SHELTERSHELTERDavid Kost
Fade In:
EXT. NEW JERSEY TURNPIKE NIGHT
Snow lines the highway, as a dark sedan with New York plates veer slowly off at the New Brunswick exit.
INT. SEDAN NIGHT
Four tough and deadly serious men ride in the car. They are dressed in dark, expensive suits with black overcoats. SAL, a lean, muscular Italian-American with sharp features and a thin mustache, sits in the passenger seat, watching the town as it drifts by, while BENNIE, the driver, speaks nervously.
BENNIE
Jeez, Sal, I just can’t picture you growin’ up around here.
SAL
Me neither.
SAL seems far away. He watches solemnly as they roll past a high school and a church. In the back seat DENUNZIO loads a revolver as RICCI dozes.
cut to:
EXT. STREET NIGHT, MOMENTS LATER
SLAM-SLAM-SLAM!, the doors of the dark sedan close almost in unison, as the four men emerge. Their breath fogs, as they survey the quiet snowy street. Christmas lights adorn the tightly spaced row houses, and small apartment buildings.
SAL, the apparent leader, pops open the trunk, handing each man a suspiciously long and narrow box wrapped festively as a Christmas present. Closing the trunk, SAL starts across the street toward a narrow, four-story, brick apartment building. The others follow in tight formation.
At the entrance, SAL motions BENNIE to cover the front, and sends RICCI to the back. SAL and DENUNZIO steel themselves with a glance before heading up into the building.
INT. APT. STAIRWELL NIGHT
SAL and DENUNZIO go through two sets of glass doors, and up the first flight of stairs. They walk shoulder to shoulder, and cradle their packages anxiously. Their steps are almost in sync, and they create an ominous rhythm that echoes all up and down the stairwell.
Halfway across the third-floor landing, SAL halts DENUNZIO, and motions for him to be quiet. SAL listens intently, slowly leaning over the stairwell, looking down. DENUNZIO leans even further, trying to see what is concerning SAL.
Suddenly, SAL steps back, tearing open his package, but almost simultaneously, a shot rings out, and DENUNZIO is knocked up and back from the stairwell. SAL produces a heavy-gauge shotgun from his box, and pins himself to a wall. DENUNZIO falls at sAL’s feet, his nose a bloody hole.
There are more shots outside, and voices all over the building. SAL thinks fast, sizing up the landing. There is an apartment door directly across from him, and another at the opposite end of the landing. On the floor above, a door opens, and SAL watches the ceiling as he listens to footsteps overhead. Out a window to his right, he sees three men with shotguns running through the building’s narrow parking lot. Guns cock on the floor below. More footsteps above, and SAL has made up his mind. He blasts into the ceiling twice as he runs full bore for the apartment door directly across, lowering his shoulder.
INT. APT. NIGHT
CRASH!, and the door gives way, sending SAL to the ground of the dark and cluttered apartment. He struggles quickly back to his feet, looking around. The place is empty, and SAL kicks the door shut. Looking down out of the living-room window, he sees five men watching his car. He moves quickly toward the bedroom, but something in the kitchen gets his attention. He pulls a large carving knife from the dish rack and pockets it. Entering the bedroom, he locks the door and approaches the window. There is a fire escape leading down into a narrow, empty alley.
EXT. ALLEY NIGHT
Taking the fire escape too fast, SAL slips on the icy steps, and tumbles halfway down. He picks himself up, but before he gets to the next set of stairs, he freezes. Two GUNMEN appear at the rear corner of the building. SAL slowly presses himself against the second-floor window, sinking into shadow till only his fogging breath still shows.
One of the men stays at the corner, while the other walks slowly down the alley, directly beneath SAL. Suddenly, a light goes on in the bedroom behind him. Although the curtains are closed, SAL finds himself fully illuminated and a sitting duck. Keeping his cool, he pulls the kitchen knife from his pocket, holding it by the blade and checking it for balance. His throw is quick and strong, and the knife lands with a thunk in the back of the GUNMAN at the corner.
The wounded GUNMAN drops to the ground, coughing and gasping. His partner runs back to the corner, thinking the knife came from the rear of the building. He positions himself with his back to SAL, and aims his rifle around the corner. He sees nothing, but his wounded ally points weakly up behind him. Slowly he turns his head to see SAL standing at the edge of the fire escape aiming his rifle dead at him. He gulps. BLAM!, the GUNMAN goes down.
