THE NEXT THREE DAYS
Written by
Paul Haggis
SHOOTING SCRIPT
August 6, 2009
FADE IN:
1 INT. SUV -- DAY 1
No sound. We are in a speeding SUV. The passenger, LARA,
unsnaps her seat belt and reaches for the door handle. The
driver, JOHN, sees her door open and dives to GRAB her. The
SUV spins, HORNS BLARE, TIRES SCREECH, cars swerve to avoid
collision. We aren't sure what is happening, but we know
something has gone terribly wrong. Cut to BLACK. Read:
THE LAST THREE YEARS
2 INT. STEAK HOUSE -- NIGHT 2
Two couples sit at a table, picking at dessert, JOHN and
LARA BRENNAN on one side, MICK and ERIT on the other. JOHN
is attractive in a worn kind of way, but has the eyes of a
kid with a discipline problem. You have to really know him
to understand if he is mocking you or agreeing with you. He
is a master of irony and has a true enjoyment of the absurd.
LARA looks beautiful even in her wrinkled suit. She appears
to have had a hard day at the office. She's been drinking
at dinner; it hasn't eased her nerves. John's good-looking
brother, MICK, boasts his blue collar roots and a gorgeous,
if slightly trashy, girlfriend, ERIT, who isn't ashamed of
her body or sharing her opinions. JOHN and MICK are laughing.
Lara puts cash on the tray beside Mick's credit card.
LARA
You know what? If you were smart
you would stop talking right now.
ERIT
Sue me. I just know that women should
never work for women.
John laughs and applauds. Mick buries his head.
LARA
How can you say that??
ERIT
They're always threatened. Especially
if you're beautiful and they're not.
LARA
Erit, you are so full of shit.
ERIT
So, your boss isn't threatened by
you?
(CONTINUED)
2.
2 CONTINUED: 2
LARA
Because she's a bitch! --
(as John and Mick laugh)
--Not because she's a woman.
ERIT
And you would describe her as
"attractive"?
LARA
That has nothing to do with it!
ERIT
And there is my answer.
JOHN
Either of you like another drink?
Lara shoots John a burning look as Erit builds on her victory.
ERIT
Women should work under men, men
under women. That's it.
JOHN
(egging her on)
But men under men?
ERIT
That's fine, too.
(the men burst into laughter)
They're used to it! Why are you
laughing?
MICK
(re: Erit)
I don't know, bro, but I think I'd
rather work under you than her.
ERIT
(insulted, shoots back)
Oh please, I'd rather work under
him, too.
That was a dig at Mick but Lara is primed for a fight.
LARA
You'd rather "work under" John?
ERIT
You have a problem with that, too?
(CONTINUED)
3.
2 CONTINUED: (2) 2
LARA
No, why would I have a problem with
your little sexual innuendo?
ERIT
What is up your ass tonight??
Mick throws John a "This is all your fault and now it is
going to explode" look. John feigns complete innocence.
LARA
So, I shouldn't take offense that
you're coming on to my husband right
in front of me.
ERIT
(claws out now)
Lara, if I wanted your husband I
would have him.
LARA
How? You couldn't possibly show him
more of your tits.
The men are on their feet before blows are exchanged.
ERIT
-- You know what your problem is?!
JOHN MICK
That was a great meal! Okay--okay!
3 EXT. STEAK HOUSE PARKING LOT -- NIGHT 3
Mick and Erit head toward Mick's sporty pickup. John and
Lara step into foreground, Lara still fuming.
JOHN
She is completely full of shit.
LARA
DON'T try and agree with me now.
JOHN
You know what? I don't even believe
she is in the dental profession.
Lara knows this game; he is trying to get her out of her
black mood, and she has no intention of letting him.
LARA
Shut up.
(CONTINUED)
4.
3 CONTINUED: 3
JOHN
I bet she can't even spell
anesthesiologist. Woman's a complete
fraud.
LARA
We went to her office party, idiot.
JOHN
I think she hit on me that night,
too.
Lara opens the back door of their black Prius and tosses in
the raincoat she was carrying. They climb in, under....
LARA
You are completely delusional. She
wasn't even hitting on you in there;
I just don't like her.
JOHN
I understand. People who look like
that should not be allowed anywhere
near oral surgery.
She feels a smile coming to her lips and tries to force it
away.
LARA
You are such an asshole.
JOHN
You're in the chair trying to stay
calm; how are you supposed to do that
with those things hanging over your--
She can't stand how attractive he is in this moment -- she
stops him short by kissing him passionately. His hands slip
under her blouse; she tugs at his sweater.
JOHN (CONT'D)
Someone's going to --
Her hand goes to his pants. He yanks at the seat lever and
it goes crashing back, Lara landing atop him.
After a moment he sits up quickly and pushes down the visors.
She laughs and kisses him and they disappear into each other.
4 INT. BRENNAN HOUSE - BACK DOOR -- NIGHT 4
Lara and John enter, Lara carrying her raincoat, her hair
sticking up in the back, John's shirt untucked.
(CONTINUED)
WHITE 9-10-09 5.
4 CONTINUED: 4
LARA
Hello!
JENNA, the teenage baby-sitter, sees right through them.
LARA (CONT'D)
Did he cry?
JENNA
Only when I dropped him down the
stairs.
Lara shoots her a look, hangs up her coat and exits upstairs.
5 INT. BRENNAN HOUSE - UPSTAIRS HALLWAY 5
She peeks in her son's room, sees him sleeping soundly.
6 INT. BRENNAN HOUSE - FOYER 6
Lara comes down to find John paying Jenna. John nods for
her to check the mirror. She tugs at the knot in her hair.
JOHN
Thanks. See you next weekend.
Jenna exits. Lara shows him that his sweater is inside out.
John reacts: "Oh God." Lara's smile broadens; she kisses
him. He pins her to the wall and they start all over again.
He feels for the light switch. He finds it; we cut to BLACK.
7 INT. JOHN AND LARA'S BEDROOM -- NIGHT 7
Lara wakes, troubled. It's the middle of the night.
8 INT. LUKE'S ROOM -- NIGHT 8
Lara finds Luke's window closed but unlocked. She locks it
and looks out. Satisfied, she sits and watches her son sleep.
9 INT. KITCHEN -- MORNING 9
Three year-old LUKE holds a knife and fork as he sits at the
table watching his dad cut up his pancakes.
JOHN
Okay, your turn.
Luke skewers a piece with his fork. Lara passes, hustling
to get to work.
JOHN (CONT'D)
Very good, very good...
(CONTINUED)
6.
9 CONTINUED: 9
Luke puts it in his mouth.
JOHN (CONT'D)
No, no, no; you feed me.
(to Lara)
Your son is hopeless.
Lara grabs her phone and leans over them to take a photo.
LARA
Squeeze in tight.
JOHN
You can't do this every morning. It
is way too corny.
LARA
Smile. It's just until he's eighteen.
It flashes. Lara kisses John, puts an alien-looking electric
toothbrush on the table & walks off to pour coffee to go.
LARA (CONT'D)
Present.
JOHN
(examining it)
Sweetie, you have to stop believing
everything you read in a catalogue.
LARA
You hate brushing your teeth; this
one brushes them in thirty seconds.
JOHN
(as if stung)
I love brushing my teeth.
(to Luke)
The lies your mother tells.
LARA
(ignoring him)
When's your last class?
JOHN
Three, and I have papers to grade.
Can you pick up Luke?
LARA
After yesterday I probably don't
have a job anyway. Do you think it
was wrong to call her a useless cow?
(CONTINUED)
7.
9 CONTINUED: (2) 9
JOHN
Bosses admire that kind of frank
exchange.
LARA
(pulls note off fridge)
Did you call your father?
JOHN
When?
LARA
(heading for bathroom)
"When?" Yesterday, for his birthday!
10 INT. BRENNAN HOUSE - BATHROOM 10
Lara puts her foot up and jabs herself with insulin.
JOHN (O.S.)
I sent him flowers and a handmade
card.
LARA
You're completely impossible.
JOHN (O.S.)
Did you notice what I got for my
birthday this year? A grunt.
11 INT. BRENNAN HOUSE - KITCHEN 11
JOHN
Mom said Happy Birthday and my father
went . Made me tear up.
Lara returns, trying hard not to smile.
LARA
Ever think that someone has to be
the bigger person here?
JOHN
(to Luke)
Remember this for the custody hearing:
how Mommy is always scolding Daddy.
LARA
How are you going to feel if Luke
grows up and doesn't call you?
Lara can't keep a straight face and heads to the foyer.
(CONTINUED)
8.
11 CONTINUED: 11
JOHN
Now she's driving a wedge between us.
LARA
I give up.
JOHN
And now she is abandoning you.
Lara grabs her raincoat and notices a stain on the back
shoulder. Irritated, she heads back to the bathroom.
12 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 12
Lara rinses the stain under the sink, surprised to see it
run red. She looks at her hands: blood. The doorbell rings.
13 INT. BRENNAN HOUSE - KITCHEN 13
John rises to answer the door.
14 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 14
Lara looks at her coat, wonders how the hell she got blood
on her shoulder. She rubs liquid soap into it.
15 INT. BRENNAN HOUSE - FOYER 15
As John opens the door, DETECTIVE QUINN shows his badge.
DETECTIVE COLLERO and a team of detectives push past. John
has no time to react.
DETECTIVE QUINN
Police. Mr. Brennan?
LUKE sees the police rush past him and gets scared.
DETECTIVE QUINN (CONT'D)
My name is Detective Quinn. This is
a search warrant for these premises.
John hears Luke cry and instinctively heads inside.
DETECTIVE QUINN (CONT'D)
(stops him)
Stay where you are.
JOHN
Get your --
DETECTIVE QUINN
Touch me again and you'll be arrested.
9.
16 INT. BRENNAN HOUSE - DOWN THE HALL 16
Lara steps from the bathroom and is met by Detective Collero.
She sees the coat with the water spot; nods to a team member,
who takes it and bags it under:
DETECTIVE COLLERO
Lara Brennan?
LARA
WHAT?!
DETECTIVE COLLERO
Lara Brennan, you are under arrest
for the murder of Elizabeth Gesas.
She takes her wrist and professionally turns and cuffs her.
LARA
She's dead?? Elizabeth is dead??
17 INT. BRENNAN HOUSE - FOYER 17
JOHN
(tries to push past)
She didn't do anything!
DETECTIVE QUINN
I will only --
JOHN
(tries again)
She didn't do anything!
DETECTIVE QUINN
Put him in cuffs.
The uniform pushes him up against the wall and cuffs his
wrists. John watches as his child cries, his wife is led
out in handcuffs and the house is torn apart. Cut to BLACK.
18 INT. BRENNAN HOUSE -- NIGHT 18
LUKE (O.S.)
Daddy!... DADDY!!
A light comes on. John steps out of his bedroom and enters
his son's room.
JOHN (O.S.)
It's okay. Just a bad dream.
He comes back out carrying Luke, now SIX YEARS-OLD.
10.
19 INT. JOHN'S BEDROOM -- NIGHT 19
John lays Luke on the bed and climbs in beside him.
JOHN
You okay?
Luke nods.
JOHN (CONT'D)
Okay, you can sleep here as long as
you stay on this side of the bed.
Luke immediately scrambles over his father to take his side.
JOHN (CONT'D)
You're such a snake, I don't know why
I keep falling for the same trick.
John kisses Luke, who closes his eyes and snuggles his pillow.
John reaches for the lamp. Beside it sits the framed photo
that Lara snapped of the three of them that fateful morning.
He switches off the lamp, and the screen goes BLACK.
20 EXT. PITTSBURGH -- DAY 20
The "T," the city's fast-moving trolley, rises up from
underground and we CRANE UP to see the city.
JOHN (O.S.)
But Sam's your friend, right?
21 EXT. ALLEGHENY COUNTY JAIL -- DAY 21
Tilt down from a passing T-Train to find John and Luke,
walking toward the huge, modern Allegheny County Jail.
LUKE
Not at lunch.
JOHN
Does he take your food?
LUKE
No.
JOHN
Did he say something mean?
(Luke nods)
About Mommy?
(CONTINUED)
11.
21 CONTINUED: 21
LUKE
Yeah.
JOHN
Did you hit him?
LUKE
Yeah.
JOHN
Good. Where did you hit him?
LUKE
Near the swings.
JOHN
Wow. I bet that hurt.
LUKE
Yeah.
22 INT. COUNTY JAIL - ENTRY HALL -- DAY 22
- John waits in a long line, mostly women. He glances over
at the pleasant and colorful play area in the corner and
sees children playing. Luke plays by himself.
- John puts his key ring in a plastic container. The guard
takes it and puts the keys with other visitors' belongings.
John guides his son toward the metal detector. Luke walks
through and the buzzer goes off.
John instinctively moves forward to help. A guard stops him
with a hand on his chest. On the other side of the metal
detector another guard runs a wand over Luke, pulls something
from his pocket, looks at it curiously.
JOHN
It's a toy!
The guard runs the wand over the child again; no screech.
The guard waves John through. No beep. John kneels and
pulls on Luke's jacket.
JOHN (CONT'D)
Don't worry. We'll get it back.
23 INT. COUNTY JAIL - CORRIDOR -- DAY 23
They walk along the hall with all the other visitors.
12.
24 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 24
John stares out the window at the city beyond. Life seems
so close.
He looks back into the large communal visiting room; a dozen
round tables and plastic chairs. The concrete block walls
are covered with naive paintings in bright colors and messages
of hope. Luke plays at his feet with a basket of Legos.
The door at the far side buzzes, a guard opens it and
prisoners in red jump-suits marked VISITING ROOM enter.
Lara enters and looks around. She is pale, thin and her
hair has returned to its natural color. Lara hurries to him
and gives him a real kiss. She breaks and steps to Luke,
who plays with his back to her.
LARA
Hi honey. Can Mommy get a kiss?
(no response. Tickles him)
Come on, give Mommy a kiss.
JOHN
Rat-Bag. Give Mommy a kiss.
He gives her a peck on the cheek and goes back to his Legos.
LARA
Is Daddy reading you my letters?
JOHN
Every night at bedtime.
LARA
What are you building? A fort?
Lara pulls him into a hug; no response. She kisses his head
and sits at the table with John. She squeezes his hand.
LARA (CONT'D)
Was he scared going to school?
JOHN
I walked him to class, gave him a kiss;
he didn't even look back to wave.
LARA
What did you make him for lunch?
(CONTINUED)
13.
24 CONTINUED: 24
JOHN
Turkey sandwich, just butter and
bread, no "vegetables" on it. He
swore he ate his apple.
He hands her a pack of photos. Lara devours them.
LARA
Look at his friends. And his desk.
This is his teacher?
JOHN
Miss Phillips.
LARA
You may have to move to another school
district.
JOHN
Already spoke to a realtor.
LARA
(still looking at photos)
How was your first day?
JOHN
Excellent. Over half my class stayed
awake. Talked to your mom.
LARA
When is she coming?
JOHN
She's having a lot of trouble with
her business.
LARA
It's only been a couple of years,
I'm sure she'll get around to it.
(beat)
Have you heard anything?
JOHN
About the appeal? Yes, and I'm just
not telling you. What did Meyer
say?
LARA
--Don't--
JOHN
-- It can take months for the court
to rule.
(CONTINUED)
14.
24 CONTINUED: (2) 24
LARA
I saw that woman. She was there.
She couldn't have just disappeared.
JOHN
Meyer's looking for a new
investigator.
LARA
Her coat snagged my purse, I felt a
button pop - they must have been
blind not to find it.
JOHN
He'll go through all the evidence
again.
LARA
Great, because I haven't quite
bankrupted us yet.
JOHN
We're doing fine.
LARA
(fondly)
You just lie and lie.
(strokes his face)
But you are very handsome.
(admiring him)
Can you do me a favor?
JOHN
I don't know, I'm a little busy.
LARA
I need you to run for governor.
JOHN
-- Oh, that I can do.
LARA
You can change this rule about no
conjugal visits, because I don't
think I can last another twenty years.
She smiles but is already traveling toward a dark place. He
reaches out and holds her tight, stroking her back.
LARA (CONT'D)
I'm okay. I'm okay.
(CONTINUED)
15.
24 CONTINUED: (3) 24
JOHN
I know. But it's going to be fine.
I promise.
She just stares at Luke, his back to them, playing.
LARA
You think he'll ever want to kiss me
again?
25 INT. COUNTY JAIL - CONTACT VISITING ROOM -- LATER 25
The prisoners file out and are patted down. Lara turns and
blows Luke and John a kiss. They watch with the other
visitors, who all stand on the far side of the room.
26 INT. COUNTY JAIL - CHANGING ROOM -- MOMENTS LATER 26
Lara and the female inmates pull off their visiting jump-
suits and hand them to a female guard, who searches them for
contraband. Lara retrieves her regular jump-suit and pulls
it on over her underwear. Another small, daily humiliation.
27 INT. JOHN'S BATHROOM -- NIGHT 27
Start VERY CLOSE ON JOHN'S DIGITAL WATCH. Widen to see Luke
standing on a low step at the sink in his pajamas using a
complicated-looking electric toothbrush. John sits on the
toilet, staring at his watch.
JOHN
Twenty-eight, twenty-nine, thirty.
Luke puts it down and checks his teeth in the mirror.
JOHN (CONT'D)
Good?
Luke nods.
28 EXT. BRENNAN HOUSE - GARAGE AND ALLEY -- MORNING 28
The garage door opens; the Prius has a lot more miles on it.
John backs out, Luke in his child seat. He brakes and finds
PAULA, the woman who lives behind them, at his window.
PAULA
How's Lara?
JOHN
She's doing okay.
(CONTINUED)
16.
28 CONTINUED: 28
PAULA
Tell her we're pulling for her.
JOHN
I will.
She holds up a plastic water bottle.
PAULA
They won't recycle these unless you
take off the cap.
(cap vs. bottle)
This is trash. This is recyclable.
JOHN
Ok. Thanks.
John drives off, wondering what kind of world he lives in.
29 EXT. PARK -- DAY 29
Sitting on the park bench, John allows his feelings to wash
over his face. He watches Luke play with a girl his age.
JOHN
Luke! Let's go, Toad. Come on.
Luke runs to him. John pulls Luke's jacket on. He doesn't
notice the young mother on the next bench, NICOLE, watching
him admiringly. She calls to the girl Luke was playing with.
NICOLE
Time to go, Carrie!
John glances in time to see CARRIE plop down in the sand,
arms folded. He shares a sympathetic smile with Nicole, who
heads to retrieve her daughter. John walks off with Luke.
30 INT. CRIMINAL COURTHOUSE -- DAY 30
John waits as a courtroom lets out. MEYER FISK steps out
with a young associate. He spots John and approaches.
