The Internet Movie Script Database (IMSDb)

The web's largest
movie script resource!

Search IMSDb

# A B C D E F G H

Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western


TV Transcripts
South Park
Stargate SG-1
The 4400

French scripts

Latest Comments


                         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.                

               You know what? If you were smart
               you would stop talking right now.

               Sue me. I just know that women should                     
               never work for women.

    John laughs and applauds.   Mick buries his head.                    

               How can you say that??

               They're always threatened. Especially
               if you're beautiful and they're not.

               Erit, you are so full of shit.

               So, your boss isn't threatened by


2   CONTINUED:                                                       2

                 Because she's a bitch! --
                     (as John and Mick laugh)                             
                 --Not because she's a woman.

                 And you would describe her as

                 That has nothing to do with it!

                 And there is my answer.

                 Either of you like another drink?

    Lara shoots John a burning look as Erit builds on her victory.

                 Women should work under men, men
                 under women. That's it.

                     (egging her on)
                 But men under men?

                 That's fine, too.
                     (the men burst into laughter)
                 They're used to it! Why are you

                     (re: Erit)
                 I don't know, bro, but I think I'd
                 rather work under you than her.

                     (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.                

                 You'd rather "work under" John?

                 You have a problem with that, too?                       


2   CONTINUED:    (2)                                                   2

                 No, why would I have a problem with                         
                 your little sexual innuendo?                                

                 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.                  

                 So, I shouldn't take offense that
                 you're coming on to my husband right                        
                 in front of me.                                             

                     (claws out now)
                 Lara, if I wanted your husband I
                 would have him.

                 How? You couldn't possibly show him
                 more of your tits.

    The men are on their feet before blows are exchanged.

                 -- 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.

                 She is completely full of shit.

                 DON'T try and agree with me now.

                 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.

                 Shut up.


3   CONTINUED:                                                         3

                 I bet she can't even spell
                 anesthesiologist. Woman's a complete

                 We went to her office party, idiot.

                 I think she hit on me that night,

    Lara opens the back door of their black Prius and tosses in
    the raincoat she was carrying. They climb in, under....

                 You are completely delusional. She
                 wasn't even hitting on you in there;
                 I just don't like her.

                 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

                 You are such an asshole.

                 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.

     WHITE    9-10-09                                                   5.

4   CONTINUED:                                                              4


    JENNA, the teenage baby-sitter, sees right through them.

                               LARA (CONT'D)
                 Did he cry?

                 Only when I dropped him down the                                

    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.

                 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.

                 Okay, your turn.

    Luke skewers a piece with his fork.        Lara passes, hustling
    to get to work.

                             JOHN (CONT'D)
                 Very good, very good...


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.

                 Squeeze in tight.

                 You can't do this every morning.   It
                 is way too corny.

                 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)

                     (examining it)
                 Sweetie, you have to stop believing
                 everything you read in a catalogue.

                 You hate brushing your teeth; this
                 one brushes them in thirty seconds.

                     (as if stung)
                 I love brushing my teeth.
                     (to Luke)
                 The lies your mother tells.

                     (ignoring him)
                 When's your last class?

                 Three, and I have papers to grade.
                 Can you pick up Luke?

                 After yesterday I probably don't
                 have a job anyway. Do you think it
                 was wrong to call her a useless cow?


9    CONTINUED:    (2)                                               9

                  Bosses admire that kind of frank                         

                      (pulls note off fridge)
                  Did you call your father?


                      (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

                  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

                  Mom said Happy Birthday and my father
                  went . Made me tear up.

     Lara returns, trying hard not to smile.

                  Ever think that someone has to be
                  the bigger person here?

                      (to Luke)
                  Remember this for the custody hearing:
                  how Mommy is always scolding Daddy.

                  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.


11   CONTINUED:                                                        11

                  Now she's driving a wedge between us.

                  I give up.

                  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.

                  Get your --

                              DETECTIVE QUINN
                  Touch me again and you'll be arrested.

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?


                            DETECTIVE COLLERO
                Lara Brennan, you are under arrest
                for the murder of Elizabeth Gesas.

     She takes her wrist and professionally turns and cuffs her.

                She's dead??     Elizabeth is dead??

17   INT. BRENNAN HOUSE - FOYER                                          17

                    (tries to push past)
                She didn't do anything!

