRIVER EDDYI have heard that the union isconsidering recommending other moreactive options for us to consider.Do you know about this?ABEL looks to ANDREW.ABELWe have been in constant contactwith the union and they aren’tconsidering any new course ofaction at this time.

41SENIOR DRIVER EDDYSo this radio is what we got?Yes.ABELEXT. ABEL AND ANNA’S HOUSE - DAYANNA is walking back from the mailbox looking through theday’s mail. As she approaches the house she looks up and seesthe two younger daughters, ELIZABETH (6 years old) andCATHERINE (4 years old), playing in front of the house.CATHERINE comes out from under a bush near the side door withsomething in her hand.ANNA looks back down at the mail. As she gets closer to thehouse we see a look of concern come across her face. The lookthen turns to one of complete horror but as she gets closerto CATHERINE she tries to control her emotions.ANNACatherine... Catherine. Katie!She drops the mail. And goes right up to her daughter.Mommy.CATHERINEAs ANNA comes up to CATHERINE we now see that the little girlis holding a large very real looking handgun in her littlehands. ANNA is besides herself.ANNAWhere did you get this? Catherinewhere did you find this?CATHERINERight here.The little girl points over towards the bushes near the sidedoor where LOUIS SERVIDIO was hiding and got hit the nightbefore.Show me.ANNAThe little girl walks over to bushes and kneels down.CATHERINEIt was just sitting right here.ANNA turns to the middle daughter, ELIZABETH.

42ANNADid you see this?ELIZABETHYeah, she went under there to getthat ball and came out with it.Maria!ANNAANNA yells towards in the house.ELIZABETHWhat is it?ANNA walks towards the front door to retrieve the NANNYMARIA.Maria!ANNAELIZABETHMom, is it real?INT. ABEL’S OFFICE STANDARD HEATING OIL - DAYABEL is sitting down at his desk. ANNA comes to the door. Shegets his attention and then walks right up to the desk. Sheputs the handgun down right in front of him.ABELWhat is that?ANNAA gun... It’s a gun Abel.ABELWhere did you get it?ANNAYour youngest daughter found it inthe 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.

43ANNA (CONT’D)Those weren’t kids looking to ripoff our TV Abel, that was a fuckinggoon with a loaded gun looking inour windows! What the hell is goingon here?ABELLet me see that. I’ll take care ofthis.ANNADamn right we will. Who is this?ABELI don’t know, but I will take careof it.ANNAWhat does that mean you will takecare of it. This isn’t a brickthrough our car window or someother cute little warning that I’veput up with in the past. This isyour daughter playing with a loadedgun!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.ANNAYou better. Because you won’t likewhat’s going to happen once I startgetting involved.This causes him to stop in his tracks. He turns veryseriously.ABELYou are not to tell your fatherabout this.She looks back at him with a tinge of a smile.

44ABEL (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 WALSHCan I talk with you both?ANNAI found a gun outside our frontdoor. Somebody left it there lastnight.Who?ANDREW WALSHABELI don’t know.ANNA looks over to ANDREW letting him know her disgust.Well...ANDREW WALSHHe looks around then closes the door behind him and getstheir attention.ANDREW WALSH (CONT’D)It’s not good... It’s badHe takes out a folder containing the formal indictment andhands it to ABEL.ANDREW WALSH (CONT’D)It’s a fourteen count indictment.Most of it is crap. Piggybackissues. But...As ANDREW keeps talking, trucks go rumbling by behind them.ANDREW WALSH (CONT’D)The first three counts are where westart to have real issues. Theyknow what’s going on in thisindustry. They say we are riggingscales and under-reporting income.We don’t know what they have or howthey got it. But no matter how theygot it, it’s a problem.

45ABELThat truck just went out filthy.ABEL looks out the window as a truck leaves the yard.Abel!ANNAANDREW WALSHWe are going to owe them somemoney.This brings him back.How much?ABELANDREW WALSHThat depends on a bunch of factors.But that’s an accounting question.They both look to ANNAThis hits ABEL.ANDREW WALSH (CONT’D)And there is one other thing. Thebank...ANDREW WALSH (CONT’D)We need to sit down with themimmediately. I set a dinner. Weneed you both there to layeverything out and be totally upfront.This shouldn’t be a problem.Lord knows they’ve given money tobigger crooks than us. But I don’twant us hiding anything from them.ABEL does not like this joke.ABELYou need to get home and startgoing through our set of books. Howfar back are they going?ANDREW WALSHSeems like all the way back to whenyou bought out Anna’s father.ANNAI’ll get into it.

46He looks out the window and sees a Cadillac pull in..ABELWhat is O’Leary doing here?.Abel looks to ANDREW.ANDREW WALSHHe’s been wanting to talk to youfor days.ABEL(under his breath)Jesus.ABEL gets up to go out. As ANDREW shuffles to leave ANNAstops him:ANNAAndrew can I talk to you for aminute.ABEL leaves and they stay.EXT. STANDARD HEATING OIL YARD - DAYABELHow are you Bill?BILL O'LEARYI’m ok. Can’t say I’m used tomaking house calls like thisanymore though.ABELI would have come to see you.BILL O'LEARYThat’s alright. You’ve got biggerthings to worry about. (Long pause)So, I can’t have this situationwith your guys continuing.My guys.ABELBILL O'LEARYYour drivers.

47ABELGood. I would love you to help onthis. Because I can’t have it goingon any longer either.BILL O'LEARYSo let them protect themselves,that would stop all this veryquickly.ABELI respectfully disagree.BILL O'LEARYThey are picking on your menbecause they are just sittingthere... weak.ABELThey are taking shots at me becauseI am growing, expanding, gettingstronger not weaker.This frustrates Bill because he knows ABEL is right. He triesa new tack.BILL O'LEARYIt’s quite simple for me: I can’thave my drivers getting hit likethis. It looks like I can’t protectthem.ABELWell, it appears that you can’t.This is a little too sharp for the head of the NYC teamster’staste.BILL O'LEARYI can. And will. Because of all myjob descriptions that is the one Iconsider most sacred.ABELI agree. But these are truckdrivers, not soldiers, this willlead to chaos.BILL O'LEARYIt will stop immediately.ABELNo, it won’t.

48He resets, again.BILL O'LEARYYou seem to be under pressure frommany sides right now... which Iunderstand. Trust me I understand.So let me think this through. Butwhatever decision I make on this,it stands. Those men show up everymorning for you because I tell themto. It’s important for you torealize that these are verydangerous times, and we need toadapt. It’s not like when we weredriving.Yes.ABELBILL O'LEARYSometimes the weak man is thestronger man if he has the righttools.ABELIt may seem that way... but if youare weak eventually it will show...it always does. And if you wantthis to all be behind us, help mefind out who is doing this. Youknow a lot of people, and thatwould be the most help to me.BILL O'LEARYIt’s not always as simple as itappears.ABELI’m sure that’s true.BILL O'LEARYIt is... well, I got to get going.ABELThank you for coming Bill.EXT. GATE AT STANDARD HEATING OIL - DAYO'LEARY walks over to ANDREW as he is getting in his car.ANDREW WALSHHow did that go?

49Not well.BILL O'LEARYANDREW WALSHHe feels very strongly about this.BILL O'LEARYI can see that.ANDREW WALSHI don’t think he fully understandsit.BILL O'LEARYWhat’s to understand?ANDREW WALSHIt’s illegal.BILL O'LEARYIt’s not illegal if I say it isn’t.My responsibility is to providesafe and timely passage of goodsand products into and around thiscity. And because of this situationit is appearing to those whoseopinions I care about that I can’tdo my job. That can not and willnot continue.ANDREW WALSHI understand.BILL O'LEARYSo talk to him. You need to protectyourself. This is very serious.Just know that.ANDREW thinks this through.ANDREW WALSHHow would this work?BILL O'LEARYWhat does that mean?ANDREW WALSHI guess I’m not even sure exactlywhat you are suggesting.BILL O'LEARYAre you kidding me with this?

50No.ANDREW WALSHO'LEARY nods yes.BILL O'LEARYEvery driver in your fleet gets ahandgun.ANDREW WALSHAnd a permit?When?ANDREW WALSH (CONT’D)BILL O'LEARYBy Friday.ANDREW WALSHAre the permits legit?BILL O'LEARYThat depends what they do with it.If they kill their wife with them,then no. Then that is a very fakepermit, and I’ll walk away veryquickly. But they just need to showthat they are defending themselves,and this will stop.ANDREW WALSHWho is it?BILL O'LEARYI don’t fucking know...ANDREW WALSHI’ll talk to him.INT. MORALES’ GARAGE - DAYANNA is struggling through the boxes in the garage. She movessome things and then finds what she is looking for. A pile ofabout nine matching file boxes that are all labeled the same.It is their off the books bookkeeping.INT. STUDY/LIBRARY OF THE NEW HOUSE - DAYThe library is filled with custom made bookshelves that arestill waiting to be filled. There is a large desk sitting inthe corner that hasn’t been fully unpacked yet.

51ANNA comes in struggling carrying the file boxes from thegarage, she piles them on the desk.She looks around her feet at the pile, it’s literally theskeletons from her closet. She resets, walks over to thewindow to look out over her new beautiful home. Then sheturns back at the pile of boxes that hold their past andtheir future.EXT. LONG SUBURBAN DRIVEWAY - DAYA Standard Oil DRIVER steers his truck down the driveway. Ashe approaches the end he sees a massive bulk oil truck of oneof their competitors parked blocking the exit of thedriveway. He stops his truck and gets out warily. He looksaround. No one is in the cab of the truck. But he sees asmall note taped to the window. It reads: “Engine trouble,back later... Fuck you.”INT. STUDY/LIBRARY OF THE NEW HOUSEThe phone starts ringing. ANNA gets up from her work andanswers it. We stay on her as she gets the news.ANNAHe’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 andlooks out and over at the other main wing of her newbeautiful home. Then she turns back and looks at the pile ofboxes that hold their past and their future.EXT. GATE AT STANDARD HEATING OILO’LEARY walks over to ANDREW as he is getting in his car.ANDREW WALSHHow did that go?Not well.BILL O’LEARYANDREW WALSHHe feels very strongly about this.

52BILL O’LEARYI can see that.ANDREW WALSHI don’t think he fully understandsit.BILL O’LEARYWhat’s to understand?ANDREW WALSHIt’s illegal.BILL O’LEARYIt’s not illegal if I say it isn’t.This takes ANDREW back a step.BILL O’LEARY (CONT’D)My responsibility is to providesafe and timely passage of goodsand products into and around thiscity. And because of this situationit is appearing to those whoseopinions I am concerned with, thatI can’t do that right now. That cannot and will not continue.ANDREW WALSHI understand.BILL O’LEARYSo talk to him. You need to protectyourself. As a company.ANDREW WALSHI will try to talk with him.BILL O’LEARYThis is very serious. Just knowthat.ANDREW WALSH thinks this through.ANDREW WALSHHow would this work?BILL O’LEARYWhat does that mean?ANDREW WALSHI guess I’m not even sure exactlywhat you are suggesting.