MEYER
John, I said my office at four
o'clock. I can't leave, I'm in --
JOHN
(holds up a Subway bag)
I figured you had to eat.
Meyer relents, turns and calls to his associate.
(CONTINUED)
17.
30 CONTINUED: 30
MEYER
Do you have the ruling in Brennan?
She kneels and digs through her rolling briefcase.
31 INT. COURTROOM -- A SHORT TIME LATER 31
John sits on a bench, pale and shaken, flipping through the
ruling. The courtroom is empty, save a bailiff eating at
his desk. During this he gets up and walks out past them.
JOHN
But what if we find the woman who
was leaving the parking lot?
MEYER
The PCRA was rejected. No new
evidence can be submitted. Not
anymore.
JOHN
It was a robbery! Someone stole her
purse!
MEYER
And if they'd used her credit cards
we would have had something to argue.
I'm sorry; this really...sucks.
John offers a smile at Meyer's unlawyer-like choice of words.
JOHN
So, that's it. Now we just have the
Supreme Court.
MEYER
John, in the last thirty years, the
Supreme Court hasn't heard one murder
case. No decent lawyer would even
file the pleadings.
JOHN
So, I need to find an indecent one?
MEYER
No, I'm going to file it. But I
need you to do something for me.
JOHN
Anything.
(CONTINUED)
18.
31 CONTINUED: 31
MEYER
I need you to look at the evidence
and just forget Lara is your wife.
JOHN
(stopped by that)
I've seen the evidence, Meyer.
MEYER
I'm not saying judge her innocent or
guilty, I'm just saying look at it.
He co-worker sees her leaving the
scene, she has the victim's blood on
her clothes, her fingerprints on the
murder weapon--
JOHN
(is this a bad joke?)
We went out for dinner! How do you
do that after you kill somebody?
She would have to be a psychopath!
MEYER
-- And the fight in the office.
JOHN
Everyone fights with their boss!
MEYER
But this one ended up dead.
John looks at Meyer anew, feeling profoundly betrayed.
JOHN
So, you never believed she was
innocent?
MEYER
How can you say that?
JOHN
So, what are you saying, Meyer?!
MEYER
That it no longer matters what we
believe; Lara's not getting out.
And you have no idea how much I hate
saying that.
JOHN
(exiting)
I'll find someone to file the
pleadings.
(CONTINUED)
19.
31 CONTINUED: (2) 31
MEYER
John! Come on! For Christ's sake.
JOHN!!
John is long gone. Meyer hurls his sandwich into the trash.
32 INT. COUNTY JAIL - VISITING BOOTHS -- DAY 32
John waits alone on the visitors' side of the glass. The
door opens, and Lara steps up on the other side. John smiles
and picks up the phone, but Lara sees something in his face
and doesn't pick up her phone, just stares at him.
John fights to keep his smile and nods for her to pick up
her phone -- but now she can see the verdict chiseled on his
face. Lara gasps and cries inconsolably.
John keeps the smile plastered on his face, but now tears
run down his cheeks. He taps on the glass and points at her
phone, but she doesn't respond. He taps harder and harder --
desperately wanting to comfort her, but she won't allow it.
He bangs on the glass with his fist, drawing the attention
of the guard on his side.
Lara turns and exits. John stands and yells her name, but
she can't hear it, and neither can we.
33 EXT. GRACE AND GEORGE'S HOUSE -- DAY 33
We're in an old working class neighborhood. John sits in
his car, trying to pull himself together.
34 INT. GRACE AND GEORGE'S HOUSE -- DAY 34
MICK opens the door. GRACE, their mother, looks up from
clearing the lunch dishes. John's face tells them everything
they need to know. Mick slams his fist against the door.
In the back yard with Luke, GEORGE, John's father turns to
see Grace tearfully embrace John. George looks away,
uncomfortable, and distracts Luke's attention.
35 EXT. GRACE AND GEORGE'S HOUSE - BACK YARD -- LATE AFTERNOON 35
John, Mick and Grace sit in the worn wicker chairs on the
back porch. Erit steps out with beers to replace their
empties. She sits and they stare off, watching Luke and
George play with the dog. After a moment Erit looks to John:
ERIT
I know you won't want to hear this...
(CONTINUED)
20.
35 CONTINUED: 35
MICK
-- Erit, go put somebody to sleep.
She stares unbelieving, then walks off in a huff.
JOHN
Thanks.
MICK
Had to be done.
(long beat)
I am really going to pay for that.
John has to smile.
36 EXT. THE HILL DISTRICT -- NIGHT (DUSK) 36
John drives through a rough part of town on their way home.
He stops at a light and notes the dealers on the corner. A
flashy car pulls up, hands are slapped; call the driver DAVID.
He takes a roll of cash from the dealer, looks around, catches
John staring. John looks away quickly and drives off.
37 INT. JOHN'S BEDROOM -- NIGHT 37
John sits at his desk, surrounded by boxes of documents and
photographs. As John sifts through the evidence...
38 INT. LARA'S OFFICE - THE PAST -- NIGHT 38
Lara and her boss ELIZABETH argue loudly.
39 EXT. PARKING GARAGE - THE PAST -- NIGHT 39
It's RAINING outside. ELIZABETH stands at her car door in a
small, partially covered garage -- maybe a dozen spots. She
turns toward camera --
A FIRE EXTINGUISHER comes right at camera, making a terrible
impact and
ELIZABETH collapses to the floor.
40 EXT. PARKING GARAGE - THE PAST -- NIGHT 40
Lara turns, holding the fire extinguisher.
41 INT. JOHN'S BEDROOM -- CONTINUOUS 41
As he flips through a handwritten witness statement.
21.
42 EXT. PARKING LOT - THE PAST -- NIGHT 42
Lara's car speeds out of the parking lot. A male co-worker
steps out of the rain just as her car passes. He stops as
he sees ELIZABETH'S BODY lying beside her car.
43 INT. BRENNAN HOUSE - BATHROOM - THE PAST -- DAY 43
Lara tries to scrub the blood off of her coat.
44 INT. JOHN'S BEDROOM -- NIGHT 44
The phone beside him SHRIEKS. John picks it up.
45 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- NIGHT 45
It's late; prime time for the ER. John runs in.
46 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR -- NIGHT 46
John enters breathlessly and finds the Nurses' Station.
JOHN
Lara Brennan; my wife. She was sent
up here. Brennan. B-R-
DUTY NURSE
(finds name in roster)
She can't have visitors.
JOHN
That's ridiculous; I have to see
her.
DUTY NURSE
I'm sorry.
John turns away and heads down the corridor to find her
himself. The Duty Nurse sees this and takes off after him:
DUTY NURSE (CONT'D)
You can't go down there!
John shoves open a door, moves on to the next.
DUTY NURSE (CONT'D)
You can't be in here!!
JOHN
Lara!
(CONTINUED)
22.
46 CONTINUED: 46
HOSPITAL SECURITY GUARD #1
(running up)
I got him!
JOHN
Lara!
A long-haired doctor, BECSEY, steps into his path.
DR. BECSEY
What's going on?!
JOHN
My wife attempted suicide.
HOSPITAL GUARD 1 DUTY NURSE
Let's go. (hands doctor chart)
She's not allowed visitors.
JOHN
I have to see her!
DR. BECSEY
Why isn't she in the ER?
HOSPITAL GUARD 1 DUTY NURSE
I'm not asking. Now. She's a transfer from County
Jail.
JOHN
Please. Two minutes.
Becsey is not unmoved. He shares a look with the nurse.
47 INT. UNIVERSITY HOSPITAL - PRIVATE ROOM -- NIGHT 47
DR. Becsey opens the door for John. Note a prison guard
standing outside.
DR. BECSEY
Two minutes.
Becsey leaves. A uniformed female prison guard looks up
from her magazine and keeps her eyes on John. He looks to
his wife, who's attached to an I.V. and monitors, pale and
weak, her arm bandaged where she cut it open along the artery.
Lara opens her heavy eyelids and John glimpses something
terrible in her eyes: she's tortured to be alive. He kneels
beside her and puts a hand on the bed. She takes his little
finger, wraps her fingers around it.
WHITE 9-10-09 23.
48 EXT. BRENNAN HOUSE - FRONT PORCH -- NIGHT 48
John opens the door to let Jenna out; she looks considerably
older.
JENNA
I'm sorry. He just keeps pretending
he's asleep.
JOHN
(reaching for his wallet)
Don't worry about it.
JENNA
It's okay.
JOHN
I insist. I kept you out on a school
night.
JENNA
I'm not in school anymore.
She offers a sad smile and leaves without the cash.
49 INT. JOHN'S BEDROOM -- NIGHT 49
Luke lies in the crook of his father's arm, his own arms
full of penguins, turtles, a black dog and an opossum. John
reads him a letter, the yellow envelope open on the bed.
JOHN
And give a big hug to Pengui, Little
Pengui, Big Turtley, Little Turtley,
Kiki and Opossumy. Lots and lots of
love, Mommy.
(beat)
You gonna give them hugs from her?
(no response)
Should we write her back?
LUKE
...When is she coming home?
JOHN
Soon honey. Soon.
LUKE
(thinks for a moment, then:)
Can I have a quarter?
JOHN
Can you have a quarter?
(CONTINUED)
24.
49 CONTINUED: 49
Luke points at the glass coin dish on night stand.
JOHN (CONT'D)
Ohhh. Sure, but you can't spend
those. They come from the cottage
where Mommy and I used to take you
when you were a baby.
LUKE
Then can I have them all?
JOHN
...Sure.
He hands Luke the jar, and hoists up him and his animals.
50 INT. LUKE'S ROOM -- NIGHT 50
Luke sets the coin jar on his nightstand. John tucks him in
with his animals, then switches off the lamp. John looks
back before closing it and watches Luke lie awake, staring
at the jar, lost in confused thoughts of his mother.
51 INT. BRENNAN HOUSE - KITCHEN -- NIGHT 51
Dirty dishes piled in the sink, John unloads the dishwasher.
He finds the handle has cracked off Luke's favorite mug. He
places the cup and handle on the counter, opens a drawer
crammed with tools and screws and tape and such. He rummages
through it. Not finding what he is looking for, he pulls
handfuls of junk out of the drawer and slams it all down on
the counter. The harder he searches the more he becomes
frustrated, until he slams the drawer and leans on the
counter, feeling destroyed and needy.
And then a female hand appears beside him, opens another
drawer and reaches in. John stares at the hand, afraid to
move, afraid to look up. The hand finds a tube of glue,
places it on the counter and moves away.
John turns to see LARA walking away. She turns, smiling and
shaking her head, and disappears into the dining room.
Stunned, John looks down at the glue on the counter, then
suddenly pushes away and rushes into the dining room. No
sign of her. And she isn't in the living room. He bolts
into the foyer and finds the front door slightly ajar. He
flings it open...
52 EXT. BRENNAN HOUSE -- NIGHT 52
John rushes out into the street, looking up and down for her --
finally realizing she was never there.
(CONTINUED)
25.
52 CONTINUED: 52
He stands in the middle of the street, now searching for some
way to survive.
53 INT. COMMUNITY COLLEGE - JOHN'S CLASSROOM -- DAY 53
Don Quixote is written on the chalkboard.
JOHN
So, what is it about? Julie?
JULIE
That belief in someone's virtue is
more important than virtue itself?
JOHN
No. I mean, yes, that's in there.
But what is it about?
No takers.
JOHN (CONT'D)
It is about how rational thought
destroys the soul. It is about the
triumph of irrationality, and the
power that is in it.
54 INT. COMMUNITY COLLEGE - LIBRARY -- DAY 54
John drops an armload of books into a library cart, each
having something to do with prison or prison life.
He sits at a table at the back, flipping through them one at
a time and discards each in turn.
As the shadows grow longer we find him staring at the computer
screen linked to the school system.
ON THE SCREEN: a book summary disappears, to be replaced by
the school search engine -- many of the items have already
been inspected. John finds one that reads "Over The Walls."
He clicks on the link and the title page appears. The author
is DAMON PENNINGTON. There's a photo of him. The caption
reads that he LIVES IN BROOKLYN, NY.
55 EXT. BROOKLYN, NEW YORK - STREET -- DAY 55
John gets out of a cab and heads into a local dive bar.
56 INT. BAR -- DAY 56
A couple of guys at the bar yell at the dog race on the TV
screen. DAMON hands John a beer and nods toward a table.
(CONTINUED)
26.
56 CONTINUED: 56
JOHN
It's a course that investigates what
drives men to be free, no matter the
cost.
DAMON
Somebody else had dibs on Papillon?
JOHN
You escaped from jail seven times.
Damon lights a cigarette. A TOUGH GUY nearby objects.
TOUGH GUY
No smoking!!
DAMON
Yeah, who would want to cut short
your precious life?
Damon takes a deep drag.
JOHN
Mind if I tape you?
DAMON
Go for it, it can't be used as
evidence. What do you want to know?
John sets up the small digital recorder.
JOHN
How you escaped when no one else
could.
DAMON
Balls and a little luck.
(beat)
No prison in the world is airtight.
Each one has a key. You have to
find it.
JOHN
How do you do that?
DAMON
A lot of looking. Especially at
things that break the daily routine.
Guards get comfortable doing the
same thing every day. Something
happens where they have to think,
adapt.
(MORE)
(CONTINUED)
27.
56 CONTINUED: (2) 56
DAMON (CONT'D)
That's when they will make mistakes.
But when you see it you have to be
ready. You have to have the entire
plan already in place before you
even know how you are going to get
out of the jail.
Escaping is easy; the hardest part
is staying free.
57 INT. JOHN'S BEDROOM -- NIGHT 57
The tape recorder plays Damon's voice; John tears large sheets
of art paper from a pad and tacks them to his bedroom wall.
DAMON (O.S.)
You have to know where you are going
to go and how you are going to get
there. You have to know how they
plan to catch you, where, and when.
JOHN (O.S.)
How the hell do you know that?
He starts to write on the paper with a large felt marker.
DAMON (O.S.)
You pay off someone who knows. And
a lot depends on if the prison is in
the country or the city.
58 INT. BAR -- DAY 58
JOHN
The city.
That came out too quickly. Damon now understands. John
sits, silent, knowing he blew it. Damon takes his time.
DAMON
Where are you from?
JOHN
...Pittsburgh.
DAMON
Pittsburgh is tough; so many bridges
and tunnels they can block off.
59 INT. JOHN'S BEDROOM -- NIGHT 59
The art paper bunches and rips under the pressure of the
marker. John tears it off the wall.
(CONTINUED)
28.
59 CONTINUED: 59
DAMON (O.S.)
From the time they make the call,
the police can have the center of
the city sealed tight in fifteen
minutes.
60 INT. BAR -- DAY 60
JOHN
How can they be so exact?
DAMON
After 9-11 Homeland Security made
every city have a lock-down plan --
downtown Pittsburgh, Philly, Boston,
Minneapolis -- fifteen minutes.
They can do DC in under ten.
61 INT. JOHN'S BEDROOM -- NIGHT 61
John draws a circle on the wall and writes in it: 15 MINUTES --
DAMON (O.S.)
Within thirty-five minutes they will
have cops at every tollbooth on the
interstate --
-- Surrounds it by a larger circle: 35 MINUTES.
62 INT. BAR -- DAY 62
DAMON
And be running rolling stops on the
secondary roads. They won't have
your photograph yet, but they will
have your description.
63 INT. JOHN'S BEDROOM -- NIGHT 63
He draws spokes out from the circles.
JOHN (O.S.)
What if you can't make it out?
64 INT. BAR -- DAY 64
JOHN
Thirty-five minutes isn't a lot of
time.
DAMON
Then surrender.
(MORE)
(CONTINUED)
29.
64 CONTINUED: 64
DAMON (CONT'D)
Because they will shoot you on sight,
along with anyone you are with.
65 INT. JOHN'S BEDROOM -- NIGHT 65
John writes DESCRIPTION at the end of one spoke.
DAMON (O.S.)
Stay far away from the train and bus
stations.
66 INT. BAR -- DAY 66
DAMON
Forget the local airports. Leave
from another state.
67 INT. JOHN'S BEDROOM -- NIGHT 67
John scribbles key words on the wall. DISTANT AIRPORT.
68 INT. BAR -- DAY 68
DAMON
Second: identity. It's easy to find
fake papers, harder to find ones
that will get you through an airport.
69 INT. JOHN'S BEDROOM -- NIGHT 69
John writes "IDENTITIES."
DAMON (O.S.)
You'll need a passport, driver's
license and a social security number.
70 INT. BAR -- DAY 70
DAMON
If you have to rent a car, find a
place that will take a cash deposit.
They'll still run a credit check, so
use a real person's name on the ID.
(beat)
Third: destination.
71 INT. JOHN'S BEDROOM -- NIGHT 71
John writes furiously on the wall. "DESTINATION."
(CONTINUED)
30.
71 CONTINUED: 71
DAMON (O.S.)
You want somewhere that doesn't
attract American tourists and doesn't
get American newspapers. Think Yemen
and you get the idea.
72 INT. BAR -- DAY 72
DAMON
Then money.
73 INT. JOHN'S BEDROOM -- NIGHT 73
John's writes "MONEY."
DAMON (O.S.)
You need a truck load of it.
Everything's expensive: hotels,
travel, information.
74 INT. BAR -- DAY 74
JOHN
How much?
DAMON
Enough to last at least five-six
years. Run out of money and you run
out of friends.
75 INT. JOHN'S BEDROOM -- NIGHT 75
John underlines "MONEY."
76 INT. BAR -- DAY 76
John is starting to understand the enormity of this
undertaking.
DAMON
But before you do anything, you have
to ask yourself if you can do it.
Can you forget about ever seeing
your parents again. Can you kill a
guard, leave your kid at a gas
station, push a nice old lady to the
ground because she is between you
and the door? Because to do this
thing, that's who you have to become.
And if you can't, don't start, because
you'll just get someone killed.
31.
77 INT. JOHN'S BEDROOM -- NIGHT 77
John backs away from the wall to see it covered in a spiderweb
of notes.
JOHN (O.S.)
How did you get caught?
78 INT. BAR -- DAY 78
DAMON
I gave myself up. I couldn't take
wondering when someone was going to
come through the bedroom door.
(beat)
Got what you need?
JOHN
Yeah.
DAMON
What do you have in your pocket?
John opens his billfold. Damon takes the cash, leaves him a
twenty.
79 INT. JOHN'S BEDROOM -- NIGHT 79
On the wall we see the massive diagram John has created.
The screen goes BLACK. Read:
THE LAST THREE MONTHS
80 EXT. T-TRAIN -- DAY 80
The train crosses a bridge.
81 INT. T-TRAIN -- CONTINUOUS 81
John rides, looking down at the river below.
82 INT. COUNTY JAIL - ENTRY HALL -- DAY 82
John steps through the puffer (the machine that detects drugs)
and into the secure area. He makes a mental note of
everything he sees: the number of guards, cameras, etc.