The curtain draws suddenly in the window behind SAL. He is startled not just by the movement, but by the near apparition of the hard and weathered BOSS gunman, who aims through the window with a .38 snub-nose, and burns through SAL with eyes like coals. SAL throws himself back over the railing, partly as a desperate escape, and partly out of sheer shock. A shot shatters the window as SAL flips backward, falling one story down, and landing noisily on metal trash cans.
A shot from above bangs wildly, ricocheting down through the steel of the fire escape. SAL struggles painfully to his feet and pins himself to the wall, breathing heavily and straining to see up through the framework. High above, men have followed him out the third-floor window, and are out on the fire escape. They loosen snow that filters down through the stairways and landings, and falls in clumps around SAL.
The BOSS gunman sees the men above and steps away from the window, exiting the room.
Realizing he is holding his side, SAL checks his hand and sees blood. Looking under his coat, he has apparently been grazed or cut by the shattering glass. He is shaken, but not seriously wounded. The men are starting down the fire escape, but SAL is pinned beneath, as he would be an easy target if he ran in either direction.
Men appear at the street end of the alley. SAL quickly squats using the metal trash cans as cover from their pistol fire. He must make a run for the back of the building. Decisively, he grabs a trash can and uses it as a shield as he backs out of the alley firing his shotgun wildly with one hand. Shots ricochet off the can, making strange echoing noises inside. As he reaches the corner, he trips backward over the bodies of the two gunmen he earlier dispatched and spills garbage over them. He rolls around the corner and is out of range.
EXT. REAR OF BUILDING NIGHT
He sprints to the other corner and peeks around looking up the parking lot side of the building, toward the street. The BOSS has just come out, and is yelling something to the men guarding SAL’S car. He is unaware of SAL, who has him dead in his sights, but a pull of the trigger produces a meager “click.” He is out of ammo. He throws down the weapon in disgust and runs for a low fence behind the building.
EXT. PARKING LOT NIGHT
SAL throws himself over the fence. There is a small hill on the other side sloping down to a vacant, white-blanketed parking lot. SAL tumbles down like an oversized snowball. Pulling himself up, he runs for the street, his overcoat flying behind him. He corners a building just as four rival gunmen get to the fence. Three follow SAL, and the last turns back.
cut to:
EXT. TRAIN OVERPASS NIGHT
A commuter train rattles noisily overhead, casting moving shadows on SAL who pauses trying to catch his breath. He looks around a corner, back in the direction he just came. The three gunmen are a few hundred yards behind, following his tracks in the virgin snow. He continues running.
cut to:
INT. APT. STAIRWELL NIGHT
The gunman from the fence, DOM, rushes past two men strugglin to carry a body through the double-glass doors. The BOSS holds th inner door open for them.
DOM
(Out of breath)
The last one’s givin’ us a run, Boss, but I got three men on him. I don’t think he’ll get far.
The BOSS regards the body as it passes
Boss
(growling at Dom)
I want everybody on the street …
cut to:
EXT. STREET NIGHT
SAL is in a more affluent neighborhood. The homes are larger, more spaced out, and more elaborately decorated. He is sauntering along where the snow has already been disturbed by numerous footsteps. He seems to have put a comfortable distance on his pursuers. Not too far away, CAROLERS sing “Silent night.” He jogs across the street, stopping at two large granite pillars that mark the entrance to a cul-de-sac. There is something clearly familiar to SAL about these landmarks. He lights a cigarette, taking long calming drags, and glances up the cul-de-sac. The footsteps he’s been following belong to a group of CAROLERS who sing in front of a large colonial home.
As they finish their song, they move on, and SAL approaches the large colonial. He stares at the place. He seems uncertain, nervous. The CAROLERS begin again, farther up the cul-de-sac. SAL takes a couple steps up the walkway and stops. Realizing how disheveled he is, he tries to straighten himself up. He pulls off his gloves, smooths down his black hair, and fixes his tie. Noticing that blood has soaked through to his right hand, he squats and scrubs his hand in the snow. Rising again, he looks back the way he came as if looking for some other route. There is none. He steels himself, straightens his overcoat, and walks to the porch.
EXT. PORCH NIGHT
SAL rings the bell, and savors one last drag before flicking away his cigarette. MRS. DOWNEY, a middle-aged woman with expensive beauty parlor looks answers the door.