                            DETECTIVE QUINN
                I will only --

                    (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.

19   INT. JOHN'S BEDROOM -- NIGHT                                     19

     John lays Luke on the bed and climbs in beside him.

                  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.

                  Not at lunch.

                  Does he take your food?


                  Did he say something mean?
                      (Luke nods)
                  About Mommy?


21   CONTINUED:                                                        21


                  Did you hit him?


                  Good.    Where did you hit him?

                  Near the swings.

                  Wow.    I bet that hurt.


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.

                  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.

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.

                Hi honey. Can Mommy get a kiss?
                    (no response. Tickles him)
                Come on, give Mommy a kiss.

                Rat-Bag.   Give Mommy a kiss.

     He gives her a peck on the cheek and goes back to his Legos.

                Is Daddy reading you my letters?

                Every night at bedtime.

                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?

                I walked him to class, gave him a kiss;
                he didn't even look back to wave.

                What did you make him for lunch?


24   CONTINUED:                                                       24

                  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.

                  Look at his friends.   And his desk.
                  This is his teacher?

                  Miss Phillips.

                  You may have to move to another school

                  Already spoke to a realtor.

                      (still looking at photos)
                  How was your first day?

                  Excellent. Over half my class stayed
                  awake. Talked to your mom.

                  When is she coming?

                  She's having a lot of trouble with
                  her business.

                  It's only been a couple of years,
                  I'm sure she'll get around to it.
                  Have you heard anything?

                  About the appeal? Yes, and I'm just
                  not telling you. What did Meyer


                  -- It can take months for the court
                  to rule.


24   CONTINUED:    (2)                                                 24

                  I saw that woman. She was there.
                  She couldn't have just disappeared.

                  Meyer's looking for a new

                  Her coat snagged my purse, I felt a
                  button pop - they must have been
                  blind not to find it.

                  He'll go through all the evidence

                  Great, because I haven't quite
                  bankrupted us yet.

                  We're doing fine.

                  You just lie and lie.
                      (strokes his face)
                  But you are very handsome.
                      (admiring him)
                  Can you do me a favor?

                  I don't know, I'm a little busy.

                  I need you to run for governor.

                  -- Oh, that I can do.

                  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.


24   CONTINUED:    (3)                                               24

                  I know. But it's going to be fine.
                  I promise.

     She just stares at Luke, his back to them, playing.

                  You think he'll ever want to kiss me


     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.


     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.

                  Twenty-eight, twenty-nine, thirty.

     Luke puts it down and checks his teeth in the mirror.

                                JOHN (CONT'D)

     Luke nods.


     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.

                  How's Lara?

                  She's doing okay.


28   CONTINUED:                                                         28

                  Tell her we're pulling for her.

                  I will.

     She holds up a plastic water bottle.

                  They won't recycle these unless you
                  take off the cap.
                      (cap vs. bottle)
                  This is trash. This is recyclable.

                  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.

                  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.

                  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.

                  John, I said my office at four
                  o'clock. I can't leave, I'm in --

                      (holds up a Subway bag)
                  I figured you had to eat.

     Meyer relents, turns and calls to his associate.


30   CONTINUED:                                                      30

                  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.

                  But what if we find the woman who                        
                  was leaving the parking lot?                             

                  The PCRA was rejected. No new
                  evidence can be submitted. Not

                  It was a robbery!   Someone stole her

                  And if they'd used her credit cards
                  we would have had something to argue.
                  I'm sorry; this

     John offers a smile at Meyer's unlawyer-like choice of words.

                  So, that's it. Now we just have the
                  Supreme Court.

                  John, in the last thirty years, the
                  Supreme Court hasn't heard one murder
                  case. No decent lawyer would even
                  file the pleadings.

                  So, I need to find an indecent one?

                  No, I'm going to file it. But I
                  need you to do something for me.



31   CONTINUED:                                                        31

                  I need you to look at the evidence
                  and just forget Lara is your wife.

                      (stopped by that)
                  I've seen the evidence, 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--

                      (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!

                  -- And the fight in the office.

                  Everyone fights with their boss!

                  But this one ended up dead.

     John looks at Meyer anew, feeling profoundly betrayed.

                  So, you never believed she was

                  How can you say that?

                  So, what are you saying, 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.

                  I'll find someone to file the


31   CONTINUED:    (2)                                                   31

                  John! Come on! For Christ's sake.