83 EXT. COUNTY JAIL - DELIVERY AREA -- DAY 83
John sits in his car on the road above, surreptitiously taking
pictures of the vehicles coming and going from the prison.
32.
84 INT. JOHN'S BEDROOM -- NIGHT 84
He tapes the photos to the wall.
85 INT. COUNTY JAIL -- DAY 85
Walking down a corridor with the other visitors, John steps
in a puddle of water. Behind him the others notice and step
around it. Moving on, they pass a trustee on a ladder pulling
a water-stained ceiling tile away as two guards watch.
86 INT. JOHN'S BEDROOM -- NIGHT 86
John traces a route on a map with a highlighter.
87 INT. JOHN'S BEDROOM -- DAY (NEW DAY) 87
The wall grows thick with photos and notes.
88 INT. CLASSROOM -- NEW DAY 88
He reads an article on his computer -- about illegal aliens
and fake ID's.
89 INT. JOHN'S BEDROOM -- NIGHT 89
John enters his bedroom and closes the door. We see how
dramatically his plan has evolved on the wall as every inch
is covered in notes, photos, maps, and various writings. He
studies it as he bites into a sandwich.
90 INT. COUNTY JAIL - CORRIDOR -- DAY 90
John and Luke walk near the front of the group of visitors
toward the visitation rooms.
Just ahead he notices a guard using a key to call the
elevator. John stops near the elevator and kneels, pulling
one of Luke's shoelaces loose.
LUKE
It was already tied.
John reties the lace as the group moves on. He keeps one
eye on the elevator.
The door opens and the guard steps in - and John notices two
WORKMEN in hardhats inside. The elevator closes, the shoelace
is tied, the group has moved on down the hall and they are
alone. John pulls the laces and unties Luke's shoe.
LUKE (CONT'D)
You untied it again!
(CONTINUED)
33.
90 CONTINUED: 90
The guard looks back, now impatient. John offers a smile
and throws a look down at the elevator tread, sees the name:
OTIS ELEVATOR COMPANY. Suddenly a voice comes from behind:
WOMAN'S VOICE
Mr. Brennan?
Startled, John turns to see DR. LIFSON.
DR. LIFSON
We met briefly. Byrdie Lifson.
JOHN
Oh, sorry. Hello, Doctor.
DR. LIFSON
(to approaching guard)
I'll bring them back myself.
91 INT. COUNTY JAIL - CLINIC -- DAY 91
John leaves Luke playing and steps into the office. Lifson
partially closes the door, so John can still see his son.
DR. LIFSON
We check your wife's blood regularly.
She's been refusing her insulin. I
don't want to sound dramatic, but
it's just another form of suicide.
JOHN
I'll talk to her.
DR. LIFSON
If she doesn't --
JOHN
I'll talk to her.
(steps out)
Let's go, Squirrel.
92 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 92
John and Luke wait. The prisoners enter. Lara looks
terrible. John stands and embraces her.
JOHN
Hey. Are you alright?
LARA
I'm fine. I'm fine.
(CONTINUED)
34.
92 CONTINUED: 92
Lara smiles to cover and bends down and kisses her son, who
is engrossed in his toys as usual.
LARA (CONT'D)
Hi, sweet potato. How are you doing?
He doesn't respond. She kisses him on the head then takes a
seat. John sits beside her. They speak in whispers.
JOHN
The doctor told me about the insulin.
LARA
(watching Luke)
Yeah, I forgot. It's no big deal.
JOHN
You forgot? For how many days?
LARA
I forgot, okay? I have things on my
mind.
JOHN
--And so much to do.
LARA
Oh, that's nice.
JOHN
Why are you doing this?
LARA
Can I please just watch him play?
Tell me about kindergarten.
JOHN
No. I need you to --
LARA
Fine, I won't forget again, okay?
(trying to fight away these
thoughts:)
I am just never going to walk him to
school or wash his clothes or make
him dinner...and I don't know how I
can live knowing that. Okay?
JOHN
Lara. Look at me. Something will
happen. I promise.
(CONTINUED)
35.
92 CONTINUED: (2) 92
LARA
(cruelly - but hushed)
What? What is going to happen?
There are no more appeals, there are
no more anything. Exactly what
miracle are we hoping for, John?
He looks down, beaten. She lets go of her anger.
LARA (CONT'D)
I need you to do something for me.
JOHN
Sure.
LARA
Stop bringing him.
JOHN
Come on...
LARA
He hates coming here. Look at him.
JOHN
Lara....
LARA
Please. It's not his fault. It's
too hard to watch him forget me.
John looks at his son, playing at a distance, his back to
them. It's hard to argue with her, she's right.
LARA (CONT'D)
You want to hear something funny?
JOHN
Yes. Anything.
LARA
My mother tried to send me anti-aging
cream.
John smiles, but like hers it may be the saddest smile in
the world. They sit and watch Luke play.
93 INT. JOHN'S BEDROOM -- NIGHT 93
John checks his bank statements and adds them up on the wall
under MONEY. The total is $8,840.00.
He stares at that figure for a moment.
36.
94 INT. REALTOR'S OFFICE -- DAY 94
EUGENIE, the REAL ESTATE AGENT, walks John to the door.
EUGENIE
You're sure that you don't want a
lawn sign?
JOHN
I'm very sure. Thanks.
95 INT. COMMUNITY COLLEGE - LIBRARY -- DAY 95
A STUDENT shows John how to use Photoshop to enlarge and
crop a photo.
96 INT. JOHN'S BEDROOM -- LATE AFTERNOON 96
John uses Photoshop, looking through family pictures for an
appropriate one to use for Lara's ID. Some of them are of
the family at a cottage. He finds one that will work and
starts to crop himself and Luke (as a baby) out of the photo.
Then he turns and notices Luke standing behind him, staring
at the screen.
97 EXT. PITTSBURGH -- DAY 97
A helicopter swoops over a bridge and traces the Monongahela
River through the city. On the door of the helicopter is
emblazoned the name of a local tour company.
98 INT. HELICOPTER -- DAY 98
John sits among six other passengers.
COPTER PILOT
On the left, Allegheny County Jail.
Built in 1995, it is now the largest
jail in the world. There have been
three escape attempts. No one's
made it out alive. On your right...
Everyone else looks to the right as the pilot continues.
John stays fixed on the left window.
HIS POINT OF VIEW:
The massive rooftops of the jail. But then he sees exactly
what he is looking for: workmen wearing yellow helmets spread
hot tar and roofing paper. He spots a workman carrying a
bucket heading around a tall outcropping on the roof.
37.
99 INT. COMMUNITY COLLEGE - CLASSROOM -- DAY 99
LYLA, a student, reads from The Idiot as John returns to his
desk with papers in his hands. His laptop lies open to Google
Earth -- the rooftop view of the jail, from another angle.
John closes it and spreads the papers on his desk -- a printed
color version of the same. He draws an arrow to the
outcropping where we now see a door; labels it ELEVATOR.
LYLA
On the first landing, which was as
small as the necessary turn of the
stairs allowed, there was a niche in
the column, about a yard wide, and
in this niche the prince felt
convinced that a man stood concealed.
He thought he could distinguish a
figure standing there.
100 INT. JOHN'S BEDROOM -- DAY 100
John searches Craigslist for HELICOPTER PILOTS. Clicks on
one that reads EXPERIENCED HELICOPTER PILOT, COMBAT VET,
WILL CONSIDER ANY OFFER.
ANGLE ON JOHN'S WALL
Where a magazine clipping of a helicopter sits under the
heading ESCAPE. Overlapping it he pins trimmed print-outs
of several PILOT candidates.
Directly underneath is the Google Earth photo of the rooftop
of the jail, the door marked with an arrow, and the landing
site indicated with an X in a circle.
Below that is a rough sketch of the visitor's room and the
adjacent corridor with an arrow marking the elevator. In
block letters beside it is the word "KEY?"
101 INT. GRACE AND GEORGE'S HOUSE -- NIGHT 101
Luke, John and George stand in the foyer, Luke with his child-
sized, brightly-colored overnight bag. John pulls off Luke's
coat, kisses him on the head and looks up at George.
JOHN
Thanks.
George nods, takes Luke's hand and walks to the kitchen.
38.
102 EXT. HILL DISTRICT -- NIGHT 102
John drives, taking note of the corners where young men hang
out, selling drugs or contraband.
103 EXT. HILL DISTRICT -- NIGHT 103
John walks up to a guy leaning on the bumper of his car, the
trunk partially open. Call him MOUSS.
JOHN
Adderall?
MOUSS
Ten apiece, five for forty.
John hands him a twenty, Mouss digs into a bag in his trunk
and hands him a blister-pack strip of two pills, samples.
JOHN
I need some passports.
MOUSS
Piss off.
John nods and walks back across the street. The guy watches.
104 INT. CAR -- NIGHT 104
John climbs into his car and tosses the pills onto the
passenger seat, among a half dozen others. There is a sharp
RAP on his window; Mouss. John rolls down the window.
MOUSS
You have to pay up front.
JOHN
I can do that.
MOUSS
You know the Uptown on 5th Ave?
JOHN
No.
MOUSS
Ask for Harv.
JOHN
What's your name?
MOUSS
Just say Mouss.
39.
105 EXT. UPTOWN LOUNGE - 5TH AVENUE -- NIGHT 105
John parks and steps out of his car.
106 INT. UPTOWN LOUNGE -- NIGHT 106
Hip-hop blares, the clientele are low-lives, John doesn't
exactly fit in as he enters and orders. His words are drowned
out. The bartender gives him a beer on tap. John asks for
"Hart." The bartender nods to a man at the back who is
playing a video game. John walks off, passing a LONG-HAIRED
GUY at the bar who watches him. John approaches HARV.
JOHN
Mouss said to come see you.
HARV
He did, did he? What do you want?
JOHN
Three passports, a driver's license,
and real social security number.
HARV
How do you know Mouss?
JOHN
He babysits my kid.
HARV
(sizes him up, then:)
Okay.
Harv gives him a look; nods for him to follow.
107 EXT. HILL DISTRICT - PARKING LOT BEHIND BAR -- NIGHT 107
They step out the back door.
HARV
You have the photos on you?
JOHN
Yes. How much?
HARV
Fifteen hundred.
MOUSS steps out of the shadows and cracks John across the
back of the head with a pipe. John stumbles to the ground.
The two men kick the shit out of John. John tries to protect
his face; they just keep kicking.
(CONTINUED)
WHITE 9-10-09 40.
107 CONTINUED: 107
Mouss finally grabs John's hair and flicks a knife in his
face as Harv searches his pockets and finds his money.
MOUSS
I ever see you again, you lose an
eye.
The two men walk away and get into Mouss' van. John lies
doubled up on the ground and eventually tries to stand.
108 INT. BRENNAN HOUSE - BATHROOM -- NIGHT 108
John cleans the cuts on his face with peroxide, adds a Band-
Aid. He stares at his face, letting defeat wash over him.
109 INT. JOHN'S BEDROOM -- NIGHT 109
John deducts $2,000 from the MONEY column.
110 INT. JOHN'S BEDROOM -- MORNING 110
His face purple with bruises, John pulls himself out of bed
in response to the RINGING DOORBELL.
111 INT. BRENNAN HOUSE - FOYER -- CONTINUOUS 111
John limps to the front door and opens it to see Eugenie,
his realtor, standing with a nice couple. They see his face,
try and hide their reactions.
EUGENIE
You did remember I was showing the
house?
JOHN
Give me two minutes.
112 INT. JOHN'S BEDROOM -- CONTINUOUS 112
John tacks two large dark blue sheets up over the wall,
covering his plan.
113 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 113
Eugenie reassures her skittish clients.
EUGENIE
It really is a great neighborhood.
114 INT. GRACE AND GEORGE'S HOUSE -- DAY 114
Grace, John's mother, opens the door and sees John's face.
(CONTINUED)
41.
114 CONTINUED: 114
GRACE
Oh, my lord! What happened?
115 INT. GRACE AND GEORGE'S KITCHEN -- DAY 115
John sits as Grace approaches with iodine and cotton balls.
Through the window he sees Luke playing with the dog.
JOHN
It was stupid, I fell off the bike.
GRACE
The bike that's been in our garage
for two years? Put your head back.
JOHN
Some guy made a crack about Lara.
GRACE
So, that's what you do now: punch
everyone who thinks she's guilty?
JOHN
What's that supposed to mean?
GRACE
It means it's important what YOU
believe, not --
JOHN
Really? So, what do you believe,
Mom?
John stands and opens the back door.
GRACE
Why are you trying to start a fight?
JOHN
(calling out back door)
Come on, buddy!
(to his mother)
Where is his bag?
GRACE
Why are you doing this?!
Luke enters as Grace tries to hide her tears.
JOHN
No reason. I just stupidly thought
people who loved her would actually
believe she's innocent. My mistake.
(CONTINUED)
42.
115 CONTINUED: 115
GRACE
Stop this!
John turns and sees GEORGE standing in the open doorway. He
has heard everything. He gives his son a dismissive look
and walks off towards his bedroom. John feels like a heel.
JOHN
(to Luke)
Give Grandma a kiss.
Luke does, and the two of them leave with his bag.
116 EXT. GRACE & GEORGE'S - INSIDE THE PRIUS -- DAY 116
John gets in and checks his mirror. Luke is staring at him.
LUKE
Does your face hurt?
JOHN
A little.
LUKE
Did you hit him back?
JOHN
No.
LUKE
That's okay.
John pulls away.
117 EXT. HILL DISTRICT -- NIGHT 117
John drives, looking for someone selling fake papers. He
sees Mouss' parked car and slows; Mouss stares at him. John
flashes his middle finger and drives on. Mouss considers
doing something but just flips him off.
118 EXT. HILL DISTRICT - ANOTHER INTERSECTION -- NIGHT 118
John asks a couple of guys on the corner about papers and is
turned away. As he returns to his car, he doesn't notice
MIKE, the long-haired guy from Drake's Bar, watching from
astride his motorcycle. A SECOND RIDER pulls up beside Mike.
John pulls out and the motorcycles follow at a distance.
119 INT. BRENNAN HOUSE -- NIGHT 119
John watches Jenna leave; closes the door, climbs the stairs.
43.
120 INT. LUKE'S ROOM -- NIGHT 120
John sees Luke sleeping, surrounded by his animals. The
doorbell rings.
121 INT. BRENNAN HOUSE -- NIGHT 121
John peers out surreptitiously, sees MIKE standing there.
He rings the bell again.
John runs and snatches a kitchen knife, returns to the door,
secures the chain lock and opens the door a crack.
JOHN
What?
Mike speaks in a loud, atonal and unnerving voice.
MIKE
I was at the bar. I know what you
are looking for.
Caught off guard by the voice, John just stares at him.
MIKE (CONT'D)
I'm deaf, you idiot. I read lips.
John stares at him, unsure what to do.
MIKE (CONT'D)
You really want to talk out here?
John puts the knife in his back pocket and steps out onto...
122 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 122
John tries to look tough. Mike smiles at John's bravado.
MIKE
What do you need?
John indicates Mike should lower his voice.
JOHN
Three passports, a driver's license
and social security number that can
take a credit check.
MIKE
Thirty seven hundred.
JOHN
That's too much.
(CONTINUED)
44.
122 CONTINUED: 122
MIKE
It is if you never get them. I need
photos and a thousand in advance.
John stares at the man, trying to read him. He turns.
123 INT. BRENNAN HOUSE - KITCHEN 123
John pulls cash and an envelope from his jacket pocket.
124 INT. BRENNAN HOUSE - FOYER -- NIGHT 124
Mike counts the money and shoves it in his breast pocket.
MIKE
I'll bring them Wednesday.
JOHN
Not here. Don't come here again.
Mike stares at him. John stares back.
MIKE
Parking lot of Don's. Eckert Street.
Under the bridge; two o'clock. If
I'm not there on time, leave.
John closes the door behind him and watches Mike walk off
toward his motorcycle.
125 INT. BRENNAN HOUSE - KITCHEN 125
He drops the carving knife back in the drawer. As he looks
up, he sees THE SECOND RIDER staring in the window, his helmet
still on. John's heart almost stops. The rider DRIVES OFF.
126 EXT. STREET - UNDER A BRIDGE -- DAY 126
A beat-up old van sits parked on the crumbling sidewalk.
John hands seven hundred dollars to a sketchy-looking guy
inside. The guy hands John a 9MM handgun wrapped in a
oilcloth. John unwraps it and hands it back.
JOHN
Show me how to load it.
127 INT. BRENNAN HOUSE - KITCHEN -- EVENING 127
John and Luke enter the back door. Luke automatically heads
for the living room. John calls after him:
JOHN
No video game.
(CONTINUED)
45.
127 CONTINUED: 127
LUKE (O.S.)
Dad!
John moves to check the answering machine.
JOHN
I'll play checkers with you after
dinner.
LUKE (O.S.)
You'll just lose again.
EUGENIE (V.O.)
(on voicemail:)
John? It's Eugenie. You're not
going to believe it; the people I
brought over? They made an offer!
I'll bring it in the morning.
BEEP.
JOHN
(buoyed/to Luke)
Not tonight. Tonight, I utterly
destroy you.
128 INT. JOHN'S BEDROOM -- NIGHT 128
John watches a video on YouTube: "How to unlock any door."
The person on screen demonstrates how to make a "bump key."
KID ON SCREEN
-- a bump key. First, find any key
that fits into the same make of lock.
129 INT. BRENNAN'S GARAGE -- NIGHT 129
John files down a key, held in the jaws of a vice.
130 INT. BRENNAN HOUSE - BACK DOOR -- NIGHT 130
John inserts the bump key into the door lock, bumps it with
the butt of a screwdriver. The key won't turn.
131 INT. BRENNAN'S GARAGE -- NIGHT 131
He files down the key some more.
132 EXT. BRENNAN HOUSE - BACK PORCH -- NIGHT 132
He inserts the key, bumps it, turns. The lock opens.
46.
133 INT. COMMUNITY COLLEGE - ELEVATOR -- DAY 133
John gets in, heading up to his classroom. People avoid
looking at his face. One woman can't help noticing. John
nods and smiles. He pushes the elevator button and notices
the name: OTIS ELEVATOR COMPANY.
134 INT. COUNTY JAIL - ENTRY HALL -- DAY 134
John scans the room as he waits. Two children play in the
set that is used to teach them how to speak to a prisoner
behind glass using a phone. A moment later, a woman enters
with a large shoulder bag. She is a NOTARY.
NOTARY
Mr. Brennan?
135 INT. COUNTY JAIL - CONTACT VISITING ROOM -- MORNING 135
No other visitors today. A NOTARY sits with Lara and John.
NOTARY
And just put your thumb there.