MRS. DOWNEY
Yes? May I help you?
SAL smiles a broad “Eddie Haskel” smile
SAL
Hello, Mrs. Downey.
MRS. DOWNEY’S expression melts slowly into a grand smile.
MRS. DOWNEY
Salvatore? Oh my gosh—Salvatore!
(yelling back into the house)
It’s Salvatore. Salvatore Vaccionne. Do you believe it?
(back to Sal)
Oh! I just can’t believe it. Look at you. You look wonderful. You must be doing well. Come in, Come in, wait till Bobby sees you.
INT. DOWNEY HOUSE DAY
SAL steps in closing the door. He seems slightly nervous, not knowing what to do with his hands. MRS. DOWNEY yells upstairs.
MRS. DOWNEY
Bobby!… Bobby!… come down here. You won’t believe who’s here.
In the dining room adjoining the entry hall, Bobby’s father and brothers sit at the immaculately set holiday table. Her younger brother, TED, smiles broadly and makes a waving gesture, while MR. DOWNEY and JACK, her older brother, regard him with considerably less enthusiasm. All are dressed in sweaters and ties. SAL smiles weakly at them.
MRS. DOWNEY
Well what on earth brings you here, Salvatore?
(answering herself)
You were with those carolers, weren’t you?—How sweet
SAL
Well—sort of, actually I was in town… uh… visiting some friends, and …
He stops midsentence, when he sees BOBBY coming down the stairs. She stops on the stairway, as soon as she sees SAL. She is SAL’s age, but she is still beautiful in a youthful way.
BOBBY
(to herself)
Sal …
They stare at each other a long moment, before BOBBY recovers, stepping down to SAL. She takes both his hands and smiles brightly at him. He returns the smile awkwardly, and she embraces him.
BOBBY
Sal, God it’s great to see you.
SAL is slow to return the embrace, he is unnerved by the rest of her family watching. JACK turns to TED shaking his head.
JACK
(under his breath)
I wonder what he wants.
TED returns him a dirty look. MRS. DOWNEY beams, watching the couple, then turns to speak to JACK and TED.
MRS. DOWNEY
Don’t just sit there, set an extra place for Salvatore.
SAL and BOBBY separate.
SAL
Oh no, I don’t wanna impose, please.
MRS. DOWNEY
Don’t be silly, we’d love to catch up with you.
JACK is displeased, he looks to MR. DOWNEY for support. MR. DOWNEY returns a shrug of pained resignation.
SAL
I just stopped by to… I mean, I was just in the area. I didn’t mean to bust up your nice dinner here.
BOBBY
(quietly to Sal)
Please, Sal, don’t run, it’s been so long.
SAL smiles, giving in.
cut to:
INT. APT. STAIRWELL NIGHT
The BOSS is loading his .38 as he exits the apartment that SAL broke through. DOM is waiting in the hallway.
BOSS
What?
DOM nods toward BENNIE who is kneeling at DENUNZIO’S corpse.
BENNIE
The guy you’re lookin’ for grew up in this town.
A single drop of blood lands on the Boss’s forehead. They all look overhead seeing where SAL shot before busting down the door. He obviously got lucky, as blood now gathers around the splintery holes. The Boss seethes silently as he dabs his forehead with DOM’S kerchief.
BOSS
You get paid when this guy’s dead
The BOSS exits, not turning back. DOM follows.
BENNIE
Hey, I did my part.
(to himself)
Can’t trust no one.
cut to:
INT. DOWNEY HOUSE NIGHT
SAL is in the study, directly across the entry hall from the dining room. The study is dominated by a large Christmas tree, whose lights flash on and off. SAL, popping a cigarette in his mouth, shields the phone from the open door, through which we can see BOBBY joining her brothers, as they set an extra place, and bring out food. A gruff voice comes on the phone.
VOICE OF CALABRESE
Hello, you have reached the Calabrese residence. Sorry, but no one is available to answer your call right now, but if you leave your name and number at the tone, your call will be returned as soon as possible.
SAL looks at the phone incredulously, his frustration mounting
SAL
We got problems here. No delivery on them X-mas presents, and I lost all my elves tryin’. I’m okay, but I gotta get a lift outta here. I’m at this number …
He squints, reading the number off the phone.
SAL
(cont.)
2-0-1 area code, 8-5-7 4-3-0-9. Merry Christmas.