53BILL O’LEARYAre you kidding me with this?No.ANDREW WALSHO’LEARY nods yes.BILL O’LEARYEvery driver in your fleet gets ahandgun.ANDREW WALSHAnd a permit?When?ANDREW WALSH (CONT’D)BILL O’LEARYBy Friday.ANDREW WALSHAre the permits legit?BILL O’LEARYThat depends what they do with it.If they kill their wife with them,then no. Then that is a very fakepermit, and I’ll walk away veryquickly. But they just need to showthat they are defending themselves,and this will stop.ANDREW WALSHWho is it?BILL O’LEARYI don’t fucking know...INT. ABEL’S OFFICE - LATERANDREW comes to the door. ABEL is staring out the window butlooks up as ANDREW sits down.ANDREW WALSHThey just got another truck.I know.ABELANDREW WALSHWho was driving?

54Leo.ABELANDREW WALSHIs he alright?Yes.ABELANDREW WALSHThe drivers’ security aside... thisshit is starting to have a verysignificant financial effect on ushere. It can’t continue.I know.ABELANDREW WALSHHow was your talk? (nothing)I spoke with him after. He’s goingto keep going ‘til he gets theanswer he’s looking for.ABELI said I wouldn’t do it.They sit for a long beat.ANDREW WALSHI’m not sure we are in a positionto say that.ABELWhat’s that?ANDREW looks around. He’s getting paranoid.ANDREW WALSHDo you want to go for a walk?ABELAre you really serious with this,this is what it’s come to, walkingaround outside like fuckinggangsters?ANDREW WALSHI am and it is.

55EXT. STANDARD HEATING OIL TRUCK - DAYThroughout this conversation ABEL is walking over to asection of the yard where WORKERS are loading some sort ofadditive chemical to the fuel trucks.ANDREW WALSHIt is looking like we must do this.I must?ABELThis gets a little personal.ANDREW WALSHThey will shut you down.ABELThese men, they work for me. Thesetrucks they drive, the customersthey serve. They are here becausewe built this.ANDREW WALSHThat’s true, until its not. And thelast person in the world right nowthat we need working against us isthe president of the fuckingteamsters. This company is out ofbusiness in a month if he getsthese guys to walk. We are runningout of cash.ABELWhat are you even talking abouthere?ANDREW WALSHThe union provides a handgun and apermit to every one of the drivers.And they think this whole thing isover in a week.ABELThese men are fucking truckdrivers. This is insane. You knowwho is gonna get it in the endhere, me. This comes back to me.ANDREW WALSHIt does either way.ABELI’m not doing it.

56ANDREW WALSHWould you put everything at risk tostand by that.ABEL thinks this through.ABELIt will be the end of everything Ihave worked for. If one of theseguys shoots somebody it’s me theywill bring down for it...I’ll talkto him... And we need to close thisdeal. We can’t stay like this anylonger. We must close on thatproperty... We are so weak rightnow.They are now standing on top of one of the trucks tanks as aworker 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 containerproperty.ANDREW WALSHWhy do you want this so badly?ABELBecause I have my entire savings atrisk with this deposit. It iseverything.ANDREW WALSHThat’s not what I mean. Why did youwant it so badly in the firstplace? It was a risk... always.ABEL thinks this through.ABELI don’t know.ANDREW WALSHYou don’t know? Have you everthought about it?ABELI’ve thought about it every day forthe last five years. This place wassitting over that fence mocking....ANDREW WALSHI didn’t mean have you ever thoughtabout that place...(MORE)

57ANDREW WALSH (CONT'D)I mean have you ever thought whyyou want it so badly?ABELI don’t know what you mean.ABEL looks to him in a sincere way wanting him to answer butANDREW just waits. Finally.ABEL (CONT’D)I know what you are asking andno... I never ask myself why I dothis. It just feels right...wanting to be bigger feels better.It feels right.ANDREW WALSHThat’s very simple.Yes...ABELWith this he gives him a deadly serious look....It is.ABEL (CONT’D)ANDREW WALSHYou take these risks...ABELOnly when necessary.ANDREW WALSHWe have to get going, we need themto show up.INT. WHITE TABLECLOTH RESTAURANT - NIGHTANNA leads the boys to the table, and we see a whole new sideto her. She is going to get this done. As they approach thetable we see two BANKERS stand to greet them. The BankPresident, ARTHUR LEWIS, and Bank VP IAN THOMPSON.Arthur.ANNAARTHUR LEWISAnna, you look amazing as always.ANNAThank you.

58ARTHUR LEWISGentlemen. Do you know IanThompson? One of our new VP’s.Ian.ANNAThey all shake hands and sit. The WAITER comes over.WAITERSo what can I get you to drink?A lot.ABELAwkward laughter.ABEL (CONT’D)A wine list please.WAITERI’ll be right back.ARTHUR LEWISSo how are you?ABELWe’ve been better... but we aregood.ARTHUR LEWISYes I heard about that... if youstay in business long enough it’sbound to happen eventually.ANNAWell that’s exactly right. And wewanted to sit down with you tonightto make sure we were being totallyup-front with everything that isgoing on and make sure that youunderstand the nature of thecomplaints and are comfortable thatit is not going to affect ourbusiness in an adverse way.ANDREW WALSHDid you have a chance to look overthe outline that I sent over?ARTHUR LEWISYes, we did.

59ANNAHopefully it made clear that evenin a worst case situation we willpay off any and all fines and beable to move forward with verycomfortable capital on hand.ABEL jumps in taking some offense.ABELBut you should know Arthur thatthis man has been digging throughour industry for over two yearslooking for anything he can find.And as you know probably betterthan anyone, having worked withsome of our competitors the thoughtthat he would have singled us outis ridiculous. It reeks ofeverything that is wrong with thiscity right now. We run a fair andclean business and follow everystandard industry practice and Iwill fight ‘til my last day toprove that...This silences the table for a long beat.ABEL (CONT’D)But... but...ABEL holds up his finger and points at ARTHUR across thetable to make his point.ABEL (CONT’D)...Don’t think for a moment that Iam going to allow this mess tointerfere with our plan to grow. Weneed to know you are standing byus.BANK VP IAN THOMPSONYes, what is it with this piece ofproperty that you find so integralor that can’t be put off ‘til afterthis legal matter is dealt with?ABEL is a little taken aback by this comment. It goes againsteverything that comes naturally to him as a person. ANNA andANDREW know this and are concerned he might go off.ABEL thinks it through.

60ABELThat’s a very good question. Thisproperty gives us many things...firstly direct access to the river.So I can bring in fuel directlyfrom any provider in the worldstraight to my tanks, then it hasover 10 million gallons of storagecapacity, so I can buy in thesummers when my price is low andsell to my customers and mostimportantly some of my competitorswhen the price is high. I won’tjust drive trucks anymore... I willcontrol my fate... but the realanswer to your question...Now ABEL stares right at IAN THOMPSON.ABEL (CONT’D)... is that when it feels scary tojump Ian... that is exactly whenyou must jump... or you risk endingup staying in the same place yourwhole life... and that I can’t do.IAN THOMPSON awkwardly laughs a bit as ABEL just stays deadlyserious staring right at him. Finally.ARTHUR LEWISWe’ve always been there with youand know that we will continue tobe.INT. ABEL’S CAR - NIGHTABEL is driving, and ANNA sits in silence looking out thepassenger window. They are heading along the main backwoodsroad to their house.ANNAWell, that went about as well ascould be expected.ABELYes. Arthur is a good man.ANNADo you think they will close?ABELOf course.

61Just as he says this a deer comes running out in front ofthem. ABEL tries to slam on the brakes but isn’t able to stopin time. The car hits the deer and it careens over thewindshield and on to the road behind the car.He continues to slam on the brakes and comes to a completestop.They both catch their breath and look around to make surethey are both okay. Then they look back at the deer. It islaying on the road but is still breathing.ABEL (CONT’D)Are you okay?ANNAYes... you need to go put it out ofits misery.Jesus.ABELANNAI mean it. We can’t just leave ithere.EXT. BACKWOODS ROAD - NIGHTABEL gets out of the car and looks at his smashed hood. Hethen walks back and approaches the animal. It is laying onthe side of the road.He comes right up to it and stares into its eyes. It staresback at him. ABEL walks back to the car.ANNAIs it dead?No.ABELANNAWell you need...I know.ABELHe reaches down to open the trunk.ANNAWhat are you doing?

62ABELGetting the tire iron!This whole situation has stressed them out and they are onedge.ABEL goes to the trunk and gets out the large wrench. Hewalks back over to the deer. He bends down next to it andstares into its eye again. ABEL is thinking back onsomething, or many things.He makes a small starting movement like he is going to hit itover 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 strugglingto deliver the blow. Just as he grips the tire ironwaiting... BANG! BANG!Two very loud GUNSHOTS go off from right over his shoulder.He ducks for cover then slowly turns behind him. ANNA standsthere holding a small-yet-powerful Saturday Night Specialstylehandgun. Smoke is still rising from the end of thepistol. 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 - NIGHTANNA is sitting in the car waiting. We hear ABEL’S footstepsas he approaches the open driver’s side door. He gets inwithout saying a word. We stay with them as they drive on insilence.INT. MORALES HOUSE, FRONT HALLWAY - NIGHTThe door opens and ABEL walks in. ANNA is already in thehouse talking with NANNY MARIA who’s been baby-sitting.ANNAHello Maria, sorry we are a bitlate. They were fine?NANNY MARIAOh yes. All is good.ANNAGreat, thank you. We’ll see you inthe morning then.

63Okay.NANNY MARIANANNY MARIA comes around the corner and passes ABEL who isjust standing in the living room. He only gives her a nod.ANNA is standing on the other side of the room just waitingin silence as well. NANNY MARIA goes over to the closet andgets her coat out and puts it on. The tension is buildinglike a kettle. Finally NANNY MARIA gets herself together andwalks out and as the door shuts they come immediately at eachother.What?What?ANNAABELANNAYes... what?ABELAre you kidding?No.ANNAABELOkay then... what is this gun?ANNAI told you I wasn’t going to justcontinue to stand around and letthese people come and get me and mychildren. So unlike you who seemsto be totally comfortable juststanding around like some...fucking pussy... I did somethingabout it.ABEL is slightly stammering at this point, not quite surewhat to do. They are still standing on opposite sides of theroom from each other. He just waits... finally.ABELWhere did you get it?ANNAYou know where I got it.ABELDo you have a permit?