And Lara puts her thumb print on the book.
NOTARY (CONT'D)
Thanks, that's all I need.
The notary heads for the door. John turns to the female
guard who is waiting.
JOHN
I'll just be a moment.
He turns back to his wife.
LARA
(touching him, melting)
Your poor face. How could you do
that to yourself?
JOHN
I am useless without you. I can't
even ride a bike.
LARA
I think it's very sexy.
JOHN
I'm sorry we had to do this.
(CONTINUED)
47.
135 CONTINUED: 135
LARA
You have nothing to apologize for.
But you should have told me before
this.
JOHN
I know.
LARA
I don't want you not telling me
things.
JOHN
From now on I will.
LARA
(beat)
I won't know where to picture you.
(off his look)
I close my eyes and I see Luke in
his bedroom, you on the sofa by the
Window. I won't know where to picture
you anymore.
136 INT. COMMUNITY COLLEGE - JOHN'S CLASSROOM -- DAY 136
John stares at his laptop as the class does a test. Knowing
he isn't paying attention, a STUDENT angles his multiple
choice test so that his friend behind can see the answers.
137 INT. COMMUNITY COLLEGE - CORRIDOR -- DAY 137
John waits for the janitor to leave his tiny office and grabs
the door before it closes. He slips inside and finds a rack
with keys. He takes one from the hook marked ELEVATORS.
138 INT. BRENNAN'S GARAGE -- NIGHT 138
John files down the elevator key as he did the house key.
139 INT. BRENNAN HOUSE - GARAGE -- DAY 139
John moves aside a box on the shelf and removes the handgun,
wrapped in an old chamois.
PAULA (O.S.)
John?
He turns to see Paula standing in the open garage door.
JOHN
Hi.
(CONTINUED)
48.
139 CONTINUED: 139
John tries to look casual as he stands with the thinly
disguised gun in his hand.
PAULA
I was wondering if I could ask you
to water my plants next week; I'm
going in for an operation.
JOHN
I hope it's nothing serious.
PAULA
My idiot doctor misdiagnosed me.
He's blaming the lab; the lab's
blaming him. But I'll be fine.
Thanks.
And she walks off. John gets in the car and slips the gun
between the seats.
140 INT. PRIUS -- DAY 140
John pulls into the empty parking lot beside Don's and waits.
Checks his watch: 1:49 PM. A car pulls in. The guy sits
there for a second, then gets out and enters the restaurant.
141 INT. PRIUS -- DAY 141
John checks his watch. 2:14. He looks around, knowing he
is supposed to leave. He makes a call.
RECEPTIONIST (O.S.)
English Department, this is Catherine.
JOHN
Hi. It's John. Luke isn't feeling
well, I'm going to take him home. I
need Carl to cover my 2:30 class.
RECEPTIONIST (O.S.)
I will let him know.
142 INT. PRIUS - DON'S PARKING LOT - MANCHESTER -- AFTERNOON 142
John checks his watch: 2:27. His cell phone rings, displays
the name MICK; John presses IGNORE. He feels for the gun
between the seats.
143 EXT. DON'S PARKING LOT - MANCHESTER -- AFTERNOON 143
The guy comes out of the restaurant. John watches him walk
to his car. The man sees him and stares back. John checks
his watch. 2:45. The guy drives off, leaving the lot empty.
(CONTINUED)
49.
143 CONTINUED: 143
John presses the VOICEMAIL button on his phone.
MICK (V.O.)
Are you ever going to answer your
goddamn phone?
Suddenly a man in a helmet raps on his side window and John
realizes MIKE has pulled up without him noticing. His hand
goes to the split between the seats, but stops short as the
SECOND RIDER pulls up to the passenger window.
MIKE
You were supposed to leave.
JOHN
I need them.
MIKE
You notice that guy was a cop?
JOHN
Which guy?
MIKE
The one with the red light in his
back window.
John feels ridiculous. Mike hands him the documents.
MIKE (CONT'D)
Just give me the money.
John hands him the envelope of money. Mike checks it.
MIKE (CONT'D)
You want this too much. You're going
to fuck it up.
Mike speeds off. The second rider gives John a look and
follows. John looks over the passports with their new names.
144 INT. BRENNAN HOUSE - GARAGE -- AFTERNOON 144
Luke gets out of the car and heads into the house, swinging
his lunch pale. John watches him go, then reaches down beside
his seat and pulls out the gun, wrapped in a cloth. He hides
it in the garage and thinks about what he is doing.
145 INT. COUNTY JAIL - ENTRY HALL -- DAY 145
John moves through the line toward the metal detector. He
takes his key ring out of his pocket and slips it, and the
separate elevator bump key, into a white plastic dish and
(CONTINUED)
50.
145 CONTINUED: 145
places it atop the X-ray machine. He steps through the metal
detector and then grabs the plastic dish before the guard can
get to it. He hands the dish to the guard.
JOHN
How are you doing today?
GUARD
Don't touch that.
JOHN
Sorry.
John puts the dish down, and we see the bump key is gone --
John palmed it. The guard dumps John's key ring on the
counter with the keys and cell phones from the other visitors.
JOHN pockets the palmed key as he enters the jail.
146 INT. COUNTY JAIL - CORRIDOR -- DAY 146
John moves down the hall with the fifty or so other visitors.
He eases toward the elevator, keeping his eye on the guard
ahead. By the time the group stops for the door ahead to
open, John's managed to be right beside the elevator.
He folds his coat over his arm to block others from seeing
and feels for the slot. Finding it, he slips in the bump
key. It fits.
The guard at the lead opens the door to the first visiting
room and the crowd starts moving again. John quickly bumps
the key and turns it -- but it won't turn. He bumps it again.
Visitors keep moving past him.
He looks over his shoulder, sees the guard following them is
preoccupied at the door.
He turns it harder. Nothing. He tries to pull it out.
It's stuck. John panics.
The rear guard closes the entry door and follows the crowd.
John tugs at it one last time, and then turns it hard and
snaps it off in the lock. A BLACK WOMAN among the visitors
sees what he is doing but averts her eyes.
John drops the rest of the broken key and kicks it into the
slot between the elevator and the shaft. He slips back into
the crowd and moves on.
Near the rear of the crowd now, John approaches the door to
the visiting room.
(CONTINUED)
WHITE 9-10-09 51.
146 CONTINUED: 146
He throws a look back, sees another guard step up and try to
insert his key in the elevator.
John rounds the corner into the visiting room. The camera
stays on his face until we finally hear A DEAFENING ALARM.
147 INT. COUNTY JAIL - ANOTHER CORRIDOR -- DAY 147
John waits in a line against the wall, beside a door to a
small office. Through the glass he watches the MAJOR
interview the black woman who noticed what he was doing.
She nods and leaves, passing him with a look. The Major
holds the door open for him.
148 INT. MAJOR'S OFFICE -- A SHORT TIME LATER 148
The MAJOR plays John the CCTV video from the corridor. He
flips between two camera positions at either end of the hall.
The crowd of visitors shuffling toward the visiting rooms
obscures the view of the elevator.
MAJOR
So, you are where in here?
JOHN
...In the middle there.
MAJOR
In the middle. Can you point to
yourself?
JOHN
(looks)
It's hard to tell. I think that's
me there. Why?
He freezes the tape and points to a blurry figure in the
background.
MAJOR
So that's not you there. By the
elevator?
JOHN
(looks)
....No.
(points to another person)
I was over here. You want to tell
me what's going on?
MAJOR
You want me to tell you?
(CONTINUED)
52.
148 CONTINUED: 148
JOHN
Yes.
The Major holds the piece of the key that jammed in the lock.
MAJOR
You know what a bump key is?
JOHN
Sorry.
Major puts it on the desk and just stares at John. Finally:
MAJOR
If this was you, you might want to
think about what's going to happen
to your kids if both of their parents
are in prison.
The major stares right through him.
149 INT. COUNTY JAIL - CORRIDOR -- DAY 149
John heads toward the exit, accompanied by a guard. As he
nears the elevator he sees a technician climbing a step
ladder, holding a new CCTV camera.
150 INT. COUNTY JAIL - ENTRY HALL -- DAY 150
Face chalk white, John heads for the exit, fighting the urge
to run. The door opens just before he gets there and Collero
steps in, Quinn holding the door for her. John charges past,
noticing neither of them -- but Quinn recognizes him. Quinn
turns and watches as John doubles over the short wall nearby
and vomits.
DETECTIVE COLLERO
-- The worst date you've ever been
on? This was worse. And this guy?
He really thinks he is doing great.
Then he's driving me home and I know
he's going to try and kiss me, so I
pretend to fall asleep. I mean, I'm
actually snoring, right in his car.
Does that stop him?
John turns and notices Quinn, behind the door, watching him.
They lock eyes. Collero realizes that Quinn isn't paying
attention and wonders what he's looking at.
DETECTIVE COLLERO (CONT'D)
...What?
(CONTINUED)
53.
150 CONTINUED: 150
John turns and walks away. Quinn keeps watching.
DETECTIVE QUINN
Did I tell you not to date cops?
Collero's eyes find John as well. He disappears around the
corner.
151 INT. T-TRAIN -- DAY 151
John rides home, devastated that his plan has failed, and
wondering what he will do. He checks over his shoulder to
make sure he isn't being followed.
152 INT. BRENNAN HOUSE -- DAY 152
John sits on the bare wood floor of the living room. His
head turns as he hears someone POUNDING on the front door.
He throws a look to the garage, thinks about the gun;
dismisses the idea. Then he hears the voice: his brother.
MICK (O.S.)
Let me in, asshole!!
153 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 153
Mick bangs again.
MICK (O.S.)
Open up!
(more banging)
Your car is in the garage, I know
you're in there!
154 INT. BRENNAN HOUSE -- CONTINUOUS 154
John doesn't move. As we pull back we see that the living
room and dining room have been stripped of every bit of
furniture, save an old TV set sitting on a box. John knows
he can't let his brother see this.
The MALE NEIGHBOR in the house to the south opens his door
and looks out and scowls.
MALE NEIGHBOR
What's your problem? He's not home!
MICK
Not home? So you're saying I'm blind?
MALE NEIGHBOR
No, I'm saying you're an idiot.
(CONTINUED)
54.
154 CONTINUED: 154
Mick pounds on the door aggressively. Then just gives up.
MICK
You know what? You're right. I am
an idiot.
And he walks off to his car.
155 EXT. BRENNAN HOUSE -- CONTINUOUS 155
John leans back against the wall, in the middle of the bare
room, and listens to his brother's car start and drive away.
156 OMITTED 156
AND AND
157 157
158 INT. JOHN'S BEDROOM -- EVENING 158
John stands, staring at his wall, now a vast collage, layer
upon layer of photographs and notes. And no answers.
LUKE (O.S.)
...Dad?
159 EXT. PARK -- DAY 159
John sits on a bench, frustrated and lost. Luke trots up.
LUKE
Can I have my cookies?
JOHN
You hungry? You want your sandwich?
LUKE
No.
John hands him two packaged cookies. Luke runs off and hands
them to Carrie. Her attractive young mother, Nicole, sitting
a couple of benches down, calls and draws John's attention.
NICOLE
Carrie!
(to John)
I'm sorry. She just already has it
all figured out.
(John nods awkwardly)
Nicole.
JOHN
I remember.
(CONTINUED)
55.
159 CONTINUED: 159
NICOLE
(knows he doesn't)
Really?
JOHN
(smiles and admits)
I remember your daughter.
NICOLE
She's hard to forget.
(digs in her bag)
Oh, this is for you. Luke was
supposed to bring it home.
Hands him an envelope. He opens it and sees a birthday
invitation with jungle animals on the cover.
JOHN
He has his father's memory.
NICOLE
It's for Carrie's birthday party.
Please come; I'd love to meet your
wife.
JOHN
I'm afraid she can't be there.
...It's complicated.
NICOLE
I understand. With me, too. Carrie,
come on, time for lunch.
(to John)
We're going to the cafe on the corner,
would you like to join us?
JOHN
Oh, we're pretty...you know....
NICOLE
Busy?
John smiles, busted.
NICOLE (CONT'D)
Come on, we owe you for the cookies.
JOHN
That's true. And I made those
cookies.
NICOLE
And learned how to pre-package them.
(CONTINUED)
56.
159 CONTINUED: (2) 159
JOHN
Which requires a considerable amount
of machinery. Come on, Luke.
They walk toward the street, the kids trailing behind.
Neither John nor Nicole speak for a moment.
NICOLE
Do you trade off time with Luke?
JOHN
No. Luke and I are together full
time.
NICOLE
Wow. I guess that's why I see you
so much.
JOHN
She'd like nothing better than to be
here. With him. Lara. She really
misses...all this.
NICOLE
I guess it's all about priorities,
isn't it?
JOHN
No. She's not like that. She'd...
(has to admit)
She's in prison.
NICOLE
Oh.
JOHN
I don't tell most people.
NICOLE
I understand.
JOHN
She's innocent. She didn't kill the
woman.
NICOLE
...Good. I mean, I'm sure she didn't.
Nicole doesn't know what else to say.
JOHN
We should really be getting home.
(CONTINUED)
57.
159 CONTINUED: (3) 159
NICOLE
(feigns disappointment)
Oh, okay.
JOHN
(waving the envelope)
Thanks for the invitation. We'll
try and make it.
NICOLE
That would be great.
John heads back and scoops up Luke. Nicole watches, trying
not to look dumbfounded.
160 INT. BRENNAN HOUSE -- LATE AFTERNOON 160
John and Luke enter, John sorting through the mail. Nothing
from Lara.
161 INT. JOHN'S BEDROOM -- NIGHT 161
John finishes writing a letter on lined paper. He opens his
drawer; it is full of letters in yellow envelopes. He pulls
one out; it is from Lara, on lined paper. He stuffs his new
letter in the old yellow envelope.
162 INT. LUKE'S ROOM -- NIGHT 162
This is the only room that is still furnished. John pokes
his head in, sees Luke on his bed playing by himself.
JOHN
You want to read a letter from Mom?
Luke shrugs as if he doesn't care, but then scoots over in
his bed so that his dad can sit beside him. John does. He
pulls the letter out of the envelope and reads.
JOHN (CONT'D)
Dearest Luke Who I Love, But Not As
Much As Chocolate...
LUKE
She didn't write that.
JOHN
My mistake. Dearest Luke, who I
love so, so much. I wish I could
have walked you home today, it was
so beautiful out.
58.
163 EXT. PAULA'S HOUSE - BACKYARD -- LATE AFTERNOON 163
Luke and John water Paula's vegetable garden.
LUKE
But what's wrong with her?
JOHN
She's not feeling well.
LUKE
Why didn't she just stay home?
JOHN
Because sometimes people get so sick
you have to go to the hospital to
get fixed.
LUKE
How do you know when you're that
sick?
JOHN
The doctors do tests.
Something tweaks. John turns and looks back across the alley,
at his open garage...and remembers their conversation. He
drops the hose and takes Luke's hand.
JOHN (CONT'D)
Come on.
They drop the hose in the garden and walk back to the house.
163A INT. JOHN AND LARA'S BATHROOM -- LATE AFTERNOON 163A
John flings open the medicine cabinet, finds an old bottle
of Lara's insulin. He checks the label.
163B INT. JOHN'S BEDROOM -- NIGHT 163B
John hits a key and a medical article appears: LIFE
THREATENING COMPLICATIONS OF DIABETES.
...Severe Hyperkalemia...extremely high levels of potassium
...cardiac arrest...particularly dangerous as there are no
outward symptoms...
164 INT. JOHN'S BEDROOM - LATER -- NIGHT 164
The camera swirls as John searches the wall and photos of
delivery vans arriving at the jail. Not seeing what he wants,
he charges the desk & rifles through more photos.
(CONTINUED)
WHITE 9-10-09 59.
164 CONTINUED: 164
He finally snatches the photo he's looking for. He turns it
over -- on it is written TUESDAY 9:30 AM. And right over
the phrase FIND THE KEY he pins the photo of a delivery van
from a medical laboratory.
165 EXT. COUNTY JAIL -- MORNING 165
Parked at a distance, John watches from inside his Prius.
Finally, a DRIVER steps out of the jail carrying a tray of
test results. He opens the back door of the van.
166 EXT. STREETS -- DAY 166
John follows the van.
167 EXT. NURSING HOME -- DAY 167
John watches as the driver steps out with a tray, point and
push his key fob, lock the doors and enter the nursing home.
IN THE PRIUS - MOMENTS LATER - John watches his stopwatch.
The driver returns with a tray. John hits the stop button.
1 MINUTE 48 SECONDS.
168 INT. JOHN'S BEDROOM -- NIGHT 168
John Googles: "How to break into a car."
169 INT. KITCHEN -- NIGHT 169
John heats a screwdriver on the open flame of the gas fire,
then places the red hot tip of it on an old tennis ball.
170 EXT. P.M.H. LAB -- MORNING 170
John waits, eating a donut. He sees the driver step out of
Pittsburgh Med Health Lab and walk to his panel van.
171 EXT. STREETS -- DAY 171
John follows the van again.
172 EXT. MEDICAL FACILITY -- DAY 172
Wearing his iPod, the driver steps out with a tray and presses
his key fob; the van chirps and locks. He enters the building
as John steps up to the driver's door.
John checks no one is watching, places the tennis ball over
the key slot and punches the ball flat. The lock pops open.
60.
173 INT. LABORATORY VAN -- CONTINUOUS 173
Shelves line the walls; on them sit plastic trays of envelopes.
John climbs in and finds the tray from ALLEGHENY COUNTY JAIL.
174 EXT. MEDICAL FACILITY -- CONTINUOUS 174
The driver comes back out, heading for the van. He pauses
to flirt with a nurse on her break, but she isn't buying.
175 INT. VAN -- CONTINUOUS 175
John finds the envelope marked "Lara Brennan." He checks
his watch, only 44 seconds have lapsed. He slips the card
out, photographs it with his cell phone and puts it back.
176 EXT. MEDICAL FACILITY -- DAY 176
The driver heads for the van as John opens the back door and
climbs out. Oblivious to his narrow escape, John closes the
door and walks away a heartbeat before the driver gets there.
177 INT. BRENNAN HOUSE -- EVENING 177
John checks his son, who sits on the bare living room floor
playing a video game on the TV, the remaining item.
JOHN
You okay?
Luke nods and shoots somebody.
178 INT. JOHN'S BEDROOM -- EVENING 178
John brings up Lara's form in Photoshop on his laptop and
erases the hand-written numbers in the test results boxes.
179 INT. JOHN'S BEDROOM -- NIGHT 179
John writes numbers in the blank boxes of the medical form.
Then he sits back and worries that he's got it right. Calls:
JOHN
Luke! Time for bed.
180 INT. LUKE'S ROOM -- NIGHT 180
John enters the child's bedroom and stops dead.