As he hangs up, SAL’s frustration and anger slowly give way to nostalgia. His cigarette dangles limply from his lip.
SAL
(to himself)
8-5-7 4-3-0-9.
He smiles, looking back into the dining room. BOBBY straightens the flowers in the table’s centerpiece.
cut to:
EXT. STREET NIGHT
The three men are still trailing SAL, though slowly. They seem confused by the numerous footsteps, but as they turn a corner they are at the large granite pillars of the cul-de-sac entry.
cut to:
INT. DOWNEY HOUSE BATHROOM
SAL inspects his side in the mirror, the blood is dried around the wound, as well as on his shirt. As he tucks the shirt back in, he adjusts the small automatic he keeps on his back.
He checks that his suit jacket conceals the bloodstain, and then flicks his cigarette into the toilet, flushing. He splashes his face with cold water, taking a moment to look at himself coldly in the mirror.
cut to:
INT. BOSS’S CAR NIGHT
The BOSS sits in the back seat next to BENNIE, listening intently to a cellular phone. DOM is at the wheel, he monitors the Boss’s face with anticipation. The BOSS hangs up.
Boss
Church and Cherry
DOM throws it into gear
cut to:
INT. DOWNEY HOUSE
MRS. DOWNEY brings the turkey out of the kitchen to a chorus of “oohs” and “ahs.” She sets it in front of her husband, as SAL seats himself, smiling forcefully at everyone. TED and JACK sit across the table, and BOBBY takes the seat next to SAL. MR. DOWNEY carves the bird as his wife returns to the kitchen.
TED
So how yah been, Sal?
SAL
Good. Very good. What about you, Teddy?
TED proudly lifts the bottom of his sweater above the table, displaying a large yellow “P.”
SAL
What is that?—Princeton?
(Ted nods)
Hey, that’s great.
(to Jack)
How about that, huh, the kid’s at Princeto.
(setting him up)
Is that where you went, Jack?
JACK
No.
TED
Jack went to State. (pause)
Bobby went to Princeton though.
SAL turns and smiles to BOBBY who is slightly embarrassed.
SAL
I remember, but we always knew she would do well.
(back to Jack)
Right?
MR. DOWNEY
What about you, Mr. Vaccionne, you look like your doing pretty well for yourself, did you ever go on in school?
MR. DOWNEY has apparently noticed SAL’S expensive suit, gold watch, and rings.
SAL
As a matter-a-fact, I’ve been doin’ pretty good. No thanks to higher education though.
MR. DOWNEY
Oh? What line of work are you in?
SAL
Uhh, contracting.
(he smiles)
JACK
(smugly)
Oh, a trade.
SAL
Not really, I’m on the management side… trouble shooting.
JACK
(incredulously)
—And no special training is required for that?
SAL
Nothing you could learn in school.
SAL is clearly enjoying his charade. Out of the kitchen, MRS. DOWNEY sits at the opposite end of the table from her husband.
MRS. DOWNEY
Well, why don’t we have Salvatore say grace, since he’s our guest.
SAL seems put on the spot.
MR. DOWNEY Not too Catholic now Sal.
BOBBY
Daddy!
MRS. DOWNEY
It doesn’t matter, Salvatore, go right ahead
Everyone grasps hands and bows their heads. SAL thinks fast, he is obviously out of practice.
SAL
Well, bless this meal, this house, and… uh… all who are in it…
SAL looks at BOBBY’S hand in his, she is doing the same, and they catch each other looking.
SAL
(cont.)
… Protect us from harm. Deliver us from evil. (pause) In the name of the Father, the Son, The Holy Ghost, Amen.
EVERYONE TOGETHER
Amen.
cut to:
EXT. STREET NIGHT
The BOSS, DOM, and a score of other men are walking the cul-de-sac, there are tracks everywhere, but they seem confident he is around somewhere.
cut to:
INT. DOWNEY HOUSE NIGHT
Dinner is under way. Platters and serving bowls circulate around the table, as some begin to eat.
BOBBY
I’m sorry we lost touch, Sal. I wondered what you were up to all these years.
TED
(laughing)
I remember Dad used to say you were probably in jail.
MR. DOWNEY
(smiling weakly)
I was joking.
BOBBY and TED both look at him dubiously.
SAL
(laughing it off)
If I hadn’t wised up, I might’a ended up there. I was always gettin’ into trouble those days.
(to Bobby)
How’d you ever put up with it?