64Not yet.ANNAThis sets him off. He comes walking across the room at her asif he might hit her. He gets closer and closer.ABELYou must be a bigger fucking idiotthan I even thought. You are tryingto protect your children? Protectthem? Do you have any idea whathappens if you get caught usingthat thing?He is now standing right over her.ABEL (CONT’D)You dress yourself up in thesefancy clothes, and look at you herein your mansion. I’ve given youeverything you could possibly wantbut you still can’t stop thinkinglike the Brooklyn corner-storegangster’s daughter that you are.ANNAYou’ve given me? You? Are youdelusional? Do you even understandhow ridiculous that makes yousound?They are really going at it now. He tries to grab her purse,which she still has over her shoulder. They struggle for it.ABELWhere is this thing? Let me see it.Abel.ANNAABELLet me see it. Is this going tomake you safe?With that he uses brute force, probably hurting her arm, butshe doesn’t let on. He takes the purse from her. He opens itand takes out the small gun.ABEL (CONT’D)You know who uses guns like this?(he screams)Whores!

65With that, she SLAPS him across the face. They just stare ateach other for a very long time.ABEL (CONT’D)It’s a trap... and you are walkingright into it... You need to getthat thing out of our house.ANNAYou need to protect us.ABELThat is what I’m doing.He walks out the front door.INT. MAIN LIVING/DINING ROOM OF MORALES HOUSE - NEXT DAYThere are twelve SEVEN-YEAR-OLDS sitting around the diningroom table yelling “Happy Birthday” to one of the Moralesdaughters as she blows out the candles. A large GROUP of thePARENTS surround the table.GROUPHappy Birthday!Just as ELIZABETH blows out the candles the doorbell rings.NANNY MARIA heads to the front door. The camera stays withthe party. NANNY MARIA comes back into the room and standingbehind her, we see a POLICE OFFICER holding some kind ofclipboard.ABEL walks over quickly trying not to create a scene. Heleads the POLICE OFFICER back over to the front door. ThePARENTS certainly notice and start stirring.EXT. FRONT STEPS - DAYABEL leads the OFFICER outside, and as he looks up he seesthat his driveway is packed with four police cars, someunmarked and there are about five OFFICERS waiting to comeinto the house.ABELI understand. But as you can seethis is a terrible time for us. Iam having my daughter’s birthdayparty.ABEL is trying to remain calm and not lose his temper.

66POLICE OFFICERI understand and I apologize, I do.But this is a warrant and we needto gain complete access to theproperty.They stare at each other just as ANNA comes to the door. Shesees the scene in her driveway.ANNAWhat is this?POLICE OFFICERLet me go check something.ANNAAre they serious?ABEL is seething and can only manage a slight nod.As they look across the driveway they see the OFFICER talkingto someone. The officer shifts out of the way and they see heis talking to ASSISTANT D.A. LAWRENCE.ABELI’m going to kill this guy.Abel.ANNAANNA is trying to get his attention quietly.Abel.ABELHe turns and they look at each other. She signals towards thelibrary and they share a knowing, concerned glance.ABEL (CONT’D)Give me five minutes.She nods and heads down the path towards the police andLAWRENCE. Abel heads back in the doorway.ABEL (CONT’D)Maria. Keep the kids playing for afew minutes.ANNA walks up to the LAWRENCE.ANNAMr. Lawrence is it?

67Yes.A.D.A. LAWRENCEANNAAnna 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.ANNAI understand you and your men havea job to do here. But we are in themiddle of a seven-year-old’sbirthday party.A.D.A. LAWRENCEI understand, and I’m sorry. But weare coming in.She turns a little on him.ANNAThat’s not a problem, as we havenothing to hide from you. It’s justthat, we recently moved to thisarea, and there are twenty guestsin our house... please... can yougive me five minutes so we can askeveryone to leave calmly before youcome into my home?He thinks this through.A.D.A. LAWRENCEYou can get them out of the house.ANNAThank you.INT./EXT. HALLWAY OUTSIDE STUDY/DECKABEL comes down the hall carrying file boxes and brings themout onto the deck. ANNA comes out onto the deck as he islooking over the edge.

68ANNAWhere are you going?ABELBring the last few out.ANNAYou’ve got three minutes.ABELWhat’s going on out there.ANNAOur guests are leaving.ABEL tries to speak but can only shake his head. Finally hejumps over the edge and she starts handing boxes down to him.He then stops again.ABELDo we even need to be doing this?What exactly are we hiding here?She thinks this through.ANNAI don’t want them going through allthis before I’ve had a chance to.EXT. GROUND BELOW DECKThe camera is now on the ground level with ABEL.ABELIs that the last one. Get back outthere.ABEL looks around for a place to stash them.EXT. WOODS - DAYABEL exhales then takes three of the boxes and sneaks offinto the woods. We follow him as he struggles. Finally hegets to a small clearing and starts to stack them.EXT. FRONT LAWN - DAYANNA is standing out front trying to hand out goody bags andto maintain pleasantries with the parents as they leave.

69ANNAThank 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 givehim the all-clear. But as she does she gives him a look thatcould kill. The police file into the house in front of her.EXT. UNDERNEATH THE DECK - DAYABEL has placed the load of file boxes underneath the deckand is putting the last one in place. He sits down on thepile and looks out into the woods in sadness.INT. MAIN LIVING/DINING ROOM OF MORALES HOUSEANNA is looking around the house as the cops search througheverything. She seems oddly calm. She decides that they arebeing respectful and heads out into the driveway.EXT. DRIVEWAYANNA walks outside and stands, waiting. LAWRENCE comes out ofthe house and stands near her. They wait.ANNAThis is probably one that you aregoing to regret.LAWRENCE looks at her trying to figure her out.A.D.A. LAWRENCEExcuse me?ANNAMy husband is a very honorable man.Coming on a Saturday? It’s veryaggressive.A.D.A. LAWRENCEThis is standard.ANNAReally? I know you think you arejust doing your job. But we are notwhat you think we are. And you haveembarrassed him in front of hisfamily and friends.She gives him a long, almost scary look.

70A.D.A. LAWRENCEI think I know your father.ANNAGood for you. My husband is not myfather. Not even close. So if Iwere you I would start treating uswith a little more respect or he’llmake it our only mission to ruinyou. This was very disrespectful...and you are not going to find afucking thing.With that she walks back towards the house as the POLICEstart filing out.INT. ABEL’S OFFICE - MORNINGABEL is sitting at his desk looking out the window as thetrucks come and go. As he looks across the lot he sees JULIANcoming walking across towards the locker room. A smilecrosses ABEL’S face.INT. STANDARD HEATING OIL HALLWAY - CONTINUOUSAs ABEL comes out into the hallway SALES STUDENT ALEX iswalking by his door. ABEL stops to check in.ABELHey, how are you?SALES STUDENT ALEXGood. A bit nervous. I’m headingout on my first calls alone today.ABELYou’ll do great. Remember... Whenyou get them there. Hold the eyecontact longer than you wouldlike... but you watch what happens.He gives him a big smile and a pat on the back and sends himon his way.ABEL (CONT’D)Good luck.INT. DRIVER LOCKER ROOM- DAYABEL comes into the room and JULIAN is getting ready.

71ABELIt is good to see you back here.You look good.JULIANThank you.JULIAN is very quiet and timid. He is missing a spark.ABELAre you ready to get back to work?JULIANI think so.You are.ABELJULIANThank you.ABELWhere are you heading?JULIANBulk delivery to Chase.ABELManhattan. That’s a cakewalk.JULIAN does not agree. ABEL can no longer ignore his youngprotege’s concern.ABEL jumps on this.JULIANI feel very vulnerable.ABELGood... Because you are. We allare. Someone came to my house acouple 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... butreally there’s nothing I can do. Iam vulnerable. We all are. They cancome back tonight. But to succeedand be great you must keep goingback. And I know what all theseguys want to be doing. But itdoesn’t make you any safer.(MORE)

72ABEL (CONT’D)And then they will come after mewith everything they have... Sothis is what we do. And the timeswill get better and safer. Theywill. So go. You are strong just bygoing. Stronger in fact.JULIAN looks down at the ground, shuffles a foot, then climbsinto the waiting truck.EXT. FRONT PORCH SMALL OF HOUSE IN OZONE PARK - DAYSALES STUDENT ALEX gets out of his car and walks up to thefront door. He is nervous. He builds the courage and finallyrings the doorbell. He waits.The door opens and a nice lady in her 40’s comes to the door.SALES STUDENT ALEXHi Mrs. Rose. I’m Alex withStandard Heating Oil, we had anappointment.MRS. ROSEOf course, come in.INT. CAB OF LARGE BULK OIL TRUCK - DAYJULIAN is back behind the wheel and trying to convincehimself that all is well. He is making a difficult right turnto get onto the 59th Street Bridge.INT. OZONE PARK HOUSE BASEMENT - DAYSALES STUDENT ALEX is now leaning down on the ground next tothe furnace doing the exact same procedure that ABEL did inthe training session.SALES STUDENT ALEXNow as I mentioned on the phonethis is a 17 point inspection thatwill help us to decipher if ourmaintenance plan will improve yourefficiency.Just then he brings out the white cloth and wipes the insideof the exhaust. And he then does the pause and the look justas he was taught. He holds the look for a very long beat. Wehear a door opening upstairs and then feet walking across thefloor.

73MRS. ROSEOh good, it’s my husband.Great.SALES STUDENT ALEXINT. TRUCK CAB, 59TH STREET BRIDGE - DAYJULIAN is up on the bridge moving slowly along with thetraffic. He is getting paranoid. Looking in his rearviewmirror. Looking around. But there is nothing. No one.INT. OZONE PARK HOUSE BASEMENT - DAYThe SALES KID is still on his knees next to the furnace asfeet come into frame coming down the basement steps. Slowlythe HUSBAND comes into frame.MRS. ROSEHere he is.The SALES KID stands up to shake his hand.SALES STUDENT ALEXMr. Rose, I am Alex with StandardHeating Oil.Hey.HUSBANDSALES STUDENT ALEXI was just showing your wife theresults of my inspection. Should wehead upstairs to run through somenumbers?HUSBANDSure. I just had one question aboutour exhaust chimney. Would you bewilling to take a look.SALES STUDENT ALEXOf course.HUSBANDIt’s just outside on the other sideof this wall here.MRS. ROSEI’m going to head up. Can I get yousomething to drink? Coffee... tea?

74The KID gives himself an ever-so-tiny smile.SALES STUDENT ALEXTea would be great.The man walks over to a back basement door and opens it. Heushers the SALES KID through.Please.HUSBANDI/E. DOORWAY OZONE PARK BASEMENT - DAYAs the SALES KID goes through the door a massive fist ofSOMEONE who has been waiting on the other side of the doorcomes swinging into frame and pounds the side of our KID’Shead. Knocking him out instantly.INT. TRUCK CAB, 59TH STREET BRIDGE RAMP - DAYJULIAN is close to getting off the bridge and is starting tofeel better. Just as the traffic in front of him starts toclear up, out of the corner of his eye he sees something.In his side-view mirror he sees LOUIS SERVIDIO getting out ofa random car behind him. His heart starts racing. He looksover in the other mirror and there is THUG #2 walking up.Again.JULIAN thinks for a second then reaches for the CB RADIO.JULIANCathy! 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 arestill coming for him.The camera now comes in tight on his face and he pauses for along second, and he then makes his decision. He reaches underhis seat and takes out a handgun. He doesn’t really seem toknow what he is doing with it.But he opens the door of the truck and gets out. He aims thegun at LOUIS SERVIDIO walking towards him. LOUIS SERVIDIOsees him and is very surprised and stops.LOUIS SERVIDIOWhoa, whoa, whoa! Take it easythere.