The wall over Luke's bed is covered with crayon scribbles,
imitating the chart on his father's bedroom walls.
(CONTINUED)
61.
180 CONTINUED: 180
Luke walks into the room, and steps up beside his father,
staring at the wall. He takes his father's hand, and the
two just stand there in silence.
181 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 181
John waits as the other prisoners enter. Lara kisses him;
looks in his eyes. He sees the despair behind the smile.
JOHN
...What's wrong?
She takes a letter from her pocket.
JOHN (CONT'D)
What is it?
She hands it to him. John reads. His face changes.
JOHN (CONT'D)
No....NO! They can't move you. Not
without notice! Monday isn't notice!
LARA
I was only here through the appeal.
We knew I'd be moved to a prison.
JOHN
Muncy is the other side of the state.
Lara nods. Off John's face, the screen goes BLACK. Read:
THE LAST THREE DAYS
182 INT. REALTOR'S OFFICE -- DAY 182
John stands with Eugenie, the frightened realtor.
JOHN
I don't have two weeks! I need it
tomorrow!
EUGENIE
The title hasn't been cleared --
there is no way that --
JOHN
How much can they give me?!
EUGENIE
Nothing!
John turns on his heel and slams out through the door.
62.
183 INT. JOHN'S BEDROOM -- DAY 183
John stares at the wall -- MONEY is down to $1,497.
He rifles through a drawer, finds a pair of sunglasses.
He snatches a baseball cap from a top shelf.
He tosses a bag on the bed, unzips it and pulls out the gun.
184 EXT. AIRPORT LONG TERM PARKING LOT -- DAY 184
John unscrews the license plate from a dusty black Prius.
He sticks the plate under his jacket, stands and checks over
his shoulder as he walks out of the massive parking lot.
185 INT. BANK AND MALL PARKING LOT -- DAY 185
A quiet neighborhood bank sits in the corner of an outdoor
mall. The Prius pulls into a spot; we dolly over to see the
stolen license plate.
Inside the Prius, John opens the backpack, puts on the hat
and sunglasses and places the gun on his lap. And again he
looks at the bank, tapping his toe manically. A guard opens
the bank door for a departing customer, smiles and heads
back inside. John tightens his grip on the gun, tries to
work up his courage, but ultimately realizes he can't do
this.
Furious with himself, he jams the car into reverse and backs
up without looking. He hears a scream, brakes hard and looks.
A WOMAN screams. John stomps on the brakes. He leaps out
of the car and sees a woman dropping her groceries and
scooping her child up in her arms. Call her ELAINE.
ELAINE
What are you doing?! You almost
killed us!
JOHN
Are you --?
ELAINE
Are you out of your mind?! You don't
look?!
She stoops to grab the few items that fell. He tries to
help.
JOHN
I am so sorry --
(CONTINUED)
63.
185 CONTINUED: 185
ELAINE
Get away! Get away from us!
She stands and runs for her car. John returns to the car
and sits, leaving the door open and the door alarm screaming.
He sits there, letting the failure and his disgust for his
weakness wash over him.
186 INT. COUNTY JAIL - ENTRY HALL -- AFTERNOON 186
John sits in the children's area, waiting for the line of
visitors to get shorter. One look at his face and we can
see how tortured he is. He has his cell phone to his ear:
MEYER (O.S.)
I'm sorry.
JOHN
No, it was a long shot. Thanks.
187 INT. CRIMINAL COURTHOUSE -- CONTINUOUS 187
MEYER
(into phone)
How's Lara?
188 INT. COUNTY JAIL - ENTRY HALL -- CONTINUOUS 188
JOHN
She's okay. Thanks, Meyer.
John hangs up and stands.
189 INT. COUNTY JAIL - CONTACT VISITING ROOM -- AFTERNOON 189
John stands in the corner, staring out through the high,
thick windows. He turns as he hears Lara and other prisoners
coming. He tries to smile, but she knows something is wrong.
LARA
What's wrong?
JOHN
Nothing.
LARA
Is it Luke?
JOHN
No. He's fine. I had Meyer see
what he could do about not getting
you moved.
(MORE)
(CONTINUED)
64.
189 CONTINUED: 189
JOHN (CONT'D)
I told him traveling that distance
would be a hardship on us, that Luke
was already having trouble at school.
Which is true. I haven't been
spending enough time with him.
LARA
You haven't? YOU haven't? God,
John, you are too much. Luke is
having a 'hard time' because mommy
is in jail for murder, not because
daddy doesn't spend enough time with
him! Your father was right, you
don't live in the same world we do.
JOHN
(stung)
That's nice, that the two of you
talk. What world do I live in, Lara?
LARA
I don't know, but it's not the real
one. I am in here for the rest of
my life! And you want me to believe
in some fantasy that -- !
A guard steps up and raps her knuckles on the table to get
their attention. Only John looks up.
FEMALE GUARD
We good here?
JOHN
Yes. Sorry.
Lara lowers her voice a little, but not her intensity. The
guard walks away under:
LARA
Now you come here all long-faced,
like you've let me down. What do
you want me to do, make you feel
better?
JOHN
Got it. I'm sorry.
LARA
And now you're apologizing. You
really are a gem.
(CONTINUED)
65.
189 CONTINUED: (2) 189
JOHN
What do you want from me?
LARA
Nothing. You're too perfect already.
You know you never even asked me if
I did it. If I killed her.
JOHN
(stopped dead)
Because I knew you didn't.
LARA
Then you'd be wrong.
She leans forward and whispers in his ear.
LARA (CONT'D)
I grabbed the fire extinguisher. I
hit her in the face. I heard her
neck snap. You know why I did it?
Because she pissed me off. I threw
her purse in the river. We paid for
dinner with the cash from her wallet.
She sits back a bit to look in his face. Only now, looking
in his eyes, a crack forms in her tough exterior.
LARA (CONT'D)
I'm sorry. I'm actually very sorry.
She stands. The guard opens the door and lets her into the
changing room. John watches, unable to breathe.
190 INT. COUNTY JAIL - CHANGING ROOM -- CONTINUOUS 190
Lara gets one last look at John, through the glass, and then
disappears behind the partition. She sits on the bench,
leans her head between her knees, and breaks into shards.
191 INT. COUNTY JAIL - CORRIDOR -- CONTINUOUS 191
John exits along with all the other visitors, destroyed by
what he has heard, playing out what she said in his head.
Then suddenly he just stops. The crowd keeps moving, leaving
him behind. The guard following the group sees him standing
there. Commands him:
GUARD #2
Sir, you cannot stand there.
(beat)
SIR, you need to exit the building
NOW.
66.
192 INT. COUNTY JAIL - VISITING BOOTHS -- MOMENTS LATER 192
Lara takes a seat on her side of the glass partition. She
picks up her phone and opens her mouth to speak.
JOHN
Shut up. I don't care what you say
or how you say it. I don't believe
you did it and I never will. I know
who you are.
She opens her mouth to object but John slams the phone into
the cradle. She pounds on the window. He just stares at
her. Her eyes well up, and she smiles through her tears.
193 INT. COUNTY JAIL - CORRIDOR -- MOMENTS LATER 193
John steps out and sees the MAJOR waiting with his keys.
They exchange a look.
JOHN
Thank you.
The Major nods and locks the door. John heads out.
194 INT. TOY SHOP -- DAY 194
Luke in his arms, John takes a My Little Pony off the shelf.
JOHN
You think?
LUKE
(already an expert)
Girls love them.
195 INT. GRACE AND GEORGE'S HOUSE -- DAY 195
Grace opens the door. George stands a few steps behind her,
quiet. Grace sees John and is immediately concerned.
JOHN
Hi Mom.
GRACE
What are you doing here?
JOHN
I've got class.
GRACE
Five o'clock at night?
(CONTINUED)
67.
195 CONTINUED: 195
JOHN
Yes.
(kisses Luke)
Bye.
Luke runs in as John walks off.
196 EXT. GRACE AND GEORGE'S HOUSE -- CONTINUOUS 196
John's father watches through the window as his son leaves.
In his gut, George knows something is wrong.
197 EXT. HILL DISTRICT -- NIGHT 197
John sits in his car down the street, watching the corner
where he noticed kids selling drugs.
A car shows up - the same flashy car he saw weeks ago. The
street dealer looks around, runs to the window, makes an
exchange, and then the car drives off again. John checks
his watch and settles in to wait.
198 EXT. HILL DISTRICT -- NIGHT 198
John watches as other cars drive up and score drugs. And
then finally the flashy car cruises up again. John checks
his watch: it has been two hours. Again the street dealer
runs up and hands the driver an envelope. We recognize the
driver -- he is the one from earlier, whom we are going to
call DAVID. He drives away. John follows.
199 EXT. HILL DISTRICT -- NIGHT 199
John follows the flashy car at a distance. It stops at
another corner and something is exchanged. It drives on;
John follows.
200 EXT. HILL DISTRICT - NEIGHBORHOOD -- NIGHT 200
Not the best part of town. It looks rough even for The Hill.
The flashy car parks and David crosses the street.
Half a block back, John turns left at the corner and then
makes a quick right into the alley. He guesses how many
houses from the corner David stopped, gets out and checks
over the fences.
He stops a few houses away when he sees the porch light on a
house flick on. David waits on the dilapidated back porch.
He waves to whoever is watching him through the pinhole and
the light goes out again.
(CONTINUED)
WHITE 9-10-09 68.
200 CONTINUED: 200
John inches closer as the back door opens. David exchanges
a few words with whoever opened it and then packages are
exchanged. The door closes and David walks off the way he
came.
John waits a moment, then moves down the alley, hops the
fence, and sneaks through the twisted bramble of the back
yard. He finds a place to hide, on the ground right beside
the back porch. He pulls out his gun and settles in to wait
between the trash cans, his heart pounding in his ears.
Fade to BLACK. Beat, then: BANG! BANG! BANG!
201 EXT. DRUG DEALER'S BACK YARD -- LATER THAT NIGHT 201
John WAKES to HAMMERING on the door. The porch light flicks
on and John is bathed in bright light -- he didn't realize
he'd fallen asleep. David stands above him on the porch,
holding the screen door open -- if he glanced down there is
no way he wouldn't see him.
John holds his breath and waits. The porch light flicks
off, the locks are unbolted, and finally the thick door opens.
As before, the two exchange words, but now the POUNDING in
John's ears is so loud we can barely hear anything else.
John takes a deep breath and springs to his feet -- knocking
over the trash cans -- and onto the porch!
He smacks David with the gun, grabs him by the hair and jams
him forward into the doorway, preventing the supplier --
ALEX -- from slamming the door on them.
202 INT. ALEX'S HOUSE -- NIGHT 202
Alex releases his BARKING German shepherd and it immediately
attacks David, biting his leg. David screams in agony.
JOHN
(to Alex)
Back up! Get back!
Suddenly a THUG comes barreling in from the kitchen and aims
a sawed-off shotgun at John, who keeps himself right behind
David's head. The dialogue is almost drowned out completely
by the sound of POUNDING in John's ears and David's SCREAMING.
ALEX
-- Shoot them both!
JOHN
-- I'll shoot the dog!
(CONTINUED)
69.
202 CONTINUED: 202
ALEX
-- Shoot the dog!
THUG
-- You shoot the dog, I'll kill you!
John fires into the floor beside the dog.
ALEX
-- You want the police here, asshole?!
JOHN
-- Good idea!
John fires two more shots into the floor.
ALEX
(to thug)
-- Put the gun down!
The thug obeys, rests it against the wall.
JOHN
-- Call the dog off!! Put it away!
ALEX
-- Release!
The dog stops its attack but goes back to barking.
JOHN
-- Put it away!!
(aims gun at it)
PUT IT AWAY!!
Alex reluctantly opens a closet door.
ALEX
In! Get in!
He has to shove the barking dog into the closet.
JOHN
(to thug)
You, too!
THUG
I'm not getting in there!
John fires into the wall!
ALEX
Get in!
(CONTINUED)
70.
202 CONTINUED: (2) 202
And the thug goes in the closet after the barking dog. John
sees the bolt and drives it home, locking the door.
JOHN
-- Give me that chair!
Alex doesn't obey, so David grabs it and hands it to him.
John props it under the handle of the closet door.
JOHN (CONT'D)
Move!
He shoves David forward, closer to Alex.
ALEX
You're dead.
DAVID
I didn't do anything!!
ALEX
You brought him!
DAVID
I didn't bring him!
JOHN
Shut up!
He pushes them both back into the next room; the dog in the
closet never stops barking.
203 INT. ALEX'S KITCHEN -- NIGHT 203
John shoves David to the floor and waves the gun between
them.
JOHN
On your knees! Hands behind your
head!
John catches Alex's eyes darting to the counter. Following
his gaze he finds Alex's revolver on the counter. John grabs
it, flips open the cylinder and spills out the cartridges.
DAVID
I can't kneel!
JOHN
On the floor!
David kneels with great difficulty. Alex calmly does as
he's told, his eyes on John.
(CONTINUED)
71.
203 CONTINUED: 203
John grabs the paper bag out of Alex's hand and opens it,
finds a couple thousand in cash.
JOHN (CONT'D)
Where's the rest?
DAVID
That's twelve hundred dollars!
(emptying his pockets)
Here, take it.
A couple of hundred dollars spill onto the floor.
JOHN
(gun on Alex)
Where do you keep your money?!
Alex scoffs, seeing weakness in John.
ALEX
Yeah, I'm going to give you my money.
JOHN
I'll shoot you!
ALEX
You won't even shoot a dog.
JOHN
Tell me!
ALEX
Shoot the floor again, impress me.
John pistol-whips him and Alex goes down. John holds his
gun to his head while he is on the ground bleeding.
JOHN
I'm going to kill you both.
ALEX
No, I'm going to kill you both.
DAVID
Give him your money!
ALEX
(to David)
Keep your dead bitch mouth shut.
Enraged, John fires a round into Alex's leg. Alex screams.
(CONTINUED)
72.
203 CONTINUED: (2) 203
DAVID
Stop it!!
ALEX
(smiles thru pain)
See? You aren't going to kill me.
That was the worst you can do. So,
now you've done it. Go home. I'll
come find you and kill you.
John looks around desperately. He spots an open bottle of
tequila in the clutter on the counter. He grabs it and pours
it on the floor.
ALEX (CONT'D)
You're wasting some good shit.
Now he pours it on Alex.
JOHN
Yeah, good shit; high alcohol content.
John smashes the bottle on the floor; tequila goes everywhere.
THUG (O.S.)
What's going on?! Let me out!
ALEX
You going to burn me out?
John lights a rag as the thug in the closet continues to
yell and pound. Now calmly:
JOHN
Yeah. That's what I'm going to do.
DAVID
Oh Jesus. Oh Jesus.
JOHN
Your money.
ALEX
(no longer smiling)
This is a meth lab, you idiot!
JOHN
No. It was.
And he tosses the burning rag at the smashed bottle. David
screams as the room explodes in flames.
(CONTINUED)
73.
203 CONTINUED: (3) 203
ALEX
(suddenly desperate)
My kid is upstairs!!
JOHN
-- What??
ALEX
MY KID!!
Without warning, Alex dashes for the front hall. Stunned,
John doesn't shoot. He grabs David by the hair, sticks the
gun in his temple and shoves him into the front hall.
DAVID
Let me go!!
JOHN
Get up there!!
John pushes him up the stairs as a shield, following the
trail of blood.
DAVID
The house is going to explode!
ANGLE ON BACK DOOR
Fire spreads, the thug yells, the dog barks. The shotgun
leans against the wall where the thug left it. The closet
door rocks as the thug kicks. The chair won't give way.
204 INT. ALEX'S HOUSE - SECOND FLOOR -- NIGHT 204
John moves David quickly up the stairs in front of him and
down the hall. They peer into one room, nothing. Into the
next - what is clearly a CHILD'S ROOM.
Alex kneels on the far side of the room, barely visible behind
the small bed, his back to us.
Until he wheels, gun in hand, and FIRES twice.
A bullet strikes David in the chest, the second grazes John's
side. Both men are knocked back into the hall and onto the
floor. John pulls himself out from under David as...
Running on adrenaline, Alex stands and strides forward.
David looks up at him. Alex shoots him again and steps over
him into the hall. He sees John, raises his weapon and....
John fires twice, hits Alex in the chest, knocking him down.
(CONTINUED)
74.
204 CONTINUED: 204
John stands. Alex lies dead, sprawled over David. David
looks around through the roiling smoke:
JOHN
Is anyone up here?!
He steps over Alex and into the room. He checks the closet --
empty of clothes; clearly no child lives here. John turns
to where Alex was kneeling, sees a bureau pushed aside, a
safe crudely installed in the wall lying open, a trash bag
on the floor half-filled with cash.
John drops to his knees and shovels the remaining cash into
the trash bag.
205 INT. ALEX'S HOUSE - BACK HALL -- CONTINUOUS 205
The dog barks; the door SPLINTERS.
206 INT. ALEX'S HOUSE - SECOND FLOOR -- CONTINUOUS 206
John steps over the bodies; sees David looking up at him.
DAVID
Don't leave me. I don't want to
burn. Don't let me burn.
The hall is now thick with smoke. John stares terrified at
the two men, one dead, one dying, and agonizes over what he
knows is a mistake. Cut to BLACK.
207 INT. ALEX'S HOUSE - BACK HALL -- MOMENTS LATER 207
John carries David past the closet just as the thug's boot
kicks a hole in the door. Cut to BLACK.
208 EXT. ALLEY BEHIND ALEX'S HOUSE -- NIGHT 208
John, bleeding himself, shoves the badly wounded dealer into
the back seat. He throws the trash bag into the passenger
seat and slams the door closed behind him. Not even a
heartbeat later THE GERMAN SHEPHERD leaps up and snaps at
the partially open window. John struggles to get the car
turned on and the window up as THE DOG tries to force his
way into the car.
Through the front windshield he sees THE THUG leap over the
back fence, landing sprawled in the alley with the shotgun.
John jams the car into reverse and backs away -- the man in
the back seat screaming for his life, the dog chasing the
car, the thug getting off a shot.
75.
209 EXT. STREET -- CONTINUOUS 209
John swerves wide around the corner, hitting a fire hydrant
and shattering a taillight.
210 INT. PRIUS - DRIVING -- CONTINUOUS 210
John slams the transmission into Drive and speeds off down
the street.
The dog barking disappears. All that's left are the sounds
of the dying man. John keeps throwing looks over his
shoulder.
DAVID
I don't want to die. I don't want
to die.
Now at a safe distance, John pulls over and looks into the
back seat. We don't have to see the body to know he's dead.
John sits there a moment, listening to the sounds of
approaching fire engines. He catches a glimpse of himself
in the rearview mirror before pulling out. Cut to BLACK.