BOBBY smiles warmly.
MRS. DOWNEY
Love.
The strength of the word takes everyone aback.
MRS. DOWNEY
(cont.)
I know you were just teenagers, but I know love when I see it.
She winks to her husband. MR. DOWNEY smiles weakly as he chews SAL seems genuinely embarrassed.
BOBBY
Mom, that was a long time ago, we’re both adults now, we’re different people.
SAL seems somewhat relieved by this statement. cut to:
Cut to:
EXT. DOWNEY HOUSE NIGHT
The BOSS stops in front of the large colonial. He regards it with no special attention, until something catches his eye. He steps up onto the walkway and slowly squats. He dabs his finger into a small patch of pink snow. It is where SAL cleaned his hand. The BOSS looks up at the house. He knows.
Cut to:
INT. DOWNEY HOUSE NIGHT
MRS. DOWNEY is up from the table, as the others continue eating.
JACK
(shouting)
Mother! Come back to dinner.
(to Mr. Downey)
Father—please
MR. DOWNEY
C’mon, dear, that’ll wait, let’s eat first.
MRS. DOWNEY enters carrying a photo album.
MRS. DOWNEY
See that, it took two seconds.
She leans in between BOBBY and SAL, opening the album on the table between their plates.
MRS. DOWNEY
(cont.)
Ah-huh, there it is.
MRS. DOWNEY points at a picture of SAL and BOBBY at the prom. BOBBY wears a frilly pink dress, and SAL wears a light blue tux, complete with wide lapels, and tinted ruffle shirt. They both laugh at themselves. TED strains to see across the table.
TED
What? What is it?
BAM! BAM! BAM! The happy moment is cut by a loud knocking at the door. SAL tenses. MRS. DOWNEY turns to the door.
MRS. DOWNEY
Well now, who can this be?
BOBBIE holds up the picture for her brothers and father. SAL slowly reaches around his back.
BOBBY
Is this funny or what?
SAL pays no attention to the album, he is focused on MRS. DOWNEY, who goes out of view, as she goes into the entry hall. His hand curls around his gun. He doesn’t blink. MRS. DOWNEY pokes her head back out from the entry hall, smiling.
MRS. DOWNEY
Salvatore, it’s for you.
SAL is frozen. JACK looks at him suspiciously.
BOBBY
Who is it, Sal?
SAL shrugs weakly. Everyone turns toward the entry hall. BENNIE steps into view.
BENNIE
Sal!
SAL’s face lights up. He is overwhelmed to see the comrade he thought was dead.
SAL
B-bennie, Jesus, I can’t believe it. How did you get—mean, well—I just didn’t expect to see you.
SAL gets up, heading for BENNIE. BENNIE smiles broadly.
BENNIE
Here I am.
They meet, shaking hands. SAL is almost checking to see that BENNIE is real.
SAL
(quietly)
I don’t understand
BENNIE
(under his breath)
I’ll explain later. Let’s get outta here.
MRS. DOWNEY
Are you going to introduce us to your friend, Sal?
SAL
Uh … yeah, this is Bennie. Bennie Saducci. He’s a … friend a mine. A friend a mine from work.
MRS. DOWNEY moves to greet BENNIE.
MRS. DOWNEY
Oh, how nice, was he caroling with you?
BENNIE has no idea what’s going on.
SAL
Sure—well, we were visitin’ some business associates in the area… and I wanted to stop by here,
(to Bennie)
but I didn’t think I was gonna be seein’ you again.
TED
Ahem.
TED reminds SAL to introduce the rest of the family with a gesture.
SAL
Bennie, this is the Downeys; Mrs. Downey, Mr. Downey, Jack, Ted, and Bobby. (pause) Bobby and I used to go out in high school.
BENNIE
No kidding.
(he smiles to Bobby)
That’s nice. So Sal, you ready to go?
MRS. DOWNEY
Nonsense, we just started dinner, and you’re going to join us.
She motions to TED and JACK to set another place. TED hops to, but JACK rises begrudgingly.
BENNIE
No-uh, we really should be goin’.
SAL is already pushing him toward the table.
SAL
(making a point)
We got plenty a time.
BENNIE
(slightly bewildered)
Maybe a quick bite.
MRS. DOWNEY seats him between JACK and TED, and JACK sets a dish down loudly in front of him. BENNIE seems very uncomfortable. SAL takes his seat as BOBBY shows BENNIE the prom picture.