75He glances over at THUG #2.JULIANGet the fuck away from me!LOUIS SERVIDIOOkay, man.People in the cars behind the truck are starting to honk.Then LOUIS SERVIDIO gives a nod signal to THUG #2 who is onthe other side of the truck, and JULIAN’S gun fires bymistake. It totally misses THUG #2. He jumps out of the wayand is hiding behind the wheel.LOUIS SERVIDIO (CONT’D)Watch it now, man. You’re going tohurt someone.JULIAN is now in a total state of panic. He is hiding back infront of the truck. The three men are basically doing a slowmotion,very stressful hide-and-seek around the truck. Thetwo THUGS now have their guns out.The honking has now reached a total insane level as trafficis backing up.Then THUG #2 makes one last play to take the truck. He triesto climb into the cab and JULIAN goes into a rage. He quicklyfires three shots, missing THUG #2 with each one, but thatforces LOUIS SERVIDIO to shoot two shots of his own at JULIANto protect THUG #2. They miss as well, but one hits the mainsection of the tank and a small but steady stream of heatingoil starts pouring out onto the roadway.Just then we hear sirens starting to come closer in thebackground. This adds a new element.LOUIS SERVIDIO (CONT’D)Where are you?THUG #2Over here.LOUIS SERVIDIOWhere is he?THUG #2Over here.JULIAN is just trying to decide what to do next. The sirensare now getting much closer.

76LOUIS SERVIDIOGet the car!THUG #2 takes off. This now leaves JULIAN and LOUIS SERVIDIOall alone with the police coming. As JULIAN is hiding, tryingto figure out what to do next, LOUIS SERVIDIO goes running byhim. As he does:LOUIS SERVIDIO (CONT’D)Run for it!JULIAN thinks for a second and then runs.EXT. 59TH STREET BRIDGE - DAYJULIAN runs all along the bridge and then sees LOUIS SERVIDIOrun through a small door into the body of one of the fourmassive stone anchor structures that hold up the bridge.INT. THE 59TH STREET BRIDGE, SUPPORT COLUMN - DAYOnce he is inside, there’s another set of stairs. He locksthe door behind him and starts racing down the stairs. As heheads down he hears someone just in front of him.He stops and looks down the center column of the stairs andlooking up at him about three flights away is LOUIS SERVIDIO.LOUIS SERVIDIOOh, there he is. Had to be the heroeh?Fuck you.JULIANLOUIS SERVIDIOCouldn’t just let us take thetruck.Fuck you!JULIANJULIAN is screaming in a fit of panic at this point.LOUIS SERVIDIOHey man relax... calm down. Didthey see you come in here?JULIAN can’t stop breathing very heavy at this point.JULIANI don’t think so.

77He thinks.LOUIS SERVIDIODid they or not?No.JULIANLOUIS SERVIDIOAlright, there’s a door down hereabout four more flights. Don’t goout there, that’s the street. Godown about two more flights afterthat and you’ll come out below thebridge. They won’t be there.Fuck you!JULIANLOUIS SERVIDIOYou’re welcome.Then LOUIS SERVIDIO’s head disappears and we can hear hisfeet flying down the steps again.JULIAN thinks for a beat, then he starts off down the stairsagain as well. The camera stays right where it was as JULIANheads down out of sight. We just hear the sounds of his feetgetting lower and lower.INT. BRIDGE GROUND FLOOR - DAYJULIAN comes to the first door and looks at it. We can hearsirens in the distance on the other side of the door. Hekeeps going.Down two more flights, just as he said, there is anotherdoorway. JULIAN walks up to that door very carefully. Helistens on the other side but doesn’t hear anything but hisown breath.INT. STAIR LANDING LOWEST LEVEL - DAYThen we hear the door back up top fly open. JULIAN thenquietly opens the door in front of him and right in front ofhis face is a woman in full jogging clothes running by him.He looks around, and after a second to get himselforientated, we see he’s on a riverfront esplanade where thereare many people jogging and walking, enjoying the evening.

78JULIAN looks at his hand and realizes he is still holding thegun out in the open. He puts it away and then looks up at thebridge 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 largetruck. It gets louder and louder.INT. OF A VERY LARGE EMPTY DUMPSTER - DAYWe now see that SALES STUDENT ALEX is inside a massive, emptyconstruction dumpster. And as he looks around, we realize itis on the back of a truck that is currently driving prettyfast. With each bump that the truck goes over the noiseinside the dumpster is deafening. As the KID comes to hissenses he tries to stand up. As he does, we see that thesides of the dumpster are at least eight feet tall and theinterior is very slick without anything to grab or stand on.He is trapped.Just then the truck goes over another huge bump and comes toa stop. It idles for a minute then begins backing up. Itstops. A warning, beeping alarm is heard, and finally one endof the dumpster begins rising. As it gets higher and higherour KID tries to hold himself back, but he begins to slidetowards the low end. As he does he sees that the end that heis heading towards is on a hinge and it is starting to swingopen. Finally the thing is at such an angle that he can’thold on any longer and he slides towards the opening.As he falls out he/we see that he’s being dumped over theedge of a cliff of some sort. He falls probably 10-12 feet,into a pile of garbage. As he gathers himself and tries tostand, we see he is standing in a massive landfill. He looksaround as the truck pulls away. He’s left totally alone.INT. TENNIS COURT OF SUBURBAN MANSION - DAYABEL is led by a MAID into an indoor tennis court. The houseis massive and designed like an English Country Estate.As ABEL walks up we see PETER FORENTE on the court playingagainst an automatic tennis ball machine. He is in fulltennis whites as he hammers the balls back at the machine.ABEL approaches the court and watches for a beat.

79ABEL nods.PETER FORENTEIt’s a pretty cool machine, isn’tit?PETER FORENTE (CONT’D)I was paying a guy five bucks anhour to do this with me last year.Peter.ABELThis causes PETER to look up and see the serious look onABEL’s face. He hits one last shot and walks a little closerto ABEL. The machine is still hitting balls behind PETER.Yes.PETER FORENTEABELI need to speak with you.PETER FORENTEI see that.PETER walks over to the machine and unplugs it. He pointsover towards the chairs courtside. He and ABEL sit down.ABELThis has gotten out of control...There was a guy with a gun at myhouse.ABEL lets this sit for a minute, and he is intently readingPETER’s face. He hopes not, but he is judging to see if PETERhad anything to do with all these attacks. PETER just looksback at him with a very strong poker face.ABEL (CONT’D)My wife and children were home atthe time.PETER FORENTEIs everyone okay?ABELYes. I managed to chase him off.PETER FORENTEWell, I’m sorry, that must havebeen scary... what can I do.

80ABELI need to know who is doing this.Abel...PETER FORENTEABELIt’s one thing to come after mytrucks and drivers... and to stealfrom me... but this... it’sdifferent.Yes.PETER FORENTEABELHave you ever dealt with anythinglike this?PETER FORENTEHave you met my father?They both smile. His father is an old-school gangster.PETER FORENTE (CONT’D)A bunch of thugs invaded our homewhen I was a baby... My mother wasthere with us... My brotherremembers it. Nothing happened.They were trying to scare myfather. They ended up just leavingand we never found out who it was.But after that we moved to afortress just like this. And thoseguys who let you in. They are hereto shoot anyone who isn’t invited.ABELI refuse to live my life that way.I won’t do it... I am going to askfor a meeting.They both look out and think it through a bit.Who?PETER FORENTEABELAnyone with more than 20k ofstorage. Can I count on you beingthere?PETER looks away for a long beat.

81PETER FORENTEYes... When are you closing on theterminal?Monday.ABELPETER FORENTECongratulations.ABELHold that... it’s not done yet...you may be hearing from me.(Trailed by an awkward laugh.)PETER FORENTEWell, good luck.ABEL stands up ready to go.ABELThank you for seeing me. I wantmore than this...PETER FORENTEI know you do. My father is injail... as you know. And I havealways wanted to conduct myselfdifferently than he did.ABELAnd you have.PETER FORENTEAlmost exclusively, yes. But I knowwhy he did what he did. Because atthe time it’s easier.ABELBut it’s not.PETER FORENTEYes it is. You are a good man. Iwill see what I can find out. Thisisn’t good for any of us.ABELThank you.

82EXT. PETER FORENTE’S DRIVEWAY - DAYABEL is walking across the beautifully-manicured driveway,and as he gets nearer to his car he starts to hear the mayhemthat is coming from the CB radio in the front seat. As hegets 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?Some did.RESPONDING DRIVER V.O.RADIO DISPATCHER V.O.How many shots were fired?ABEL now slams open the door and gets into the driver sideand picks up the microphone.ABELJoanne it’s me. What are youtalking about... what shots?The camera now comes around to the outside of the car lookingback at ABEL through the windshield. The mansion is loomingin the background. We see ABEL’S face react as he hears thenews of the incident on the bridge. The camera pulls back asABEL’S face goes totally cold.INT. COURT ROOM - DAYABEL walks into an almost empty courtroom. LAWRENCE ispacking up his things at the front of the room. They catcheach others eye. ABEL makes his way forward as everyone elseleaves. They look at each other for a beat.I heard.A.D.A. LAWRENCE

83ABELI need to make sure you know thatwe had nothing to do with this.It’s not the way I do business. Infact I have been warning my menagainst doing this sort of thing.It is terrible for me.A.D.A. LAWRENCEIt’s not good... for either of us.Yes.ABELA.D.A. LAWRENCEIn my job we use whatever leveragewe can gain, as I’m sure you do inyour business. It’s an ongoinginvestigation, and it will be justone piece of many. So while Iappreciate you coming here... Ihave nothing I can tell you.LAWRENCE looks around the room thinking while ABEL saysnothing, just waiting.A.D.A. LAWRENCE (CONT’D)What a fucking mess this placeis... Do you know where he is?ABELNo... but I’ll find him.A.D.A. LAWRENCEYou should. And when you do, bringhim to us. A situation like this,happening in such a dangerous andpublic way, within an industry I’mcharged with cleaning up. It’s verybad for me... professionallyspeaking.They look at each other one last time. ABEL gets the message.EXT. SMALL QUIET SIDE STREET, QUEENS - DAYSALES STUDENT ALEX is walking down the street lookingterrible. His clothes are ruined by garbage, and he isscared. As he approaches his car his face drops.The car has a two-by-four slammed through the shatteredwindshield.