211 EXT. BUS STOP -- NIGHT 211
John's car idles at the curb, his back door sits open. He
steps back into shot from the far side of the Prius, closes
the door and gets in. As he drives away we see David's body
lying on the bench, waiting to be discovered.
212 INT. FAST FOOD JOINT - TOILET -- NIGHT 212
Standing at the sink shirtless, John pours alcohol on the
wound in his side.
He mops up the blood with a wad of paper towels, then applies
a bandage, fresh from the box. He pulls a new shirt and
jacket from a Target bag.
A moment later, now dressed, John stuffs the trash bag full
of cash into his backpack.
213 INT. FAST FOOD JOINT -- NIGHT 213
John steps out of the bathroom, zipping his new jacket. He
barely draws a look from the few customers as he limps out
of the restaurant. Cut to BLACK.
76.
214 EXT. ALEX'S HOUSE -- NIGHT 214
Water streams from the house, the front door and windows
broken by firemen who now pack up their gear to leave.
LIEUTENANT NABULSI strides into shot, drinking a Red Bull,
which he crushes and discards on the porch.
215 INT. ALEX'S HOUSE - SECOND FLOOR -- CONTINUOUS 215
Nabulsi climbs the stairs to find SGT. HARRIS watching the
CSI team work. Nabulsi steps up behind the CSI worker.
LT. NABULSI
(almost a whisper)
Get out of my way.
The man flees like he just saw the prince of darkness.
Nabulsi cocks his head and looks down at the dead man.
LT. NABULSI (CONT'D)
What do we have?
SGT. HARRIS
A miracle. Meth lab in the basement,
the house still standing. Should be
just a crater.
LT. NABULSI
(straddles Alex)
Do we know him?
SGT. HARRIS
Alex Gaidar, history of violence and
drug trafficking.
Nabulsi sees the brightly painted walls of the child's room.
LT. NABULSI
He have a kid?
SGT. HARRIS
Neighbor said wife left with him
last year. Big surprise there.
LT. NABULSI
They type all this blood yet?
SGT. HARRIS
No, but someone left through the back
door bleeding. Zone Three found a
gunshot victim dead on a transit bench.
Nabulsi nods and descends the stairs.
77.
216 EXT. DOWNTOWN STREET -- NIGHT 216
John snips the links of a tall chainlink fence, then turns
and walks back to the Prius.
217 INT. GRACE AND GEORGE'S HOUSE -- NIGHT 217
John eases open his parents' front door and removes his key
from the lock. It's the middle of the night, so he is
surprised to see a light on in the kitchen. He enters,
carrying his jacket and backpack, and places them on a chair.
When he gets to the kitchen he sees his father in his pajamas,
reading a biography and sipping a cup of tea.
JOHN
Hi. What are you doing up?
George shrugs. An uncomfortable silence.
JOHN (CONT'D)
I've come to get Luke.
George nods. After another silence, John starts down the
hall. His father appears in the hallway behind him.
GEORGE
John? Are you alright?
John turns around, surprised.
JOHN
I'm fine.
The two men look at each other for a moment, John leaves the
room.
His father steps into the living room and notices his jacket
falling off the chair. George lifts it to set it right and
sees something is sticking out of the backpack: airplane
tickets and passports.
218 INT. JOHN'S OLD ROOM -- CONTINUOUS 218
John steps into the room that he had as a teenager. Luke
sleeps in the single bed. John sits beside him, touches his
face, then looks around the room, wondering how he got here,
and is overwhelmed.
219 INT. GRACE AND GEORGE'S LIVING ROOM -- CONTINUOUS 219
George slips the tickets and passports out of the side pocket.
We do not see the destination, but he does. He opens the
passport and reads each of the false names.
78.
220 INT. JOHN'S OLD ROOM -- CONTINUOUS 220
John brushes away tears, no idea how he could be acting like
this. He tries to wake Luke.
JOHN
Hey. Hey, buddy.
Not a chance. John checks the old alarm clock: it's just
after three AM. He lies down beside Luke for just a moment.
221 INT. JOHN'S OLD ROOM -- NIGHT 221
John WAKES to the sound of a whistle. He checks the clock.
It's almost five. How could that have happened?
222 INT. GRACE AND GEORGE'S KITCHEN -- NIGHT 222
John helps a sleepy Luke with his jacket, pancake rolled in
his hand. John stands from the table strewn with food.
JOHN
What do you say?
LUKE
Thank you.
JOHN
Give Grandma a big kiss.
LUKE
I'm too tired to kiss.
JOHN
Luke...
GRACE
I'll get lots of kisses next weekend.
(to John)
We want to take him to the Harvest
Festival in Kutztown, where they
have the Clydesdales.
John thinks about saying something, can't. He watches Luke
give Grace a kiss.
LUKE
Thank you, Grandma.
John turns to his father, who stands in the doorway.
His father holds out the jacket in silence. John takes it.
The airline tickets stick out from the inside pocket.
(CONTINUED)
79.
222 CONTINUED: 222
John realizes the tickets have been moved from the bag. He
looks at his father, who gazes back at him in silence. John
can tell by the look in his father's eye that he knows.
JOHN
Bye Mom.
They kiss. John's father stands behind him.
GEORGE
Goodbye.
George grabs his son in an awkward hug. John is shocked.
He pats his father's back. They break.
JOHN
(to Luke)
Let's go.
John leaves. The front door closes. Grace walks away.
223 EXT. DOWNTOWN STREET -- PRE-DAWN 223
John stands in the brightly lit, glass-walled kiosk of a
rental car company, the Prius parked at the curb, as the sun
threatens to break over the horizon.
224 EXT. STREET NEAR ALEX'S HOUSE -- PRE-DAWN 224
Nabulsi kneels beside a fire hydrant, using a shard from a
taillight to scrape at a smudge of flaking black paint.
Harris comes running up, out of breath, from the alley.
SGT. HARRIS
Neighbors saw a guy and a dog chase
a black car down the alley, so that's
probably his. We'll have the
taillight debris at the lab by the
time it opens.
LT. NABULSI
Before.
Nabulsi stands and hands him the large shard of glass.
225 INT. JOHN'S BEDROOM -- MORNING 225
John packs a backpack -- two white lab coats, wire cutters,
a large screwdriver, two rolls of duct tape, the handgun,
insulin vials, etc.
80.
226 INT. BRENNAN HOUSE -- MORNING 226
Luke sits on his bedroom floor, trying to cram a firetruck
into his already full rollerboard.
LUKE
(calls)
Can I carry it?
John appears with a box of trash bags.
JOHN
No. Just what fits in your bag.
John hurries off.
LUKE
....What about my pockets?
JOHN (O.S.)
Or your pockets.
Luke gives up on the truck and moves to his bedside table.
He digs his hand into the small jar of coins his dad gave
him and starts stuffing them in his pants pocket.
A quarter falls and rolls to the middle of the floor.
227 INT. JOHN'S BEDROOM -- MORNING 227
John takes a thick felt marker and writes two numbers on his
wrist, right beside the watch. 15, and under it, 35.
He then turns and stares at his wall, all the photos,
sketches, notes, wondering if he's forgotten anything. He
decides it is too late to worry. He loosens an edge of
wallpaper and starts tearing it all down.
228 EXT. BRENNAN HOUSE - GARAGE AND ALLEY -- MORNING 228
Luke sits in the back seat with their carry-on bags. John
tries to stuff all the garbage bags full of paper into the
back.
He picks the last off the floor and turns and walks out to
the alley. He looks around, then stuffs this final bag into
his neighbor's trash can.
229 EXT. RESIDENTIAL STREET -- MORNING 229
John tosses the last trash bags over the side of the dumpster
that sits in front of a demolished house. As he closes the
tailgate we get a good look at the broken taillight.
81.
230 INT. PRIUS - DRIVING 230
He checks the clock on the dashboard and drives faster, taking
a quick glance at his son to see if he is okay back there.
231 EXT. REAR OF P.M.H LAB -- MORNING 231
John sits in his car in the back alley, watching the parking
lot. The driver comes out carrying trays of test results
and puts them in the back of his van. John grabs the large
wire cutters and screwdriver from his car and hops out. He
takes a few steps to the rear of the one-story building,
pries open the phone box and snips the phone wires.
232 INT. P.M.H. LAB -- AT THAT MOMENT 232
A clerk on the phone is cut off. She jabs the connection
key, does not get a dial tone -- looks to the lights on the
other phone lines and sees them go out as...
233 EXT. REAR OF P.M.H LAB -- AT THAT MOMENT 233
John snips the last wire and hops back into the car. He is
moving before the van exits the parking lot.
234 EXT. NURSING HOME -- MORNING 234
The van driver hops out and heads into the nursing home as
the Prius pulls into the foreground. John turns to Luke.
JOHN
Daddy will just be a minute.
John grabs his tennis ball.
235 INT. LABORATORY VAN -- MORNING 235
John holds his lab results between his teeth as he flips
through the envelopes. He finally finds Lara's envelope,
removes her report and replaces it with this one.
236 EXT. NURSING HOME -- MORNING 236
We watch through the windshield of the Prius as the lab van
drives off in the direction of the prison.
John tugs Carrie's birthday invitation from his pocket, flips
it open, checks the handwritten address.
237 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 237
Harris enters Lt. Nabulsi's cubicle to find him standing.
(CONTINUED)
82.
237 CONTINUED: 237
SGT. HARRIS
Taillight matches any 2004-2009 Prius.
LT. NABULSI
(with a certain disgust)
What kind of a criminal drives a
Prius?
SGT. HARRIS
A socially responsible one?
(avoids Nabulsi's searing
look by reading the report)
Over a thousand of them registered
in the city, seven thousand in the
state.
LT. NABULSI
How many registered to felons?
SGT. HARRIS
Six in the state. Four of them to
embezzlers or white collar criminals,
one to a rapist, one to a murderer.
LT. NABULSI
Guess we start with the murderer.
SGT. HARRIS
She's in prison for life. The rapist
is out.
LT. NABULSI
Find him.
238 EXT. NICOLE'S HOUSE -- MORNING 238
John stands with Luke, who holds a hand-wrapped gift. Luke
knocks at the front door of a lovely small house.
NICOLE (O.S.)
Hello?
They see Nicole in the side yard, spreading a paper tablecloth.
JOHN
...Hi.
They move to help keep the tablecloth from blowing away.
NICOLE
Thanks. Good to see you.
(CONTINUED)
83.
238 CONTINUED: 238
LUKE
(hands her present)
It's a pony.
NICOLE
Those aren't easy to wrap.
(now awkward)
You know the party is at eleven,
right?
JOHN
What time is it?
(checks watch)
Nine. Oh, I'm so sorry, I should
have looked more carefully.
NICOLE
It's no problem.
(to Luke, re: present)
Why don't you go give this to Carrie?
Luke spots Carrie on the back step and runs over.
NICOLE (CONT'D)
Well, I guess you can help.
JOHN
Oh. Actually, I can't stay. I have
to run some errands.
NICOLE
(recovering with grace)
We'll see you later then.
JOHN
Thanks so much.
(a moment)
If....
John looks to Luke and realizes this might be the last time
he sees him.
JOHN (CONT'D)
He...He has my parents' phone number
in his pocket. In case I'm late.
NICOLE
No problem.
John throws one more look at Luke then walks off.
84.
239 EXT. COUNTY JAIL - DELIVERY AREA -- MORNING 239
The driver steps out of the prison and returns to the lab
van carrying his tray.
240 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 240
SGT. HARRIS
(enters with reports)
Rapist is in a wheelchair. Not sure
if that was karma or --
LT. NABULSI
The murderer. Where is she
incarcerated?
SGT. HARRIS
(checks papers in his hand)
County; right here in town.
LT. NABULSI
(after mulling this over)
She have a husband or kid old enough
to drive?
Harris exits, knowing he should have checked.
241 INT. COUNTY JAIL INFIRMARY -- MORNING 241
THE MALE NURSE re-reads the test results. Dr. Lifson
approaches, having been summoned.
DR. LIFSON
What?
MALE NURSE
(handing it to her)
Lara Brennan's bloodwork.
DR. LIFSON
(scans, now concerned)
Get the lab.
He dials.
242 EXT. REAR OF P.M.H. LAB -- MORNING 242
The phone REPAIRMAN is reconnecting the wires, speaking to
the technician who discovered the lines were dead.
PHONE REPAIRMAN
You pissed off somebody, that's for
sure.
(CONTINUED)
WHITE 9-10-09 85.
242 CONTINUED: 242
Close on the wires -- he twists the second last pair, now
connects the last as --
243 INT. COUNTY JAIL INFIRMARY -- CONTINUOUS 243
The MALE NURSE hangs up.
MALE NURSE
Still busy. I'll try again.
DR. LIFSON
(studying bloodwork)
No. Get an ambulance, take her to
University. I'll meet them there.
244 INT. COUNTY JAIL - LARA'S CELL -- MORNING 244
Lara looks up as her door opens, and is surprised to see two
FEMALE JAIL GUARDS with a wheelchair.
245 EXT. COUNTY JAIL -- MORNING 245
The Prius pulls up and John waits and watches. He checks
the clock: it clicks over to 10:00.
246 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 246
SGT. HARRIS
(enters with paper)
Husband. School teacher.
LT. NABULSI
(rising)
You got a home address?
247 EXT. COUNTY JAIL -- MORNING 247
The two female guards pass off LARA to two MALE JAIL GUARDS
who load Lara into an ambulance. JAIL GUARD #1 steps into
the back of the ambulance with her. The ambulance pulls
out, accompanied by a County Sheriff's car. John follows.
248 INT. AMBULANCE - MOVING -- DAY 248
Handcuffed and shackled, Lara stares lifelessly at her GUARD
as the EMT connects the leads of a heart monitor.
249 EXT. CITY STREETS -- DAY 249
Knowing where they are going now, John passes the ambulance
and escort vehicle.
86.
250 EXT. BRENNAN HOUSE -- MORNING 250
Nabulsi peers in the window. Harris comes up the side from
the back.
SGT. HARRIS
No car in the garage. You want to
get a warrant?
LT. NABULSI
Yeah.
Nabulsi reluctantly slips a credit card into the door jam.
Harris looks around to check no one is watching.
251 INT. BRENNAN HOUSE -- CONTINUOUS 251
The front door pops open and Nabulsi and Harris step in.
They quickly see that all the furniture is gone.
252 INT. JOHN'S BEDROOM -- DAY 252
Nabulsi joins Harris, who is staring at the wall where the
wallpaper has been removed.
LT. NABULSI
Get the warrant.
253 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- DAY 253
The sheriff's car and ambulance pull into the underground
entrance. Guard #2 steps from the passenger seat of the
ambulance and surveys the surroundings, shotgun in hand,
before he knocks on the rear door of the ambulance. They
follow procedure in taking the prisoner into the hospital.
The sheriff watches until they are safe inside, then leaves.
254 INT. LUKE'S ROOM -- DAY 254
Nabulsi inspects Luke's room, still fully furnished, the
curious faded crayon drawing on the wall. He spots a couple
of coins on the floor. He picks up a quarter, and flips it.
Harris steps into the room.
SGT. HARRIS
She's being transferred to University
Hospital.
LT. NABULSI
Right now?
SGT. HARRIS
Right now.
(CONTINUED)
87.
254 CONTINUED: 254
LT. NABULSI
...Have them call the escort vehicle.
Tell them we'll meet them at the
hospital in less than ten.
And he pockets the quarter and steps out of the room.
255 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR CORRIDOR -- DAY 255
The EMT and two JAIL GUARDS wheel Lara up to the desk and
hand over her chart.
JAIL GUARD #1
We have Lara Brennan.
The duty nurse checks her chart and nods to a NURSE.
DUTY NURSE
Put her in 7725 and start an IV.
The EMT passes her over to the nurse and leaves. The DUTY
NURSE picks up the phone as they move off down the hall.
DUTY NURSE (CONT'D)
(into phone)
Can you please page Dr. Becsey?
256 INT. UNIVERSITY HOSPITAL - ROOM 7725 -- DAY 256
The nurse wheels her in and GUARD #2 uncuffs her from the
gurney, as GUARD #1 gets a call on his cell phone.
JAIL GUARD #1
Yeah?... We're here: prisoner's
secure, no problems.... Will do.
He hangs up and turns to see John enter, carrying Luke's
backpack, wearing a white doctor's smock. He raises a gun.
JOHN
Put the phone down.
Guard #1 obeys.
NURSE
Oh please, no.
LARA
John??
JOHN
Remove your holsters, put them on
the floor and get on your knees.
(CONTINUED)
88.
256 CONTINUED: 256
LARA
(can't make sense of this)
What are you doing here?
JOHN
DO IT!!
Guard #2 reaches for his weapon; John pistol whips him to
the floor. The nurse cups a hand over her mouth to stifle a
scream.
JOHN (CONT'D)
DO IT NOW!!
257 EXT. STREET -- DAY 257
Harris speeds toward the hospital. Nabulsi is on the radio.
DISPATCHER (V.O.)
Lieutenant, the prisoner is secure;
jail personnel are 10-27, Code 4. A
squad car will meet you at the
entrance.
Nabulsi puts the walkie down and flips on the siren. Harris
reacts.
SGT. HARRIS
She just said --
LT. NABULSI
Run the light.
258 INT. UNIVERSITY HOSPITAL - ROOM 7725 -- DAY 258
A second handgun and holster slides across the floor to meet
the one that already lies by John's feet. The two guards
kneel, facing the far wall. John pulls a roll of duct tape
from the backpack and tosses it to the terrified nurse.
JOHN
Tape their hands and feet.
(when he hesitates)
Do it!!
The nurse tapes the guards' wrists behind their backs.
LARA
You have to stop this.
JAIL GUARD #1
You walk out that door with him and
you will both be killed.
(CONTINUED)
89.
258 CONTINUED: 258
JOHN
Tape their mouths!
John picks up the key and undoes Lara's cuffs.
LARA
No. Stop.
John yanks her clothing and a white smock out of the bag and
tosses them to her.
JOHN
Put it on.
LARA
WHY ARE YOU DOING THIS?!
JOHN
Because we have no other choice!!
Put it on!
(to nurse)
Turn around.
He does, John starts taping his wrists.
JOHN (CONT'D)
Lara, put the clothes on!
LARA
No.
JOHN
NOW!!
LARA
No!
They stare at each other. John offers her his cell phone.
JOHN
Okay. Tell your son you aren't
coming.
LARA
...Where is he?
JOHN
Waiting for you. Tell him you aren't
coming.
LARA
How can you do this to me?
(CONTINUED)
90.
258 CONTINUED: (2) 258
JOHN
Push send. Tell him I'm not coming
back either.
LARA
John --
JOHN
Does it look like I'm going home?!
Tell him he is alone now and his
mother and father aren't coming back!
Lara stares at him with hatred, mutters:
LARA
You son of a bitch.