BENNIE
(disbelieving)
That’s you, Sal?
JACK and TED take their seats, as BENNIE’s tittering turns to snorting guffaws. He tries to share the joke, showing the picture to TED who chuckles with him, and JACK who looks at him like he’s crazy. SAL is not so amused.
MR. DOWNEY
So, you’re in contracting Bennie?
BENNIE
(recovering)
Huh?
MR. DOWNEY
Sal was telling us about your work.
BENNIE looks panicked, having no idea what SAL has told them. TED passes him the stuffing, which seems to fluster him more. SAL is looking worried as well.
MR. DOWNEY
(cont.)
What is it that you do?
BENNIE
Me?
SAL
(covering)
He works with me.
BOBBY
Like an assistant?
SAL
Yeah, exactly. He’s one of my assistants.
SAL smiles, and BOBBY smiles as well, proud that SAL rates enough to have assistants. BENNIE sighs with relief, and dishes himself up some stuffing.
MRS. DOWNEY
My! You must be very important to have all those assistants.
JACK
(incredulously)
Just how many assistants do you have?
SAL
Nine.
BENNIE
Seven.
SAL
Yeah, seven. A couple just got… well… actually, the competition got ‘em.
MR. DOWNEY
It can get pretty cut throat out there.
SAL
You said it!
(pause)
You’re still in insurance?
MR. DOWNEY nods, as BENNIE drops a fork full of mashed potatoes back onto his plate.
BENNIE
(enthusiastically)
We got lotsa experience in insurance.
SAL
(scowling at Bennie)
We dabbled in it a while ago.
JACK is becoming increasingly suspicious.
JACK
Insurance? Contracting? What kind of company do you work for?
SAL and BENNIE exchange a worried glance.
SAL
Jack! I’m sorry, I’ve been ignoring you. What kind of work have you been doing?
JACK wants an answer to his question, but can’t resist the invitation to talk about himself.
JACK
Well … I’ve been ….
(he smiles)
I’m a CPA now and I just started my own firm in Paramus.
SAL
A bean-counter, no kidding, well that must be your Mercedes out front.
BOBBY
Ahem.
BOBBY indicates that it is her car.
SAL
The Chrysler?
MR. DOWNEY raises his hand as he chews.
TED
(chuckling)
Yugo.
JACK
There’s nothing funny about economy.
BENNIE laughs as well, he is beginning to enjoy SAL’s ruse as well as the meal. SAL turns to BOBBY.
SAL
Mercedes, huh. What’ve you been doin’?
BOBBY
I’ve been teaching. The Mercedes I got in the settlement.
SAL
Settlement?
MRS. DOWNEY
(whispering it like a dirty word)
Divorce.
SAL
Divorce. You didn’t even say you were married.
BOBBY
Well I’m not—anymore. Thank God.
SAL
BOBBY
College. After we broke up, I started seeing Gerald.
SAL
(disgusted)
Gerald?
TED
He was a jerk.
JACK
He was rich.
MR. DOWNEY
He was a rich jerk.
MRS. DOWNEY
He was very nice, but I don’t think Bobby loved him.
BOBBY
(embarrassed)
Eight years. I guess I was kidding myself.
The statement hits SAL strongly. BENNIE heaps more stuffing onto his plate.
BENNIE
Good stuffing, Mrs. D.
MRS. DOWNEY
Thank you, Benjamin.
(to Sal)
You’re not married, are you, Salvatore?
SAL
No.
The phone rings as SAL does a double take, getting Mrs. Downey’s drift. She smiles, rising to get the phone.
MR. DOWNEY
(directs his comment at Sal)
He took good care of Bobby.
BOBBY
(indignant)
People need more than money and things, Daddy.
The tense moment is interrupted by MRS. DOWNEY, who holds up the phone receiver, and shouts in from the study.
MRS. DOWNEY
Salvatore, it’s for you.
SAL starts to get up.
JACK
So, Bennie, tell us more about yourself.
BENNIE stops midchew, and shoots SAL a worried look. SAL thinks twice about leaving him alone with JACK, but he’s got to answer the phone.
BENNIE
(mouth still full)
I-I-I was always real curious about accounting.
SAL picks up the phone in the study, lighting himself a smoke. He glances worriedly back toward BENNIE at the table, before turning to shield his conversation.
SAL
Hello.