84He stops dead in his tracks and then carefully looks aroundand scans the street looking for anything. It is eerilyempty.EXT. OUTER GATE, STANDARD HEATING OIL YARD - DAYABEL pulls up in his car and the gate starts to open. As itdoes we see ARTHUR LEWIS standing waiting next to his car.ABEL pulls in next to him and gets out. There is anoverriding, almost unsettling calm to this conversation.Abel.Arthur.ARTHUR LEWISABELARTHUR LEWISI wanted to come and talk to you inperson... We aren’t going to beable to show up for you on Monday.We can’t do the loan.I...ABELARTHUR LEWISI wanted to let you know as soon aspossible so that you could try toput something else together.ABELThank you for coming... This is notright.I know.ARTHUR LEWISABELWhat can I do?ARTHUR LEWISNothing... The loan reviewcommittee met this afternoon andwon’t meet again for two weeks.ABELAnd you are aware of the positionthis is putting me in?I am.ARTHUR LEWIS

85ABELI paid off my first loan to youeleven years ago.I know.ARTHUR LEWISABELDo you remember the term on thatloan?I don’t.ARTHUR LEWISABELI 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 topay you off?ARTHUR LEWISSeven months?ABELSix and a half.ARTHUR LEWISI’m sorry.ABELI put 40 percent down as a depositon this. It’s all we had.ARTHUR LEWISYou now have three separate seriouspending legal cases against you.One with sixteen counts ofmisconduct ranging from fraud totax evasion. And then in the middleof our meeting today I get a reportsaying you had armed your entirefleet of drivers which led to ashoot-out on the 59th StreetBridge.ABELNone of it is true.ARTHUR LEWISThat may be.

86May?ABELThey look at each other.ARTHUR LEWISIt doesn’t matter.ABELIt does matter, that you know wedidn’t do this.ARTHUR LEWISI do... I do. But it doesn’tmatter, I can’t do anything. I’msorry.ABEL’s demeanor shifts.ABELI’ll find it.ARTHUR LEWISI know you will.The banker gets into his car and backs out. The gate opensand he drives out. Just as it is about to close it startsopening again. SALES STUDENT ALEX drives in with his cartrashed. He pulls up and gets out of the car looking at ABEL.He knows what has happened and is crushed. Neither of themsay a word, finally ABEL gives the kid a cautious butmeaningful hug around the shoulder and leads him inside.INT. ABEL AND ANNA’S LIVING ROOM - THAT NIGHTABEL walks into the room and ANNA is sitting at the largedining table smoking a cigarette inside. She has been crying.ANNAIt’s horrible.Yes.ABELANNAWhere is he?ABELWe’re looking for him.ANNAAnd they haven’t gotten the otherguys?

87ABELOf course not.ANNAAre you okay?ABELNo... I’m not... They’re out.This gets her attention.Who?The bank.ANNAABELWith that ABEL walks out of the room and heads up the stairsto his bedroom. When he’s halfway up the stairs she stopshim.ANNASo what does that mean?ABELIt means we need to find the moneysomewhere else.ANNAWe have two days!ABELI’ll figure it out.INT. ANNA’S CAR, WESTCHESTER SCENIC HIGHWAY - DAYABEL is driving ANNA’S car towards the city. ANNA is in thepassenger seat and the three DAUGHTERS are in the back. ANNAand ABEL do not look any better. In fact there is now a tingeof anger mixed into the sadness.The DAUGHTERS are arguing about who’s taking up too much roomin the back seat.Move.Quiet.You move.DAUGHTERSANNADAUGHTERS

88ANNA turns and snaps at them a bit.ANNAStop. I’ve told you guys not topush it this morning, this is notthe morning to be doing this... butsince the second you all woke up.It’s this, it’s that. Just stop.The world does not revolve aroundyou!This shuts them up for a beat. ABEL is seething. But thenELIZABETH (middle) nudges ANNIE (oldest) so she givesCATHERINE (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 pullsthe car off the side of the highway into the grass. Everyonein the car is taken aback. The road is a smaller scenichighway not some eight lane affair but this whole sequencestill plays out with the menacing roar of the cars going byright next to them.EXT. HIGHWAY - DAYABEL gets out of the car and slams the door. He walks aroundthe back of the car as the cars fly by them on the highway.He goes around to his oldest daughter’s door and pulls ANNIEfrom the car. They stand behind the car and go at it with thetraffic flying by. ABEL is louder than he has been in theentire film. He is losing it from all the pressure but hisdaughter bears the brunt.ABELYou are thirteen years old. Whatare you doing? Your mother asks youan hour ago to help her get out ofthe house smoothly and you areacting like an...ANNIEOh fuck you!ABELWhat? What? What are you talkingabout?ABEL is looking around for someone to help him and witnessthis. He then switches, he has had enough and gets right upin her face.

89ABEL (CONT’D)I’m not sure who the hell you thinkyou are, but you don’t talk to methat way... You are in seriousdanger of becoming a rich littlespoiled brat and I can tell youfrom experience there is nothingworse in the world than a richlittle girl who thinks the wholeworld revolves around her.ANNIE is yelling back over the traffic.ANNIEThe world revolves around me? Me!What about her? And what about you?You’re both so totally obsessedwith your stupid business. Youwalk around like you are saving theworld but what are you doing...nothing!This stings. He now changes his tone to a quiet low roar. Buthe can’t keep quiet and by the end of the line he is yellingagain.ABELFirst off I don’t walk around likeI am saving anything. I chose thisbusiness because I looked at theworld and said ‘What’s the lastbill people stop paying every monthwhen they are low on cash?’ ‘Causethat’s a business I want to be in.‘Cause failure wasn’t much of anoption for me. I lived inreality... not whatever this worldis you are living in. And we helppeople stay warm... which isn’t allthat bad.(now he is yelling again)Maybe you’ve got grander ambitionsbut for now this is how you eat,sleep, and get all dressed up... Soyou better shape the fuck up andNEVER speak to me like this again!Stop!!ANNAThey both look over and ANNA is standing there. A calmnesssuddenly falls down on all of them.

90INT. ANNA’S CAR ON HIGHWAY - DAYAll five of them are sitting in the car, sadness prevails.INT. ANNA MORALES’ LIBRARY - NIGHTThe camera moves slowly across a dark hallway. We hear thesounds of a manual adding machine grinding away. As we comethrough the doorway we see ANNA MORALES sitting at her deskin a pool of light from the desk lamp. She is deep in itcrunching numbers. Finally ABEL walks into the doorway, helooks exhausted.Hey.ABELShe looks up with a small but sweet smile.Hi.ANNAABELHow’s it coming?ANNAI’ve made it to 1975.ABELThat was a good year.ANNA gives a slight look that the numbers may not totallysupport that claim.ABEL (CONT’D)Well it was for me...how is it?ANNAI’m not sure yet... but it’s not asbad as they are saying it is...Turns out I kinda knew what I wasdoing.They give each other a slight smile.ANNA (CONT’D)How’d you do?ABELI got us a three more days... andone piece... from Saul. But we’restill about a million short.They look at each other with concern.

91ANNAYou’re going to see your littlebrother?ABELFirst thing.ANNAAnd Peter?Probably.ABELAs they look at each other ABELANNAThis is all worth it.He pauses just long enough to think.ABELOf course.A sense of caring and resolve comes over them. At least nowthey know what needs to be done.ABEL (CONT’D)You should get to bed.ANNAI’ll be up.ABELI love you.ANNAI love you too.ABEL turns to go upstairs as ANNA starts in again with themachine.INT. HALLWAY, OUTSIDE OF JULIAN’S APARTMENT - DAYANDREW stands in the hallway about to knock, but he waits fora beat. He knocks.The door opens to a young woman, presumably JULIAN’S wife,LUISA.ANDREW WALSHIs Julian here?

92No.LUISAANDREW WALSHAbel would like to speak with him.To help him.LUISAI will tell him.JULIAN steps into the frame from behind her.EXT./INT. LARGE LATE-MODEL AMERICAN CAR, PARKED - DAYA DRIVER is sitting in the driver’s seat. ANDREW walks up andgets in the front seat. JULIAN gets into the back and looksover at ABEL who is sitting next to him. They drive off andnobody says a word for a very, very long time.EXT. EMPTY PARKING LOT - DAYThe car finally pulls into a large empty parking lot. For acouple beats JULIAN has a look on his face that he may begetting rubbed out.Then off in the distance we see two cop cars. The car pullsup to them and stops. ABEL and the DRIVER get out of the carwithout a word, but ANDREW stays and turns around and nowgives him a total debrief.JULIANHe’s turning me in?ANDREW looks at him without much remorse.ANDREW WALSHOf course we are turning you in.You have put everything that manhas worked for for the last 20years at risk. If it was up to mewe would be dealing with this in avery different way.JULIANBut I know things...This causes ANDREW to turn quickly back to him with as sharpa look as he has.Really?ANDREW WALSH

93Yes.JULIANANDREW WALSHAnd what things do you know?JULIAN looks back at him.ANDREW WALSH (CONT’D)I strongly suggest you think thatthrough before you answer it.Because even if you did, what doesit do for you? Nothing. There isnothing there for you to gain.Nothing.JULIANI’m sorry.I am too.ANDREW WALSHANDREW now changes his tone.ANDREW WALSH (CONT’D)They say they have you firing fourshots, is that right?JULIANI don’t know.ANDREW WALSHWhere’s the gun?JULIAN stutters for a moment, then.JULIANI threw it in the river.ANDREW WALSHGood. Your background check with ussays you have never been arrested,is that true?JULIANWhy is this putting everything atrisk?ANDREW WALSHHave you ever been arrested?No.JULIAN

94ANDREW WALSHBecause no bank will touch us rightnow. So we can’t close on the newproperty. And he’s going to loseeverything on his deposit.This sits heavily on JULIAN. ANDREW hands him a card.ANDREW WALSH (CONT’D)This is a lawyer who will meet youwhen they bring you to the station.You no longer work for us. You’vebeen fired. But Abel wants to payfor the lawyer. So... this guyshould be able to help you. Goodluck.With that JULIAN gets out of the car. ABEL is standing there.They meet.JULIANI’m sorry.I know.ABELJULIANI was scared.I know.ABELJULIANAren’t you scared?ABELSometimes.JULIANWhat do you do?ABEL thinks this through long and hard.ABELI have always been much more scaredof failure than anything else.I...JULIANABELIt wasn’t always like this.

95JULIANAre you ruined?ABELNot today... but by the end of theweek... maybe.JULIANI’m sorry.Good...ABELJULIANNo... I am not strong.ABELThat does not have to be true.JULIANTrust me... I am not... I’m sorry.With that JULIAN walks across the parking lot towards thePOLICE to turn himself in. ANDREW walks up behind ABEL andstands there looking.ANDREW WALSHI’m late. I will meet you at four.ABELI’m gonna try to get us a littlemore time.The three COPS are standing waiting as JULIAN walks towardsthem. ABEL turns around, facing the camera, and closes hiseyes in sadness.With ABEL in the foreground we see JULIAN make it halfway tothe COPS, then he stops.Hey.COP 1ABEL’S face tells us he knows what is coming.JULIAN sets off running. Before the COPS can get close to himhe is off. ABEL turns and sees what is happening. He does notfollow chase. His head just drops.