Lara pulls off her prison garb, standing before them naked
except for her panties. She quite purposely does not turn
away or cover herself, but lets her eyes burn into him.
John presses the STOPWATCH button on his watch and the COUNTER
starts running.
259 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- DAY 259
A squad car pulls up outside the hospital's main entrance.
One officer strides into the Emergency Room while the other
takes a look around the parking lot.
260 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR HALLWAY 260
Lara and John step out into the hall. John's eyes flick to
the Nurse's Desk but he keeps walking. As they pass we notice
DR. LIFSON standing there with Lara's file in her hand. The
Duty Nurse notices as well. It takes a second for Lifson to
understand what is going on. She steps out into the hall
and stares after them.
DR. LIFSON
What are you doing?
John yanks Lara's arm and makes a dash for the elevator,
pulling his gun from his pocket.
The Duty Nurse sees what is happening and bolts down the
hall, throwing open the door to room 7725.
260A INT. HOSPITAL - 7TH FLOOR ELEVATOR LOBBY 260A
The elevator doors are closing as John arrives and jams his
arm in between them. The passengers see the weapon.
(CONTINUED)
WHITE 9-10-09 91.
260A CONTINUED: 260A
JOHN
Get out! Get out!
They scurry out and the doors close. A heartbeat later the
next elevator opens and the cop from downstairs steps off.
261 INT. HOSPITAL ELEVATOR -- DAY 261
LARA
Where's Luke?! Is he safe? Where
is he?!
JOHN
He's safe!
262 EXT. EMERGENCY ENTRANCE -- DAY 262
The unmarked car brakes hard. Nabulsi and Harris stride out
and into the ER, flipping their ID into their breast pockets.
263 INT. HOSPITAL ELEVATOR -- DAY 263
Lara and John barely breath.
264 EXT. UNIVERSITY HOSPITAL - HANDICAP PARKING AREA -- DAY 264
The uniformed officer who stayed outside finds John's black
Prius with the broken taillight parked in a handicapped spot.
He lifts his walkie and CALLS IT IN.
265 INT. UNIVERSITY HOSPITAL - MAIN FLOOR -- DAY 265
Nabulsi jabs the elevator button. He reacts as a HOSPITAL
SECURITY GUARD comes running toward him.
LT. NABULSI
What's wrong?
Before he can answer, the elevator doors open and they come
face to face with John and Lara. John sees their police IDs
and levels his weapon.
Around them, patients and employees scream and run away.
JOHN
Back away!
LT. NABULSI
Don't be stupid. Drop the weapon.
JOHN
Get back!
(CONTINUED)
92.
265 CONTINUED: 265
LT. NABULSI
We have units at every exit. You'll
be shot trying to leave.
JOHN
(to Lara)
Hit the button.
Lara stands frozen.
JOHN (CONT'D)
Hit it!
She presses a button. The doors start to close.
LT. NABULSI
Don't do this.
Doors closed. Nabulsi runs and screams:
LT. NABULSI (CONT'D)
Where are the stairs?!
HOSPITAL SECURITY GUARD #2 leads the way. Nabulsi and Harris
pass him at the door as he yells into his walkie.
HOSPITAL SECURITY GUARD #2
Male and female; white lab coats!
Parking levels!
266 INT. HOSPITAL ELEVATOR -- CONTINUOUS 266
LARA
(freaking out)
Oh please oh please oh please...
JOHN
It'll be okay.
(she keeps panicking)
Look at me! Do what I say; it'll be
okay; I promise.
She stares at him, having never seen him like this before.
JOHN (CONT'D)
Lara?
She nods.
JOHN (CONT'D)
Take the coat off.
93.
267 INT. HOSPITAL STAIRWELL AND P1 LEVEL -- CONTINUOUS 267
Nabulsi, Harris and the guard bound down the stairs into the
lower elevator lobby. Nabulsi sees the doors aren't opening
and runs back to the stairs, meeting the cop from upstairs
on his way down.
LT. NABULSI
Stay here!
HOSPITAL SECURITY GUARD #2
(into walkie)
Parking garage! Get your asses down
here!
Nabulsi and Harris leave them and thunder down the stairs.
268 INT. ELEVATOR LOBBY - P3 LEVEL -- CONTINUOUS 268
The elevator doors open and John tosses the lab coats out
toward a trash can in the direction of the garage. He pounds
the elevator button.
269 INT. P2 LEVEL 269
Nabulsi and Harris burst onto this floor -- see the elevator
doors are closed.
LT. NABULSI
Watch that door!
Harris obeys as Nabulsi flings himself down the next flight.
270 INT. ELEVATOR LOBBY - P3 LEVEL -- CONTINUOUS 270
The elevator isn't closing. John slams the button repeatedly.
He hears Nabulsi's heavy feet on the stairs, angles and aims
the weapon -- Lara can't believe what she's witnessing.
Suddenly the doors close, just a heartbeat before Nabulsi
gets there. Nabulsi spots the discarded lab coats and runs
out into THE GARAGE. He heads for the ramp, scanning the
parked cars.
Getting to the bottom of the ramp he looks up and sees a
SQUAD CAR racing down toward him. As it brakes, Nabulsi
realizes they couldn't have escaped this way; he's been had.
LT. NABULSI
(shouts into walkie)
Who's in the lobby?!
But he only gets static. He charges back toward the stairs.
94.
271 INT. ELEVATOR - LOBBY LEVEL -- CONTINUOUS 271
The doors open. John peers around the corner, hiding his
weapon. No police in the lobby, but through the glass doors
he sees a squad car screeching to a halt. He grabs Lara's
hand and leads her out of the elevator and around the corner.
They weave down a corridor, deeper into the hospital, passing
another cop at the Emergency Desk who has his back to them.
They turn the corner, see a hospital guard running toward
them. John recognizes him as the guard he argued with when
Lara attempted suicide. John stiffens, but the guard runs
past -- looking for a couple in lab coats. They quicken
their steps. The guard stops at the end of the hall and
turns to stare, recognizing them. He lifts his walkie and
speaks.
HOSPITAL SECURITY GUARD #1
Main floor, rear corridor.
John and Lara turn a corner. John spots the SHIPPING OFFICE.
They enter and head for the loading bay.
272 INT. HOSPITAL LOBBY -- CONTINUOUS 272
Nabulsi and Harris break into the lobby, sweating. Officers
run in the front doors toward him. Nabulsi surveys the scene,
realizes they couldn't have gone out the front. He hears a
shout:
HOSPITAL SECURITY GUARD #1 (O.S.)
Back here!
They turn and run in the direction of the voice, turning the
corner and seeing the SECURITY GUARD at the end of the hall,
who sees them coming turns and runs off after John and Lara.
LT. NABULSI
(into radio, on the run)
Get units to Grant Street!
273 EXT. HOSPITAL LOADING DOCK -- CONTINUOUS 273
John punches open the door and they hop down off the dock
and take off for the street.
274 EXT. REAR OF UNIVERSITY HOSPITAL -- CONTINUOUS 274
John tugs Lara across the street, dodging traffic. He yanks
off his jacket and pulls it back on inside-out -- this side
is black and gold.
95.
275 EXT. REAR OF UNIVERSITY HOSPITAL -- CONTINUOUS 275
Nabulsi runs out of the loading dock and into the middle of
Grant Street, HARRIS and the two OFFICERS trailing. Very
few pedestrians right here. Nabulsi looks to his right: a
crowded crosswalk, fans heading through a pedestrian mall to
a Penguins game. He looks to his left: more fans moving
toward the stadium. Almost all of them are wearing team
colors - a sea of black and gold. Nabulsi curses.
276 EXT. NEARBY PEDESTRIAN MALL -- DAY 276
Lara and John weave through the fans.
JOHN
Put your hair down.
Lara obeys without thinking. John checks his watch, then
opens a door. Leaving the throng of fans, he guides Lara
through and down the stairs into the T-Train Subway Station.
277 EXT. UNIVERSITY HOSPITAL -- CONTINUOUS 277
Nabulsi runs to the crosswalk as Harris takes the other
direction. The other two officers take the far sidewalks.
278 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 278
John and Lara quicken their pace. The camera tilts up and
to the glass ceiling.
278A EXT. PEDESTRIAN MALL -- CONTINUOUS 278A
Nabulsi searches the faces in the mall. He looks down through
the station skylight, catches a fleeting glimpse of them. He
runs for the entrance, his walkie flying to his face.
LT. NABULSI
They're on the platform! Block
stations in either direction! Call
the Port Authority. Stop all trains!
279 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 279
John sees a train approaching as they come down the stairs.
Almost dragging Lara, John nudges past slower people to make
it onto the train. Then they wait. The doors don't close.
280 EXT. UNIVERSITY HOSPITAL - MAIN ENTRANCE -- CONTINUOUS 280
Walkie in hand, Harris jumps into their unmarked car and
pulls out. Two SQUAD CARS wail out past him.
WHITE 9-10-09 96.
281 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 281
Above -- Nabulsi sees the train and shoves past commuters.
282 INT. T-TRAIN -- CONTINUOUS 282
John spots him coming, slips the long screwdriver from the
small backpack he's carrying. Lara sees him tighten his
fingers around the grip. The doors finally close just as:
283 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 283
Nabulsi bounds down the stairs. The train leaves the station.
Nabulsi leaps down onto the tracks and chases it.
284 EXT. T-TRAIN STATION -- DAY 284
This station sits above ground. Three squad cars scream up.
The officers clamor out of the cars and run for the platform.
285 EXT. DOWNTOWN STREET -- DAY 285
Harris skids the unmarked vehicle around the corner, heading
parallel to the underground.
286 INT. SUBWAY TUNNEL -- DAY 286
Nabulsi runs down the tracks, the car ahead nowhere in sight.
287 INT. T-TRAIN -- CONTINUOUS 287
The T-Train DRIVER gets an emergency call from the base. He
looks back into the car as IT RISES UP OUT OF THE UNDERGROUND.
Daylight floods the car as the train emerges from underground.
John jams the long screwdriver into the door and PRIES IT
OPEN.
288 EXT. T-TRAIN AND TRACKS -- DAY 288
The wheels SCREECH and the brakes SEIZE. Passengers topple
to the floor. John grabs Lara and they leap out onto the
tracks.
He finds the slit he cut in the tall fence. They slip out
through it, onto the street and into the parking lot beyond.
289 INT. HARRIS' UNMARKED CAR -- CONTINUOUS 289
Harris screams along the road on the far side of the tracks.
He locks up his BRAKES as he sees the stalled T-Train.
WHITE 9-10-09 97.
290 EXT. PARKING LOT - OTHER SIDE OF THE TRACKS -- CONTINUOUS 290
John yanks off his jacket as they jump into the rented SUV.
John calms his racing heart, drives away and turns the corner.
291 EXT. T-TRAIN TRACKS -- CONTINUOUS 291
Harris leaps from his vehicle and runs to the fence on his
side of the tracks -- it is ten feet tall with razor wire,
no way over it. He sees:
Nabulsi charge up out of the tunnel. He jumps into the
stalled train car, looks around, doesn't see John and Lara.
292 EXT. TUNNEL UNDER RIVER -- MORNING 292
The SUV comes up out of the dark and drives away from the
city center, as a police helicopter swoops overhead, going
the opposite direction.
293 INT. RENTED SUV -- MORNING 293
John checks the counter, still running on his watch. 11:05.
He wets his thumb and rubs his wrist until the 15 is erased.
All that remains now is the second number: 35. They merge
into traffic heading toward the suburbs.
294 EXT. T-TRAIN TRACKS -- MORNING 294
Nabulsi pushes through the hole in the wire. Harris runs
across the tracks with his jacket off, having scaled the
fence on the far side.
LT. NABULSI
(into walkie)
Ring the city. Train and bus
stations. Get their descriptions to
the State Police.
(to Harris)
How old is their kid?
SGT. HARRIS
Six.
LT. NABULSI
Let's find out where he is.
295 INT. SUV - DRIVING -- MORNING 295
LARA
Why didn't you tell me?
(CONTINUED)
98.
295 CONTINUED: 295
JOHN
You would've stopped me.
He nods toward the glove box
JOHN (CONT'D)
There's a case in there. Brush,
moisturizer, makeup. Everything you
had was old. I hope I got it right.
She opens the glove box, unzips the case, and is touched by
this small gesture.
296 INT. POLICE STATION - HOMICIDE DIVISION -- DAY 296
Detective Collero, who we last saw when they arrested Lara,
stops by Detective Quinn's cubicle.
DETECTIVE COLLERO
You want to take a guess who just
escaped from jail?
297 EXT. NICOLE'S HOUSE -- MORNING 297
Lara sits in the SUV at the curb. John waits at the door.
It is opened by BRENDA, Nicole's mother.
BRENDA
Hello.
JOHN
Hi. I'm here for my son.
BRENDA
Oh, they aren't back yet.
JOHN
Back from where?
BRENDA
The zoo.
JOHN
...The zoo?
Finds an invite and hands it to him. The back clearly says
they are going to the zoo.
BRENDA
It's a zoo party.
(in case he's worried:)
They ate first.
(MORE)
(CONTINUED)
99.
297 CONTINUED: 297
BRENDA (CONT'D)
They should be back in about an hour.
Would you like to wait?
JOHH
No. Thank you.
John turns and walks back to the SUV. Brenda watches for a
moment, made curious by his behavior.
He gets into the vehicle. Lara is in a panic.
LARA
What's wrong?
John punches ZOO into POINTS OF INTEREST on the GPS.
LARA (CONT'D)
Where's Luke?
JOHN
He's at the party.
He sneaks a look at his stopwatch: 24 MINUTES and counting.
LARA
What party? You said the party was
here.
JOHN
I was wrong. She took them to the
zoo.
The GPS comes up with an address. John punches a button.
LARA
(can't help herself)
She?
GPS VOICE
Estimated drive time: seventeen
minutes.
JOHN
Carrie's mom. Nicole.
He drops the transmission into gear and speeds off.
298 EXT. BRENNAN HOUSE -- MORNING 298
A squad car is waiting, another arrives. Harris pulls up
and strides toward the house.
(CONTINUED)
100.
298 CONTINUED: 298
SGT. HARRIS
Canvas the neighbors. We're looking
for the boy and anything they've
noticed in the last few days.
299 EXT. CITY STREETS -- MORNING 299
John drives like a man possessed.
300 INT. SUV - DRIVING THROUGH INTERSECTION -- MORNING 300
John brakes as he spots a State Trooper vehicle at an
intersection. As he keeps an eye on the rearview mirror,
the squad car puts on its flashers, turns and follows them.
John's hands tighten on the wheel. He keeps the speedometer
at 35, praying he's not their target.
The police vehicle passes them and takes off fast down the
four lane street.
John breathes again and drives on. He checks the stopwatch -
29 minutes flicks to 30. He pushes the button on the GPS.
GPS VOICE
Time to destination: eleven minutes.
Lara sees him sweat, unaware of the significance of the time.
301 EXT. STREETS -- DAY 301
The SUV swerves around a corner, heading into the outskirts
of town.
302 INT. SUV - FOUR LANE STREET -- DAY 302
John's eyes flick to his stopwatch: 32 minutes flicks to 33.
Signs appear quickly now. Interstate: Keep Right; Zoo: Next
Left.
John keeps driving, hoping somehow that he won't have to
make this choice -- their freedom, or their son.
Too many questions rage across his face. Perhaps they can
escape and his parents can somehow arrange to get Luke to
them. Or perhaps Luke would be better off with his
grandparents after all.
Then there it is:
The sign to the interstate points to the entrance ahead on
the right.
(CONTINUED)
101.
302 CONTINUED: 302
The sign to the Zoo sits behind it, pointing to the next road
on the left.
34:02, 34:03, 34:04...
John takes the freeway ramp.
303 EXT. INTERSTATE -- CONTINUOUS 303
The SUV climbs up the on-ramp, leaving the city behind.
304 INT. SUV - DRIVING -- CONTINUOUS 304
LARA
You took the wrong turn! It's back
there.
No response. Lara looks back over her shoulder, wondering
if this is some kind of shortcut.
LARA (CONT'D)
The zoo is back there. You're going
the wrong way!
(no response)
It's back there!
(no response)
WHAT ARE YOU DOING?!!
JOHN
She'll call my parents.
LARA
What??
JOHN
They'll take care of him, I will
figure out how to get him to us.
LARA
Are you out of your mind!
JOHN
I tried!! There's no more time!!
Any second now there's going to be a
roadblock ahead! It might be there
now!! If we don't get out now we
don't get out!!
Lara sits back in her seat, stunned and horrified, as John
continues.
(CONTINUED)
102.
304 CONTINUED: 304
JOHN (CONT'D)
I promise. I promise I will find a
way to get Luke to us. I will find
some way.
Lara unsnaps her seat belt. She reaches for the door latch.
John sees her pull the door and GRABS her by the shirt as he
slams his foot on the brakes!
The tires SCREAM, the SUV skids into an uncontrolled turn.
Horns blare. Cars behind them swerve to avoid collision.
John holds Lara in her seat as the SUV flies around in a
circle and finally comes to a dead stop on the shoulder,
miraculously facing in the right direction.
John allows himself to breathe. He lets go of Lara's shirt.
She opens the door and steps out.
John closes his eyes and tries to gather himself back
together. He opens his door and steps out.
305 EXT. INTERSTATE HWY - SHOULDER -- DAY 305
John sees the big rig truck driver look back from where he's
pulled over. John nods to him that everything is okay and
comes around the bumper to find Lara sitting on the gravel
shoulder, leaning against the back tire, staring out at the
field beyond. He sits beside her in silence.
Behind them the cars whip by. No one even thinks to stop to
see if they need help.
Lara and John watch a cow in the farmer's field.
There is nothing for either of them to say, they both know
how they got here.
Their hands sit on the gravel between each other. Without
looking at him, Lara tentatively entwines a single finger
with his. He slowly gathers strength from her touch.
306 INT. SUV - ON THE SHOULDER -- MOMENTS LATER 306
They close the doors, and John starts the engine and they
drive forward. John takes the first exit.
307 EXT. BRENNAN HOUSE - ALLEY -- DAY 307
A garbage truck is just pulling up as Paula shows Harris and
an officer her recycling bin. They pull out John's
overstuffed trash bag.
103.
308 EXT. ZOO ENTRANCE -- DAY 308
Lara sits in the SUV by herself, watching the entrance.
309 EXT. ZOO -- DAY 309
Nicole, surrounded by a dozen six year-olds, passes Luke off
to John.
JOHN
No, it really is fine. I can't thank
you enough for taking care of him.
NICOLE
It is our pleasure. Wasn't it,
Carrie?
John and Luke turn and walk toward the exit.
310 EXT. ZOO ENTRANCE -- CONTINUOUS 310
Lara turns and sees John and Luke walking toward her.