VOICE OF CALABRESE
Sallie, you okay there? What the hell happened?
SAL
Our little Christmas surprise was no surprise. Somebody ratted out Santa.
VOICE OF CALABRESE
Impossible, Sal. Nobody knew about this except me and you. Who else did you tell?
SAL
Nobody, just my …
As SAL speaks he turns to see BENNIE laughing in the other room. The truth slowly dawns on him. He stares in silent shock a moment.
VOICE OF CALABRESE
Sal? Sal, you there?
SAL
Yeah. Yeah, look I gotta change a plans here. I don’t need that lift yet. I gotta take care a somethin’ first.
VOICE OF CALABRESE
Everything okay there, Sal?
SAL
Yeah, fine. I’ll call when I need that ride, okay?
cut to:
INT. BOSS’S CAR NIGHT
The Boss checks his watch impatiently, then speaks to DOM.
Boss
I give him five more minutes,
(pause)
and we’re goin’ in.
cut to:
INT. DOWNEY HOUSE NIGHT
SAL is back at the dinner table. He looks morose.
BOBBY
Is everything okay, Sal?
SAL
Yeah. Yeah, fine.
MR. DOWNEY
Bennie here says you’re quite a bigshot at your company.
BENNIE smiles proudly at SAL who barely manages a smile in return.
MR. DOWNEY
(cont.)
Look, Sal, I think I owe you an apology. I used to think you were no good, but it’s obvious there was more to you than I realized.
SAL
Look, I didn’t want to have to deal with this now,
(pause)
but that call was… well, there’s been a tragedy. I’m afraid I need to speak to Bennie alone.
A solemn hush hits the table. BOBBY places a sympathetic hand on SAL’S shoulder. BENNIE is confused at first, but catches on that SAL wants to talk in private. The two men rise.
MRS. DOWNEY
Why don’t you use the study. You can close the door.
SAL
Thanks. Please, go on with dinner.
SAL ushers BENNIE into the study, holding the door
MRS. DOWNEY
I’ll save you some dessert.
SAL smiles and nods, as he closes the door.
BENNIE
C’mon, Sal, let’s get outta this town.
SAL is lighting a cigarette with his back to BENNIE as he admires the all-silver nativity scene on the fireplace mantel. He picks up a figure, weighing it, and packing it in his hand like a roll of coins.
SAL
Why such a hurry?
BENNIE
This town’s hot. The sooner we get outta here, the better.
SAL walks slowly up to BENNIE. Face to face, he stares him in the eye. The Christmas tree blinks behind them.
SAL
What happens when I step out the door?
SAL stares him down, dragging slowly off his smoke. BENNIE’s expression slowly melts into panic.
BENNIE
What-whatta ya mean?
SAL says nothing, exhaling smoke with a long hissing sound.
BOOM! SAL connects with a sharp blow to BENNIE’s rib cage, and follows instantaneously with a two-handed uppercut that sends BENNIE up and back flattening a Christmas present as he lands.
SAL pauses to pick his cigarette back up off the carpet. BENNIE crawls toward the fireplace grabbing the Yule log and swinging back with it—connecting hard with SAL’s ankle. SAL falls to his knees. BENNIE swings again, but SAL grabs the log, using it to throw himself into a sweeping roundhouse. SAL’s loaded fist catches BENNIE’s jaw, knocking him out cold.
MRS. DOWNEY
(through the door)
Is everything okay in there?
SAL grabs his cigarette from the floor again and limps to the doo He opens it a crack, and speaks quietly to Mrs. Downey.
SAL
He’s not taking it very well, I’m afraid. Give him a minute.
MRS. DOWNEY nods, and SAL closes the door.
MRS. DOWNEY
(to Bobby)
What a sweet man!
SAL throws the poinsettias from a vase, and splashes the water on BENNIE’s face. Grabbing him by the collar, he presses a sharp table knife to the groggy man’s neck.
SAL
How many men out there?
BENNIE
(fear making him more lucid)
Maybe… ten.
SAL
In back?
BENNIE
I don’t know—I think they got a dog in back
SAL thinks to himself a moment.
BENNIE
(desperately)
I didn’t know he was gonna kill anybody, Sal. Lemme go out there before he turns this place into a battleground. Maybe I could…
SAL regards BENNIE with utter contempt. Covering BENNIE’S mouth, he thrusts the knife into his windpipe.