96EXT. VARIOUS 1980’S URBAN DECAY LANDSCAPESWe are now with JULIAN again, running. But as this chasecontinues we see his face turn from fear, to desperation, toa creeping sense of evil. He does not know how it has come tothis, but as he jumps down from fences and runs acrossdeserted lots we see that his weakness is turning.As he runs through some of the most bombed-out, destroyedsections of Queens, he just never stops. With each step hisfear turns to... anger.EXT. BLOWN-OUT BUILDINGHe stops, collapses, and hides behind a blown-out buildingwall just as a COP CAR drives by. He starts to almost cry,but then it again becomes something else. His survivalinstinct is taking over and we are not sure what will becomeof it. Anger.INT. OLDEST HASIDIC BUSINESSMAN’S LIVING ROOM - DAYABEL sits across from the oldest Hasidic member of thefamily, JOSEPH, from the first scene.ABELThank you for seeing me.JOSEPHOf course.ABELI need more time.JOSEPHOf course you do.ABELI know our agreement doesn’t allowfor that. But... I need more time.Why?JOSEPHThis takes ABEL back a bit.ABELThank you for asking. Many, manyreasons.

97JOSEPHIt’s a difficult time to dobusiness.ABELYes... it is.JOSEPHI’ll give you three more days. Thenit’s over.ABELThank you.INT. ASSISTANT DA’S OFFICE - DAYANDREW sits across from LAWRENCE and DEPUTY LANGE. They waitwhile LAWRENCE writes something down on a pad in front ofhim. He finishes.A.D.A. LAWRENCESo. I should start by thanking youfor your assistance in... inattempting to bring in your driver?ANDREW WALSHWe didn’t think he’d react thatway.A.D.A. LAWRENCEYes... Well, the officers theredidn’t set it up very well on theirend either.ANDREW WALSHI’m sorry.A.D.A. LAWRENCEWe are looking for him.ANDREW WALSHSo are we... it’s very sad. He wasvery close to Abel.A.D.A. LAWRENCEI understand. Well... Ms. Lange.DEPUTY LANGEIt has been brought to ourattention that it might bebeneficial on your end to resolvethis issue in a time sensitive way.

98Possibly.ANDREW WALSHDEPUTY LANGESo we have prepared an offer foryou to review.They slide the offer across the table. ANDREW opens it andgives it a once over.ANDREW WALSHI’ll show this to them. He’ll nevergo for it, but it’s a start.A.D.A. LAWRENCEThis could get a lot worse for youall.ANDREW WALSHI know... I will present it to him.ANDREW gets up and prepares to leave. LAWRENCE stands withhim and walks him out into the hallway.ANDREW WALSH (CONT’D)Thank you.A.D.A. LAWRENCEAnd Andrew, one other thing.He turns. They are now alone in the hallway.INT. IMPOSSIBLY LONG HALLWAY - DAYA.D.A. LAWRENCEI need this to stop.ANDREW WALSHYou need what to stop?A.D.A. LAWRENCEThis fucking bullshit with the openwarfare. I won’t put up with it.It’s starting to be a real problem.ANDREW WALSHStarting to be? No shit.A.D.A. LAWRENCENot for you... but for me.This lingers for a beat as the meaning sinks in.

99A.D.A. LAWRENCE (CONT’D)I need the driver.ANDREW WALSHI understand. The kid went out andgot his own gun. This was not us.No matter what you think of him,Abel doesn’t work this way.A.D.A. LAWRENCEI really could give a fuck, but youneed to get your man to talk tothese people, give in, stop doingwhatever you are doing to bringthis shit on you. It needs to stop.ANDREW WALSHHe wants to talk to them. We’vebeen trying to set up a meeting.O'Leary hasn’t been able to get itdone.A.D.A. LAWRENCEI’ll talk to him.ANDREW gives him a look.A.D.A. LAWRENCE (CONT’D)He’s an old friend... and get thatkid back in here. I’m up in it alittle bit here and I needsomething.LAWRENCE turns and walks back into his office. ANDREW walksdown the hallway all alone then stops. He reaches into hisbriefcase and takes out the offer. He looks it over again.Then he looks towards the ground and almost looks like hemight cry. There is a distinct sense of responsibility forthe situation that ABEL finds himself in that is starting tobring ANDREW to the edge.EXT. CEMETERY - DAYABEL is waiting standing next to his car. ANDREW comesdriving into the lot next to him and gets out.ANDREW nods.ABELI talked to the Hasid, I got usthree days.

100ANDREW WALSHIs that enough?ABELI don’t know.ANDREW WALSHWell here it is. It’s just a firstpass.He hands him the plea deal from the DA. ABEL looks it overbut shows almost no emotion. Then.ABELFelons can’t vote.This takes ANDREW back.ANDREW WALSHI’m sorry?ABELThis plea has me...ANDREW WALSHI know. It’s just a first offer.ABELI would never take this.I know.ANDREW WALSHABEL looks off and resets.ANDREW WALSH (CONT’D)He’s going to get us the meeting.Who?ABELANDREW WALSHLawrence, he’s tight with O'Leary.ABELOf course he is.ANDREW WALSHDoes Julian have anything?ABEL gives him a look?ANDREW WALSH (CONT’D)Anything on us?

101ABELAll the drivers could have us onscales. Why?ANDREW WALSHIf we are cutting deals, we can’thave anything new come up at thelast minute.ABELHe would never do that.ANDREW WALSHWe need to find him... Lawrenceneeds him.INT. JULIAN’S APARTMENT - DAYABEL stands outside the door for a very long beat thenfinally knocks.JULIAN’S wife, LUISA, opens the door. She gestures him in.He enters the apartment and looks around. She gestures forhim to sit. He chooses a seat right across from her. Hestares at her for a beat. Then for the first time we hear himspeak Spanish. (This whole conversation is in Spanish)ABELThank you for letting me in.LUISAOf course.ABEL moves his chair closer. It’s meant to be, and is a bitthreatening.ABELHave you seen Julian?No.LUISAABEL questions her with a look.ABELWe need to find him.I know.LUISAABELI am worried about him.

102So am I.LUISAABELYou know we were going to supporthim. I do not know why he ran.LUISAHe was scared.ABEL shakes his head.I know.ABELLUISAHe has always wanted to make youproud. You know that right?ABELYes. Well this time that hasn’tworked out.LUISANo... How did you do it?Do what?This.ABELLUISAShe motions towards his suit.LUISA (CONT’D)Success... that’s all he wanted.ABELI know. It makes me very sad,because he is a very talented youngman. But there are some decisionsthat you cannot come back from. Ineed to know where he is. And Ineed him to turn himself in. Hisactions are hurting me and mybusiness. And I refuse to let otherpeople’s weaknesses hurt me. Idon’t know how it has come to this,but it has. If he does the rightthing I will help to take care ofhis responsibilities. You and yourfamily. When you see him. Tell himthis. Please.

103I will.LUISAABEL gets up and starts looking around the apartment a bit.He walks over to a small cabinet.ABELDoes he have any money?LUISAI’m sorry?ABELMoney? Has he taken money out ofyour bank account?LUISAI don’t know?ABELYou need to start looking intothese things. It is very importantthat we find him safely.And with that JULIAN comes smashing out of the tiny cabinetwhere he was hiding and knocks over ABEL. JULIAN runs to thefront door with ABEL chasing him.He starts flying down the stairs at top panic speed. ABELfollows 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 neverstops. We just hear his footsteps going down.INT. BOTTOM/TOP OF JULIAN’S STAIRWELL - DAYANDREW comes up the first few steps and we see him waitingfor JULIAN.ABEL then looks back up the half flight of stairs and seesLUISA standing there in the hall. He walks back up to her inan aggressive way. We fear for her. He gets right up in herface but does not touch her.ABEL(in Spanish again)I understand why you lied, but itis not smart.(MORE)

104ABEL (CONT'D)There are other people looking forhim. I am as good an option as hehas. Know this.And with that he heads down the stairs.EXT. BACK OF JULIAN’S APARTMENT/PARK STAIRS - DAYJULIAN is running out the back of the building and down ahuge exterior staircase that is in a small park. He is abouthalf way down when ANDREW gets to the top. ANDREW screams.ANDREW WALSHFuck You! You better run!INT. A SLIGHTLY RUNDOWN CONFERENCE ROOM - DAYABEL sits across a table from an OLD MAN in his late-70’s whoseems to have early-onset dementia and a WOMAN in her early-20’s, LORRAINE LEFKOWITZ who’s overweight, but confident. Theold man, SAUL LEFKOWITZ, just sits there through the scene.ABELThank you both for agreeing to meetwith me.LORRAINE LEFKOWITZOf course.ABELI think we have met before but Ididn’t realize you were Saul’sGranddaughter.I am.LORRAINE LEFKOWITZABELI’m sorry to ask but how old areyou?I’m 23.Oh.LORRAINE LEFKOWITZABELLORRAINE LEFKOWITZMy Grandfather didn’t trust any ofhis children to run the business.

105Yes.ABELLORRAINE LEFKOWITZI know that you tried to buy thecompany from my Grandfather severaltimes.Yes.ABELLORRAINE LEFKOWITZHis goal was to stay healthy longenough to be able to give thecompany to me. Which he thankfullydid.They both give a slight smile.LORRAINE LEFKOWITZ (CONT’D)So, while I appreciate your visitwe are still not for sale.ABELI understand. And I hope that yourGrandfather was able to communicateto you how much I have alwaysrespected him. And it was only outof respect for the business he hadbuilt, and because I knew of hisreservations and feelings aboutyour uncles and your father that Imade those offers.LORAINE LEFKOWITZI understand.ABELBut, I am not here to offer to buyyour company.Oh.LORAINE LEFKOWITZABELAs I’m sure you will soon learnsome years are good... others notso. I am in contract with asignificant hard deposit at risk topurchase the old Bayfront terminal.I see.LORAINE LEFKOWITZ

106ABELAnd due to circumstances beyond mycontrol my bank has left me at thealtar.LORAINE LEFKOWITZI’m sorry.ABELSo, I am here, hat in hand, lookingfor a loan. I certainly expect theterms to be in your favor as Icould not be at a weaker place.But, if your Grandfather trustedyou with his company, I would bewilling to trust you as my lienholder.They all stare at each other. Then the old man shifts in hischair.How much?SAUL LEFKOWITZABELI need $500,000.SAUL and his GRANDDAUGHTER look at each other. They saynothing but clearly know each other well.LORAINE LEFKOWITZWould you give us a minute.ABELOf course.INT. WAITING AREA, OUTSIDE THE CONFERENCE ROOM - DAYABEL sits in a simple chair outside the conference roomlooking around at an office that is similar to his. A phoneon the receptionist’s desk rings. She picks it up.LEFKOWITZ RECEPTIONISTYou can go back in.INT. SLIGHTLY RUNDOWN CONFERENCE ROOM - DAYABEL sits down.LORAINE LEFKOWITZWe can offer you the 500k at 20percent for a year.(MORE)