LARA
Hi.
LUKE
Hi.
LARA
Did you have a nice time at the party?
LUKE
Yeah.
Lara walks him to the car, as if this day is no different
than any other.
LARA
What was your favorite thing?
LUKE
Ice cream cake.
She lifts him into his seat and buckles him in.
LARA
They had ice cream cake here?
LUKE
At Carrie's house.
(CONTINUED)
104.
310 CONTINUED: 310
LARA
Oh. What flavor?
LUKE
Lots of flavors.
LARA
My favorite.
John starts the car.
LARA (CONT'D)
I'm going to sit back here, okay?
JOHN
Sure.
Luke plays with a toy. Lara closes the door behind her.
She looks out the window and sees:
NICOLE standing at the entrance, looking at her.
Not exactly sure why she does it, LARA offers her a grateful
smile.
NICOLE watches them pull away, confused about what she should
do.
311 INT. SUV - ZOO PARKING LOT EXIT -- CONTINUOUS 311
John drifts up to the stop sign at the intersection. A sign
points out the interstate to the left -- and he can see the
overpass and freeway entrance; the business district to the
right. He checks his watch: 48 minutes. He resets it to
zero. Game over.
He switches on the radio and searches for NEWS.
Luke taps Lara on the shoulder. She leans down.
LUKE
I think we're going to the cottage.
LARA
Really?
He nods knowingly.
LUKE
I have money.
Lara almost loses it; smiles.
(CONTINUED)
105.
311 CONTINUED: 311
LARA
Good. Then I'll stick close to you.
LUKE
Okay.
John finds the news station.
NEWS RADIO
-- Traffic down to two lanes at the
tollbooths. And downtown is worse.
Stay away from the train station if
you are trying to get anywhere. Not
sure what is happening but a KPGH
caller says trains aren't moving and
commuters are getting irate.
(etc.)
LARA
John?
(no reply)
What are we going to do?
JOHN
(finally)
We're going to the train station.
John turns right, heading downtown.
312 INT. POLICE STATION -- DAY 312
Detective Quinn spots Harris fly in carrying a brimming green
trash bag. Quinn jumps up and follows him into the SITUATION
ROOM. COLLERO hurries to catch up.
Harris dumps the contents onto the conference table as she
enters. Quinn immediately dives into the contents. HARRIS
and COLLERO share an awkward look.
SGT. HARRIS
(smitten)
Hi.
DETECTIVE COLLERO
(casting her eyes down)
Hi.
She and Harris dig into the crumpled papers and photos.
DETECTIVE QUINN
(to Collero)
You're not going to nod off, are
you?
(CONTINUED)
106.
312 CONTINUED: 312
Collero gives Quinn a burning look. Nabulsi enters.
313 EXT. TRAIN STATION -- DAY 313
John double-parks and pulls on a ball cap. Traffic is
snarled, the place is awash with police and squad cars.
Hundreds of people mill out front.
JOHN
Stay in the car.
John puts on his sunglasses and walks right through the middle
of it all. Lara watches, certain he will be spotted and
arrested.
John steps onto the crowded sidewalk outside the front doors.
He speaks to a large woman; she shakes her head. He goes on
to speak to a black couple, who apparently aren't interested.
He approaches an elderly couple.
314 EXT. INTERSTATE -- DAY 314
The SUV heads up the on-ramp.
315 INT. POLICE STATION - NABULSI'S OFFICE -- DAY 315
Nabulsi is on the phone, catching hell from his Captain, who
has had an earful from his counterpart in the State Police.
LT. NABULSI
I understand....I understand. I
didn't tell them to stop EVERY
vehicle. Just the ones with a couple
and a young child.
He hangs up, takes the quarter from his pocket and spins it
on his desk.
316 INT./EXT. FREEWAY TOLLBOOTH -- DAY 316
John spies the tollbooth ahead, traffic down to two lanes.
The ELDERLY MAN beside him has a small bag on his lap.
ELDERLY MAN
Are you sure twenty dollars is enough?
Ticket to Buffalo costs three times
that.
And now we notice the man's WIFE sitting in the back seat,
with Luke and Lara. John pays the toll.
(CONTINUED)
107.
316 CONTINUED: 316
JOHN
(re: SUV)
This thing is very good on gas.
A State Trooper waves them toward the booth.
The trooper ahead checks them out and waves them on. They
are free.
The same trooper stops the car behind them -- in it, a couple
with a child.
317 INT. POLICE STATION - NABULSI'S OFFICE -- DAY 317
DETECTIVE COLLERO
Every one in the state.
LT. NABULSI
Go wider. Send their photos to every
train, bus station and airport in a
three hundred mile radius.
DETECTIVE COLLERO
(looking at her pad)
So, Ohio, Maryland, West Virginia,
New York, New Jersey, Virginia,
Michigan, Kentucky and Indiana?
LT. NABULSI
You know what direction they are
going, smart ass?
DETECTIVE COLLERO
Captain, a lot of these places barely
have fax machines.
LT. NABULSI
Then start dialing.
(as they exit:)
Prioritize. Closest airports first.
Nabulsi spins the quarter again, staring at it as if it will
give him the answer.
318 EXT. DOWNTOWN BUFFALO -- AFTERNOON 318
The Brennans drop off the elderly couple. John waves, drops
his gun in the trash can, gets back in and drives away.
319 INT. POLICE STATION - SITUATION ROOM -- LATE AFTERNOON 319
Harris and Collero finish recreating a portion of John's
wall, complete with wallpaper.
(CONTINUED)
108.
319 CONTINUED: 319
Harris steps out into the HALL, passing an INTERVIEW ROOM.
Behind the glass he sees QUINN grilling MICK. Harris keeps
going into Nabulsi's office. Nabulsi sits, spinning the
coin, jacket off, shirt untucked.
SGT. HARRIS
You want to see it?
LT. NABULSI
Only if it will tell me where they
are.
SGT. HARRIS
Not so lucky.
Nabulsi flattens the coin. Something makes him stare at his
fingers. He moves his hand, revealing a Canadian quarter.
LT. NABULSI
How far is it to the Canadian border?
SGT. HARRIS
Four, five hours?
LT. NABULSI
(rising)
Collero!!
320 EXT. PEARSON INTERNATIONAL AIRPORT - TORONTO -- EVENING 320
The SUV takes the freeway exit and climbs the ramp.
321 INT. POLICE STATION - SITUATION ROOM -- EVENING 321
Nabulsi comes out of his office, passing a waiting ERIT.
ERIT
Excuse me? You call this coffee?
Nabulsi shakes that off and enters the SITUATION ROOM. Every
phone at the table is manned, all having the same conversation:
SGT. HARRIS
I'm calling from the Pittsburgh Police
Department. We have a fugitive
warrant for Lara and John Brennan,
they are most likely traveling with
their six year-old son, and we have
reason to believe they might be flying
out of your airport.
Collero hangs up from her call and looks to the next number.
(CONTINUED)
109.
321 CONTINUED: 321
LT. NABULSI
How many airports in Ontario and
Quebec?
DETECTIVE COLLERO
Should I stop calling and count?
Nabulsi gives her a look. Collero dials.
SGT. HARRIS
Yes, we are sending you photographs.
We would appreciate it if you could
disseminate them....How many terminals?
DETECTIVE QUINN
(bursts in)
I got his parents!
321A OMITTED 321A
AND AND
322 322
323 INT. PEARSON INTERNATIONAL AIRPORT - TORONTO -- EVENING 323
The Brennans enter, pulling their carry-on bags.
324 INT. PEARSON -- CHECK-IN DESK -- EVENING 324
AIR CANADA CLERK
(as she types)
Long way to go with just carry-on.
JOHN
(smiles)
You know how many times you've lost
our bags?
AIR CANADA CLERK
I hear you.
325 INT. TORONTO INTERNATIONAL AIRPORT -- NIGHT 325
John and Lara wait for Luke to step through the metal
detector. The alarm sounds. John and Lara react as the
security agent takes Luke into the glass isolation booth.
326 INT. POLICE STATION - INTERVIEW ROOMS -- NIGHT 326
Collero questions Grace on the other side of the glass. She
appears devastated.
(CONTINUED)
110.
326 CONTINUED: 326
DETECTIVE COLLERO
So, you just decided to go for a
drive, for the entire day?
GRACE
George wanted to see the leaves.
Track to the next room, where Nabulsi questions George.
LT. NABULSI
So you have absolutely no idea where
they are going?
GEORGE
I told you. We never spoke.
George stares Nabulsi down.
327 INT. TORONTO INTERNATIONAL AIRPORT -- NIGHT 327
A female security agent searches Luke, digs a handful of
Canadian quarters out of his pocket. John's heart races.
328 INT. TORONTO AIRPORT - PASSPORT CONTROL -- NIGHT 328
The Brennans approach passport control. Lara glances at
John, sees he is sweating and red. She slips her hand into
his and takes the passports.
LARA
I'll do this.
She turns and smiles at the officer, putting on all her charm.
LARA (CONT'D)
Hello.
He remains stern-faced. Taking their passports, he examines
them against PHOTOGRAPHS on his computer screen. He looks
at them, looks at the passports again, then finally waves
them through.
LARA (CONT'D)
Thank you.
As they step away, the passport officer turns, sees his
replacement waiting. He stands and exits to take his break.
The SECOND PASSPORT CONTROL OFFICER takes his seat and motions
for the next traveler to approach. As they do an ALERT comes
on his computer screen. He taps on it -- and up comes
photographs of LARA and JOHN.
(CONTINUED)
111.
328 CONTINUED: 328
He notes them, taps the screen again and the two take their
place beside the others on the watch list. He motions for
the traveler to hand over her passport.
ANGLE ON THE BRENNANS
walking away.
329 INT. POLICE STATION - SITUATION ROOM -- NIGHT 329
The phones are quiet. Alone, Harris stares at the portion
of the wall that he assembled. Collero enters.
DETECTIVE QUINN
Too bad you didn't find more of it.
SGT. HARRIS
Yeah. And wish I could figure out
where this is.
He points to a small torn photo, taped back together.
SGT. HARRIS (CONT'D)
I checked websites for every tourist
destination I could --
DETECTIVE COLLERO
That's the presidential palace.
(Harris turns & stares)
It was all over CNN. When they
deposed...what's-his-name.
330 INT. POLICE STATION - NABULSI'S OFFICE -- NIGHT 330
Harris bursts in.
SGT. HARRIS
We know where they're going!
331 INT. TORONTO AIRPORT - GATE B-15 -- NIGHT 331
John and Lara sit, waiting to board, Luke asleep.
AIR CANADA ATTENDANT (V.O.)
We'll now begin boarding by rows.
331A INT. TORONTO AIRPORT - SECURITY OFFICE -- NIGHT 331A
An AIRPORT SECURITY CHIEF snatches photos of Lara and John
out of the printer and bolts out of the office, joined by
two other OFFICERS.
112.
332 INT. TORONTO AIRPORT - JETWAY -- NIGHT 332
John, Lara and Luke walk down the jetway, until they are
stopped by the crowd of passengers before them. John tries
not to show how nervous he really is.
332A INT. TORONTO AIRPORT - GATES -- NIGHT 332A
Airport Security runs up to the gate and pushes past the
boarding passengers, searching their faces. The Airport
Security Chief strides past the passengers and onto the
jetway, the pages of photographs in his hand.
333 INT. POLICE STATION - SITUATION ROOM -- NIGHT 333
Nabulsi waits in silence on the other end of a phone. The
room is full, no one speaks.
334 INT. TORONTO AIRPORT - JETWAY -- NIGHT 334
A second AIRPORT SECURITY OFFICER squeezes along the wall,
passing the waiting passengers. We pan to see Luke's brightly
colored roller-board. Our hearts stop; it is all over.
335 INT. POLICE STATION - SITUATION ROOM -- NIGHT 335
Nabulsi waits on the other line for an eternity. Finally:
AIRPORT SECURITY CHIEF (O.S.)
Sorry. There is no one by their
description on the flight.
LT. NABULSI
They're on it. Do you have the
photographs?
335A INT. TORONTO AIRPORT - JETWAY -- NIGHT 335A
The young AIR CANADA FLIGHT ATTENDANT kneels to help the
child with the colorful rollerboard -- we see it's a FIVE
YEAR-OLD GIRL.
AIR CANADA ATTENDANT
Can I take this for you?
AIRPORT SECURITY CHIEF (V.O.)
We have the photographs. They aren't
on this plane.
336 INT. TORONTO AIRPORT - GATE 32 -- CONTINUOUS 336
Now see the GATE NUMBER and destination: PORT-AU-PRINCE.
(CONTINUED)
113.
336 CONTINUED: 336
AIRPORT SECURITY CHIEF
(listens, turns to attendant #2)
Are there any other flights to Haiti
tonight?
337 INT. POLICE STATION - SITUATION ROOM -- CONTINUOUS 337
AIRPORT SECURITY CHIEF (O.S.)
No other flights. Anything else?
LT. NABULSI
....No. Thank you.
Nabulsi hangs up, defeated. Quinn stares out the window,
deep in thought.
DETECTIVE QUINN
It's starting to rain.
Nabulsi looks at him as if he's nuts.
DETECTIVE COLLERO
I'll call the FBI.
Collero exits, Quinn turns and looks at the partial "wall."
DETECTIVE QUINN
You ask yourself why we found this
bag and not the others?
338 INT. AIRPLANE -- NIGHT 338
Lara looks up from her son, sees her husband staring out the
window at the darkness beyond. Ding.
AIR CANADA ATTENDANT (V.O.)
The captain has switched off the
seat belt light. Flight time to
Caracas, Venezuela this evening is
five hours and fifteen minutes.
While in your seat, the captain asks--
339 INT. POLICE STATION - SITUATION ROOM -- NIGHT 339
Now it's just Harris and Nabulsi, staring at John's wall.
LT. NABULSI
This guy was a teacher?
SGT. HARRIS
At a community college.
114.
340 INT. GRACE AND GEORGE'S KITCHEN -- DAWN 340
Sitting in his pajamas, George flips open an ancient atlas
and runs his finger down across the Gulf of Mexico to Caracas,
Venezuela. And he thinks of his grandson and smiles.
341 EXT. VENEZUELAN COUNTRYSIDE (HELICOPTER SHOT) -- DAY 341
A taxi snakes along a mountain road, through the dense forests
of Venezuela.
342 INT. TAXI - DRIVING - MOUNTAIN ROAD -- DAY 342
Exhausted but awake, John stares out the window at the
coastline below. Lara and Luke sleep beside him.
343 EXT. LARA'S OFFICE BUILDING - PARKING LOT -- DAY 343
More rain. Detective Quinn squats in the covered parking lot,
staring at the spot where the crime took place. Flash to:
344 EXT. PARKING GARAGE - THE PAST -- NIGHT 344
Elizabeth turns at her car, is slammed in the head with the
extinguisher and she falls dead.
The extinguisher is tossed to the floor and rolls.
A YOUNG FEMALE JUNKIE yanks at Elizabeth's purse, getting
blood on her hands before she frees it. She looks like a
junkie. She runs off toward the sidewalk.
344A QUINN - IN THE PRESENT 344A
Turns and sees...
344B LARA - IN THE PAST 344B
She hurries along the sidewalk to get out of the rain.
Turning the corner into the garage she COLLIDES with the
JUNKIE. Lara's purse catches the woman's coat.
The JUNKIE puts her hand on Lara's shoulder, leaving a SMUDGE
OF ELIZABETH'S BLOOD on Lara's raincoat. She tugs free. A
BUTTON from the woman's coat POPS OFF and hits the sidewalk.
Lara turns and yells "Hey," then keeps going.
She is about to get in the car when she sees the fire
extinguisher in front of her left wheel. She picks it up,
turns, annoyed. She places it down by the wall.
(CONTINUED)
115.
344B CONTINUED: 344B
Lara gets in her car and drives off, oblivious to Elizabeth's
body lying on the concrete floor on the passenger's side.
Her co-worker sees her drive off as he steps into the garage.
He spots the body and turns and looks after Lara's car.
345 EXT. LARA'S OFFICE BUILDING - PARKING LOT -- DAY 345
Quinn puts his used gum in a wrapper. COLLERO watches from
the car as her partner walks to the corner of the building.
QUINN steps up to where the two women collided and looks
down at the sidewalk.
DETECTIVE QUINN
Was it raining when we searched the
crime scene?
DETECTIVE COLLERO
Three years ago?? What are we doing
here?
Quinn drops his gum wrapper onto the sidewalk. It hits a
stream of water coming out from a rain gutter and washes
away. Quinn watches it -- then follows... Collero shakes
her head, grabs a newspaper to keep the rain off and follows.
The gum wrapper washes over the curb into the gutter and
travels to the storm drain a half a block away.
Quinn gets there, kneels.
DETECTIVE QUINN
Act like a cop. Grab the other side.
DETECTIVE COLLERO
You're out of your mind.
Quinn jerks the grate up. Collero grabs the other side and
helps him lift.
They stare down into the hole. Quinn runs his hand along
the lip, digging up the mud and sediment...finds nothing.
DETECTIVE COLLERO (CONT'D)
You really thought you were going to
find it?
Collero wipes her hands on a tissue as Quinn stares down the
hole a little longer, then lets the grate fall.
(CONTINUED)
116.
345 CONTINUED: 345
CLOSE ON INSIDE LIP OF STORM DRAIN
Just before the grate clangs we see JUNKIE'S JACKET BUTTON,
squeezed between the grate and the wall.
346 EXT. TOWN SQUARE - SOUTH AMERICA -- EVENING 346
The taxi crosses the ancient square of a small town.
347 INT. COLONIAL HOTEL -- EVENING 347
The room has two single beds. John waits at the bathroom
door. Lara steps out, a real awkwardness between them.
She touches his hand. He offers a smile. She slips past
him. He steps into the bathroom and closes the door. Lara
lies down on the single bed furthest from the bathroom, face
to face with her sleeping son.
Without warning, he kisses her on the cheek, for the first
time, without being prodded. He turns around and lets her
wrap her arms around him. And she almost dies of happiness.
348 INT. HOTEL BATHROOM -- CONTINUOUS 348
John washes, trying not to look in the mirror, not wanting
to glimpse the man he has become.
349 INT. HOTEL ROOM -- NIGHT 349
Lara and Luke sleep, spooning. John sits on the other bed.
He picks up the TV remote and flips through Spanish language
stations. And there it is: CNN in English. Sports right
now, but John knows there is no place they can hide.
350 INT. BAR -- DAY 350
Damon takes the money from John's wallet, leaves him with a
twenty.
DAMON
Good luck.
Damon leaves him there. As John wonders if he is capable of
doing this, we cut to BLACK. Read:
THE NEXT THREE DAYS.
Hear: Knock knock. Roll credits.
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