SAL emerges from the study, closing the door behind him
SAL
He really needs to be alone for a while
He steps toward the table, struggling to hide a limp
BOBBY
Of course
MRS. DOWNEY
Some pie, Salvatore?
SAL
No thanks.
He leans to whisper into BOBBY’s ear.
SAL
Take me upstairs, Bob, I’ll explain later.
BOBBY finds the request odd, but thinks it’s connected to “the tragedy.” She rises from the table.
BOBBY
Excuse us, please, but I need to speak with Sal alone. We’ll be upstairs.
SAL follows BOBBY up the staircase, suppressing a grimace with each step.
JACK
Upstairs?
MRS. DOWNEY
It’s a little romantic. Isn’t it?
cut to:
INT. DOWNEY HOUSE-UPSTAIRS
SAL and BOBBY are in the upstairs hallway. SAL points to a door
SAL
Let’s go in there.
BOBBY
That’s my parents’ room.
SAL
Trust me.
BOBBY opens the door, and they enter. SAL keeps BOBBY from flicking on the lights. She looks at him curiously.
SAL
Check and see if your dog’s still in the backyard.
BOBBY
What
SAL
(emphatically)
Please
BOBBY moves to the window drawing the curtain
BOBBY
I really don’t understand any of this, Sal
SAL
The dog?
BOBBY
Yeah, he’s there, asleep in his house
SAL
Any footprints back there?
BOBBY
Just the dog’s.
SAL seems relieved. He steps toward the window, and BOBBY meet him. Behind them on the wall are pictures of her and her brother as kids.
SAL
(struggling)
Look, I lied about a lot of things here tonight
BOBBY
(interrupting)
Sal, I don’t care how much money you have.
SAL is taken aback by the statement.
SAL
I wish that’s all it was. (pause) This is never gonna make any sense to you, but…
BOBBY
What, Sal?
SAL
There’s people after me, and if I don’t make a run for it, they’ll tear this place apart.
BOBBY
You’re being crazy.
SAL
I’m trying to be noble.
He lifts open the window, turning back to BOBBY.
SAL
Don’t hate me
SAL
(confused)
Sal, I—
SAL
Promise me
She moves closer, taking SAL’S hands
BOBBY
Sal, I I… I still love you.
She pulls closer, kissing SAL lightly. He is stunned. Every ounce of hate seems to drain from him. He can say nothing. He just turns slipping silently out the window. She watches as he slides down the sloping roof toward the yard. The dog awakens barking, and almost simultaneously MRS. DOWNEY screams shrilly downstairs.
cut to:
EXT. STREET NIGHT
The BOSS is sitting in his car, DOM at the wheel, when he hears the dog barking. He yells out the window to the men in front of the Downeys’ house.
BOSS
He’s going out the back. Get him
(to Dom)
Head him off.
DOM swings the car around wildly, throwing chunks of gray ice at the men who scramble around the street.
cut to:
INT. DOWNEY HOUSE NIGHT
BOBBY sheds a silent tear as she consoles her mother by the stairs. The men regard the body in the study. MR. DOWNEY speaks as he dials the phone.
MR. DOWNEY
I guess the news was too much for him
JACK looks at his father incredulously as TED regards the nativity scene.
TED
Where’s Christ
cut to:
EXT. STREET NIGHT
SAL runs lamely across the empty boulevard. As a gentle snow begins to fall, his tracks become clearer and clearer. In the distance, a train whistle breaks the silence. SAL cocks his head, and turns a corner with renewed vigor.
The tracks are only a block away. SAL runs down the middle of the broad white street, heading for a long flight of stairs that lead up to the train platform. The whistle sounds again, closer.
SCREEECH! The Boss’s car screams into an intersection several blocks directly behind SAL. He runs as fast as his bad leg will allow, but the car is closing fast.
SAL hits the stairs bounding, as the car slides to a stop.
SAL is halfway up, as the BOSS steps out. The train is pulling in as the BOSS takes aim. SAL is only steps away from the top. BLAM! A single shot catches SAL just short of the platform.
SAL drags himself up the last steps and stumbles into the train
as it pulls out.
INT. TRAIN NIGHT
Collapsing into a seat, SAL holds his gut with both hands. He struggles to catch his breath, as he leans his head limply against the window.
He lights himself a smoke, his bloody hands staining the cigarette. Out the window, scenes of New Brunswick glide by.
fade out