107LORAINE LEFKOWITZ (CONT'D)And we would need a five-yearstraight wholesale holdingagreement for 250,000 gallons ayear at your new facility.This hits ABEL hard.ABELOkay. Thank you.They shake hands and then he hugs the old man good bye.LORAINE LEFKOWITZSo, I guess we will see youtonight?ABELTonight? Oh yes, of course.INT. LONG ISLAND ITALIAN RESTAURANT - NIGHTA HOSTESS leads ABEL and ANDREW through the whole main diningroom and through a side kitchen.INT. ITALIAN RESTAURANT - PRIVATE DINING ROOM - NIGHTFinally they come through a door and into a small backprivate dining room where fifteen of their COMPETITORS, acouple of whom we have already met (Including LORRAINE andSAUL LEFKOWITZ, and ARNOLD KLINE), are sitting around thetable meeting and waiting for them to arrive. The whole roomlooks up at them.O'LEARY is at the head of the table at the far end of theroom. He stands up to greet them and then so does the rest ofthe room.BILL O'LEARYAbel. Please sit.Finally everyone settles and the room falls quiet.Abel.BILL O'LEARY (CONT’D)Now the room is silent as it waits and waits for him tospeak.Stop...ABEL

108ABEL is deadly serious. He just lets this sit and looksaround the room at each person. They all seem to be waitingfor him to continue. But he doesn’t. He just lets this sit.Finally PETER FORENTE, who is across from ABEL, shifts in hisseat and leans forward.PETER FORENTEUm... Abel... we had a chance tomeet for a little bit before yougot here and... of course everyonein this room is fully capable oflying to their own mothers on theirdeathbeds, but... the conclusion wehave come to... I should say we arefairly convinced after a very frankconversation... that these guys whoare doing this... that they don’tactually work for anyone in thisroom. As you know there are manyother smaller providers in the areathat might be responsible who arenot here tonight.This sits in the room for a long beat. Everyone then shiftsback their attention to ABEL waiting for his response.Finally.ABELPeter... thank you... That may betrue.He stops and thinks about how to continue.ABEL (CONT’D)But over the last six months110,000 gallons of fuel has beenstolen from my family and I. Nowthe reason we asked Bill to get youall here is because the people inthis room are the only peoplewithin two hundred miles of herewho have the ability to purchaseand store that kind of quantity.So... no matter what bullshit youhave been telling each other one ofyou... or two... or three... hasbeen allowing this to happen bybuying this from these cowards orworse yet hiring these guys just todo it. And profiting from it. Sowhat I am saying is... Stop! Now.Have some pride in what you do andstop.

109INT. ANNA MORALES’ LIBRARY - NIGHTThe camera moves slowly across a dark hallway. We hear thesounds of a manual adding machine grinding away. As we comethrough the doorway we see ANNA MORALES sitting at her deskin a pool of light from the desk lamp. She is deep in itcrunching numbers. Finally ABEL walks into the doorway, helooks exhausted.Hey.ABELShe looks up with a small but sweet smile.Hi.ANNAABELHow’s it coming?ANNAI’ve made it to 1975.ABELThat was a good year.ANNA gives a slight look that the numbers may not totallysupport that claim.ABEL (CONT’D)Well it was for me...how is it?ANNAI’m not sure yet... but it’s not asbad as they are saying it is... Iguess I knew what I was doing.They give each other a slight smile.ANNA (CONT’D)How’d you do?ABELI got us a three more days... andone piece... from Saul. But we’restill about a million short.Concern and exhaustion creep onto Abel’s face.ANNAYou’re going to see your littlebrother?

110ABELFirst thing.ANNAAnd Peter?Probably.ABELAbel is now sitting down on the chair.ABEL (CONT’D)How are the girls? I feel like Ihaven’t seen them in days.ANNAThey’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.ABELOf course.ANNALook at us...it is.I know.ABELA sense of caring and resolve comes over them. At least nowthey know what needs to be done.ABEL (CONT’D)We should get to bed.ANNAI’ll be up.ABELI love you.ANNAI love you too.ABEL turns to go upstairs as ANNA starts in again with themachine.

111INT. ABEL’S CAR - DRIVING - DAYABEL is driving towards the office and is listening to theidle chatter on the radio between the dispatcher and thedrivers who are out. They are underneath the Brooklyn QueensExpressway 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.Fuck you!SENIOR DRIVER EDDY V.O.RADIO DISPATCHER V.O.Where are you!SENIOR DRIVER EDDY V.O.Hall Street and Flushing Ave. I’mout of...RADIO DISPATCHER V.O.Eddy? Eddy?ABEL looks up at the street where they are and realizes thisis going down right down the street from them. He’s hadenough.He pulls across the intersection and heads down a street. Hecomes to the next intersection and right in front of him thetruck comes flying by.He looks to his right and sees EDDY standing at the side ofthe road. But he wants to end this. So he pulls out andstarts following the truck leaving EDDY behind.ABEL follows the truck for several blocks through theindustrial neighborhood. He is tempted to pull up alongsideof it to see who is driving but doesn’t. He continues tofollow him.

112They get to a light and the truck makes a right hand turnand, as they are turning, LOUIS SERVIDIO who is sitting inthe passenger seat looks behind him and sees that ABEL isfollowing him. It now turns into a high speed chase as thedriver steps on it.They race down a ramp into a railyard. ABEL chases the truckas it crosses the tracks and heads towards an abandonedtunnel. The truck races into the tunnel and ABEL follows. Thetruck is throwing up a dust storm and ABEL has a difficulttime seeing where he is going but he keeps up.The roadway is very bumpy and both the truck and ABEL’S carare thrown around and the truck almost hits the sides of thetunnel.The light at the end of the tunnel starts to appear throughthe dust but we can’t see the truck. As ABEL comes into thelight he has to SLAM on his brakes because the TRUCK hasflipped over in front of him.As he gets out of his car he sees LOUIS SERVIDIO jumping downfrom the overturned cab and run off into the train yard. ABELlooks at the crushed cab of the truck and sees the DRIVER hasbeen killed. There is a gun sitting on the dash of the truckand ABEL looks and thinks. He then picks up the gun andchases after LOUIS SERVIDIO.In the distance he sees LOUIS SERVIDIO leave the yard andhead up into an elevated subway station.EXT. SUBWAY STATION - DAYABEL runs up the stairs of the station and hops onto aleaving 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 wherethe guy is.He looks into the last car and sees LOUIS SERVIDIO and justbull rushes him to the ground. He starts beating on him very,very badly with the pistol. All the rage comes out of him. Hethen aims the gun at LOUIS SERVIDIO.LOUIS SERVIDIOPlease. Please.They stare at each other.ABELYour friend is dead... who do youwork for.

113LOUIS SERVIDIOYou know I could never tell youthat.ABELStop... just stop.LOUIS SERVIDIOThis was it anyway. Okay... Okay.ABEL looks right through him and then finally lowers the gunand releases his hands from around his jacket and he gets upand 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 looksaround the trashed car and sees that a woman has been in thecar with them the whole time and she is just staring at him.INT. BROOKLYN BARBERSHOP - DAYABEL walks into the shop and is a little put back togetherbut is worse for the wear. ARNOLD KLINE is sitting in one ofthe chairs waiting. He turns to ABEL.Hey.ARNOLD KLINEABELJimmy, can you give me a minute?Jimmy looks around then walks into the back.ARNOLD KLINEAbel, that was well said.ABELThank you.ARNOLD KLINEWhat can I do for you?ABELI’ve just come to collect thatcheck you owe me.This takes him back a step.ARNOLD KLINEWhat check is that?

114No answer. Finally.ABELThe one for $213,000.ARNOLD KLINEI’m sorry?ABELThat’s how much has been taken fromme over the last six months.ARNOLD KLINEI had nothing to do with that.ABELYour Far Rockaway facility bought aload of fuel last week off one ofmy stolen trucks.ARNOLD KLINEThat’s not possible.ABELI was standing on top of one of myhi-jacked trucks a couple weeks agothinking about the cowards who didthis when I remembered I had boughtthe load of fuel off a friend’stanker straight from Texas. As I’msure you know Texas #4 is marked.But that was just one load, soevery truck that has left my lotfor the last two weeks has beenmarked with dye that I’ve put in...And luckily four more of my trucksgot jacked since.... My guess isthere are at least 4600 gallons ofmarked fuel in your small tankright now.How much?ARNOLD KLINEABELI said...213,000.ARNOLD KLINEI’ll need a day.Okay.ABELABEL gets ready to leave.

115He walks away.He turns.He leaves.ARNOLD KLINEI’ve just been buying this stuffoff these guys, it was only acouple loads, I don’t know who theyare. I would never do that.ABELMy goal was to have you out ofbusiness by the end of next year.And if you’re this fuckingdesperate it doesn’t seem like itwill even take that long.ARNOLD KLINEAbel, I wasn’t the only personbuying this shit.ABELI don’t care.ARNOLD KLINEIt may ruin me.ABELWhen you find out who else it wasyou can get them to pay you backthe difference. Kinda makes youmiss having your father around? ButI need the whole lot tomorrow orthe feds will be at your doorstepby noon.EXT. UNIVERSITY ATHLETIC FIELD - DAYABEL is sitting on a bleacher totally alone watching a prepschool football practice. We stay with him as he sits quietlyjust watching.Eventually his 21-YEAR-OLD YOUNGER BROTHER, ELIAS, comeswalking off the field over to him. PLAYERS start leaving thefield.ABELYou look good out there.ELIASI didn’t know you were coming.

116ABELI didn’t either... I didn’t mean totake you away.ELIASWe’re done.He sits down next to him. They both look out for a long, longbeat.ELIAS (CONT’D)Thanks for coming.ABELOf course. You’ve grown.ELIASYou saw me a month ago.ABELI know... but you have.ABEL looks across as a small group of GIRLS FIELD HOCKEYPLAYERS walk across the field in front of them. They watchthem pass and walk away.ABEL (CONT’D)The girls at this place... they areso beautiful?He looks over with a wry smile.Yes.ELIASABELI don’t know how you get anythingdone around here.I don’t.ELIASSlight smile at each other.ABELI’m in a bit of a rough patch.Yes...ELIASABELIt happens.

117I know.Good...ELIASABELABEL stands and looks around for a good bit. Then thinksabout sitting down again.Then he sits.ELIAS looks over.ABEL (CONT’D)That will be your burden...ELIASWhat will?ABELNot having had one.ABEL (CONT’D)I need your signature on this.ELIASWhat is it?ABELI need to take out a short termmortgage on our apartment building.ELIASThat thing isn’t worth more than150 grand though?210.ABELELIASSince when do you need to be takingout sucker mortgages for 200 grand?ABELI’m up against it a bit. It will befine.They look at each other for a long beat. And then he signsit.ABEL (CONT’D)Thank you... It’s good to see yourface.

118ELIASI love you.ABELI love you too.They hug and then ELIAS walks off. ABEL sits back down andjust watches him walk away.INT. FORENTE TENNIS COURT - NIGHTABEL walks into the darkened tennis court and looks around.We aren’t sure what he is there for. On the other side of thecourt a light is on in a attached lounge. PETER comes intothe light.PETER FORENTEWell here he is. The capedcrusader.Yes.ABELPETER FORENTECome over. Are you alright?I am.ABELPETER FORENTEDid they catch any of them? Sit.INT. TENNIS COURT LOUNGE - CONTINUOUSABELThe one guy didn’t make it out ofthe crash, and the other guydisappeared.PETER FORENTEThat was very well said last night.ABELThank you. And thanks for seeingme.PETER FORENTEOf course. So what is it?ABELI need a loan.

119PETER’S face scrunches up like he tasted a lemon and he turnsaway for a beat. Then comes back.PETER FORENTEYou don’t want to do that.ABELNo shit... but I’m here.PETER FORENTEWhat are we talking about here.ABELSix hundred thousand.PETER FORENTEJesus. Abel, that’s a problem.ABELYes... but if I don’t get it...PETER FORENTEWhat’s my collateral?ABELThe terminal.PETER FORENTEYeah me and how many other peoplewill be coming after it. No way.ABELYou’ll get your money.PETER FORENTEAbel, you know I respect everythingyou’ve done. Because of it wehaven’t come down on you the way Ishould have for coming into myservice area and poaching mycustomers. You’re good at what youdo, probably better than us, and Iaccept that. But this would bedifferent. I don’t want you to bein this position. We are not nicepeople to borrow three quarters ofmillion dollars from.ABELI know that.PETER FORENTELet’s sleep on this. Both of us.

120INT. ABEL AND ANNA’S LIVING ROOM - NIGHTABEL comes in as ANNA is sitting at the table smoking. Hewalks over and sits down at the table with her.She gives him a great sly smile.ANNAWhat a day.Yeah.ABELANNAAre you okay?Yes.ABELANNACar chases?Yeah.Who knew?ABELANNAShe gives him a loving look.ANNA (CONT’D)How was your brother?ABELHe seemed good... But the girls upat that place are...Stop.ANNAABELI can tell you the girls didn’tlook like that where I went toschool...Enough.ANNAAfter a brief light moment the cloud comes back over him.ABELHow are we here?

121ANNAIt was a lot of things all at once.Yeah.ABELANNAHow did it go?ABELWe can probably pull it off. Threedifferent parties... it’ll be amess... and the terms... Petersuddenly showed me his true colors.He lets out a brutal sigh.ANNAI’m sorry.ABELI spent my whole life trying not tobecome a gangster...I know.ANNAABEL...And now... on the biggest dealin my career they will all controlme.He sits there for a long beat and then she comes and handshim a piece of paper with a series of numbers on it. He looksup at her.ABEL (CONT’D)What is this?ANNAIt’s a bank account.ABEL just waits for more but gets nothing.Whose?Ours.ABELANNAABELHow much is in it?

122A lot.ANNAABELWhat does that mean?ANNAIt will help. You could replacePeter’s money and get him out ofthe deal.ABELWhere did it come from?Abel.ANNAABELWhere did it come from?She stops and thinks, then:ANNASince 1971 I have been skimmingmoney out of the company. Someyears a little... others a lot. Inthe beginning it was just in casetimes got tough but then it wasbecause you were taking all thesechances... I didn’t know what elseto do... I couldn’t risk having usbe left with nothing.This knocks him back.ANNA (CONT’D)I’m sorry.ABELWhat do you expect me to do withthis?ANNAUse it.... Abel...ABELIs it clean?ANNAWhat does that mean?He thinks that through.

123ABELIt means if you walked into theoffice of the people who have beentrying to put us in jail right nowand slapped a check from thataccount down on their desk would itpush me further into hell or helpto get me out?ANNAIt’s as clean as every other dollarwe’ve ever made.ABELThat’s a fucking bullshit answer.ANNAI can clear it on the books.ABELWell it sounds like you should takethis money and keep it right whereit is... because I’m going topretend that we never had thisconversation. And you can use thatwhen they drag me off to jail!With that he tries to get passed her and head upstairs. Shefollows and is standing looking up at him.ANNASo what’s your plan here?He turns to her and squares off.ABELI’ll get it done. And it won’t beas a cheat.ANNA(Yelling, but controlled enough tonot wake the kids.)Oh you are too much. You’ve beenwalking around your whole life likethis all happened because of yourhard work, good luck, and charm.Mr. Fucking American Dream. Wellthis is America... but it’s not adream, and that wasn’t good luckhelping you out all those years...IT WAS ME! Doing the things youdidn’t want to know about...

124ABELYou stole from me!This stops her in her tracks. And eventually a little smilecomes across her face. She comes way down and almost deliversthis line in a whisper.ANNAOh... You have always been verygood about not letting your ego getin the way of business. Don’t startnow just because it’s me.With that ABEL turns up the stairs and heads to bed.INT. MASTER BATHROOM - MORNINGABEL is getting ready for the day shaving. He looksexhausted. ANNA comes into the room. She stands at theentryway just looking at him for a very long beat.ABELWe’ll use the money... your money.It’s the smart play.ANNAIt’s our money.I know...ABELFADE TO BLACK.Before we see anything, we hear the sound of a pen writing onpaper.INT. THE TEMPORARY OFFICE TRAILER - DAYABEL and ANDREW are sitting around the folding table oppositethe HASIDS. ABEL signs the document and then picks it up andheads outside.EXT. TEMPORARY TRAILER - DAYABEL comes out and we see ANNA standing outside the trailerin the cold because these guys don’t do business with women.He hands her the document. Under her breath:ANNAThese fucking guys...what’s thisadditional $11,000?

125ABELI guess there is still some fuel intwo of the tanks... they gave us afair price on it.With that they both smile, she signs it and then gives him akiss.INT. TEMPORARY TRAILER - DAYABEL comes back in and hands the docs to JOSEPH, the oldestHasid, who signs them.JOSEPHMazel Tov.EXT. TRAILER/TANK FARM - DAYABEL walks across the lot with joy although it seems maskedby a sadness. He looks around as ANDREW and ANNA come up nextto him.ANDREW WALSHCongratulations.ABELTo you too. Did you know...aboutthe money?Abel.ANNAANDREW looks him right in the eye.Yes.ANDREW WALSHABELYou should have told me.ANDREW WALSHI know. I’m sorry.ANNAAbel...congratulations. Now cheerup. And can someone give me a tourof this place we just paid twomillion bucks for?ABEL, ANDREW, and ANNA walk towards the tanks looking around.They come around the corner to THE VIEW.

126EXT. BEHIND THE TANKS, WITH A VIEW OF THE CITY - DAYThey all look out.ANNAWhat a hell-hole this city is.No.ABELANDREW WALSHI don’t know why but I guess Inever realized we even had thisview from back here.That line sits for a long beat.I did.ABELThen 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 thatinto the river?I didn’t.JULIANABELI see that.JULIANI have nowhere to go.ABELNowhere easy.JULIANFuck you. I have nothing. Andsomehow you’ve ended up witheverything you wanted.ABEL looks at the gun in his hand.ABELIt wasn’t meant to be.JULIANWhat is that supposed to mean?

127ABELI know what you wanted. But youneed to forget that. You arelooking backward. Only lookforward, that is what you cancontrol.JULIANI’m sorry. You gave me a very goodchance. Right?Yes.ABELJULIANProbably a better chance than Ideserved.No.ABELJULIANPlease take care of my family.Julian.Please...ABELJULIANABEL looks at him trying to read where this poor kid is at.I will.ABELWith that JULIAN takes the gun and puts it in his mouth andpulls the trigger.The gun goes off and the red blood sprays on the white sideof the fuel tank that is behind him.ABEL and the rest are left totally in shock. They are besidethemselves. But out of the corner of his eye ABEL noticesthat the bullet has also pierced through the tank and amidthe red spray a flow of black heating oil is pouring outthrough the bullet hole onto the ground.ABEL steps around JULIAN’S body and goes over to the hole. Hepicks up an old rag from the ground and stuffs it into thehole plugging the flow of oil.ANDREW WALSHWhat... what should we do?

128ABEL turns and looks back at him.ABELWe call the police.Really?Yes!ANDREW WALSHABELWith that he walks off behind the tanks.EXT. PARKING LOT, NEXT TO THE TANK FARM SITE - DAYThere are now POLICE VEHICLES everywhere. ABEL is standingoff alone. The DA gets out of a car all alone and walks overto ABEL.A.D.A. LAWRENCEI’m very sorry. Did you know himwell?I did.ABELA.D.A. LAWRENCEHe must have been under a hell of alot of pressure.ABELYeah. For a while I thought hewas... it’s just...A.D.A. LAWRENCEI’m sorry.They look out across the city.ABELYou really do have to be lucky.A.D.A. LAWRENCEYes... so you are chasing downhijackers now?ABELI was right there... I couldn’thelp myself.LAWRENCE nods approval.

129ABEL (CONT’D)Have you found the driver?No.A.D.A. LAWRENCEABELYou’ll find him.A.D.A. LAWRENCEProbably not.ABELWell, thank you for coming. Iwanted to make sure this washandled correctly.A.D.A. LAWRENCEOf course.ABELI’m not sure how I got here.Yeah.A.D.A. LAWRENCEABELSo... I should tell you that Iwon’t be able to take that deal youoffered. There is no way I wouldever accept a felony charge foranything we’ve done.I know.A.D.A. LAWRENCEABELI am not a felon.A.D.A. LAWRENCEThat’s probably true.ABELBut I also can’t have you diggingaround my life and keeping thishanging around my neck for the nextten years. I love fighting a goodbattle but this... it’s very badfor my business.This gets Lawrence’s attention.

130ABEL (CONT’D)So, we need to come to some sort ofconclusion.A.D.A. LAWRENCEWe can probably do that.Good.ABELThey both look out for a beat.A.D.A. LAWRENCEI hear you closed on this terminaltoday?ABELIt looks that way.A.D.A. LAWRENCEI didn’t realize that you had thatin the works.ABELFor a very long time.A.D.A. LAWRENCEThat will put you in quite apowerful position.ABELWithin my business it has thatpotential.LAWRENCE shifts his tone ever so slightly.A.D.A. LAWRENCEIf you get this place up andrunning again it will havesignificant influence...politically speaking.ABEL picks up on the word POLITICALLY and stares downLAWRENCE.A.D.A. LAWRENCE (CONT’D)We all have our ambitions.Yes.ABELLAWRENCE gives a slight smile and then pauses.

131A.D.A. LAWRENCEAnd sometimes we need help to getthere... You’ve come a very longway.ABELYes, I have.A.D.A. LAWRENCEIn a very short time.ABELIt doesn’t feel that way... Butplease know that I have alwayschosen the path that was the mostright.A.D.A. LAWRENCEThe most right?Yes.ABELA.D.A. LAWRENCEThat one makes my head hurt alittle.ABELThe result is never in question forme. Just what path do I take to getthere. And I have never questionedmy path. There is always one thatis most right. And that is whatthis is.A.D.A. LAWRENCEI hope so.They look at each other and then out over the city.THE END