     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.


     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:

                  I know you won't want to hear this...


35   CONTINUED:                                                       35

                  -- Erit, go put somebody to sleep.

     She stares unbelieving, then walks off in a huff.


                  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.

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.


     It's late; prime time for the ER.    John runs in.


     John enters breathlessly and finds the Nurses' Station.

                Lara Brennan; my wife. She was sent                        
                up here. Brennan. B-R-                                     

                            DUTY NURSE
                    (finds name in roster)                                 
                She can't have visitors.

                That's ridiculous; I have to see                           

                             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!!



46   CONTINUED:                                                               46

                              HOSPITAL SECURITY GUARD #1
                      (running up)
                  I got him!


     A long-haired doctor, BECSEY, steps into his path.

                              DR. BECSEY
                  What's going on?!

                  My wife attempted suicide.

               HOSPITAL GUARD 1                       DUTY NURSE
       Let's go.                                (hands doctor chart)
                                              She's not allowed visitors.

                  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

                  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

                 I'm sorry. He just keeps pretending
                 he's asleep.

                     (reaching for his wallet)                             
                 Don't worry about it.

                 It's okay.

                 I insist.    I kept you out on a school

                 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.

                 And give a big hug to Pengui, Little
                 Pengui, Big Turtley, Little Turtley,
                 Kiki and Opossumy. Lots and lots of
                 love, Mommy.
                 You gonna give them hugs from her?                        
                     (no response)                                         
                 Should we write her back?                                 

                 ...When is she coming home?

                 Soon honey.    Soon.

                     (thinks for a moment, then:)                          
                 Can I have a quarter?

                 Can you have a quarter?


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.

                  Then can I have them all?


     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.


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.

                  So, what is it about?   Julie?

                  That belief in someone's virtue is
                  more important than virtue itself?

                  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.                 


56   CONTINUED:                                                          56

                  It's a course that investigates what
                  drives men to be free, no matter the

                  Somebody else had dibs on Papillon?

                  You escaped from jail seven times.                           

     Damon lights a cigarette.       A TOUGH GUY nearby objects.

                                 TOUGH GUY
                  No smoking!!

                  Yeah, who would want to cut short
                  your precious life?

     Damon takes a deep drag.

                  Mind if I tape you?

                  Go for it, it can't be used as
                  evidence. What do you want to know?

     John sets up the small digital recorder.

                  How you escaped when no one else

                  Balls and a little luck.
                  No prison in the world is airtight.
                  Each one has a key. You have to
                  find it.

                  How do you do that?

                  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,


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

                  The city.

     That came out too quickly. Damon now understands. John
     sits, silent, knowing he blew it. Damon takes his time.

                  Where are you from?


                  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.


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

60   INT. BAR -- DAY                                                   60

                  How can they be so exact?

                  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

                  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

                  Thirty-five minutes isn't a lot of

                  Then surrender.


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

66   INT. BAR -- DAY                                                    66

                  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

                  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

                  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.
                  Third: destination.

71   INT. JOHN'S BEDROOM -- NIGHT                                       71

     John writes furiously on the wall.    "DESTINATION."


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

                  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

                  How much?

                  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

                  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.

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

                I gave myself up. I couldn't take
                wondering when someone was going to
                come through the bedroom door.
                Got what you need?


                What do you have in your pocket?

     John opens his billfold.   Damon takes the cash, leaves him a          

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.

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.

                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!                                           


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.

                  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.

                  I'll talk to her.

                              DR. LIFSON                                    
                  If she doesn't --                                         

                  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.

                  Hey. Are you alright?                                     

                  I'm fine.    I'm fine.


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.

                  The doctor told me about the insulin.

                      (watching Luke)
                  Yeah, I forgot. It's no big deal.

                  You forgot?    For how many days?

                  I forgot, okay? I have things on my

                  --And so much to do.

                  Oh, that's nice.

                  Why are you doing this?

                  Can I please just watch him play?
                  Tell me about kindergarten.

                  No.   I need you to --

                  Fine, I won't forget again, okay?
                      (trying to fight away these
                  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?

                  Lara. Look at me. Something will
                  happen. I promise.


92   CONTINUED:    (2)                                                 92

                      (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.


                  Stop bringing him.                                         

                  Come on...

                  He hates coming here.   Look at him.


                  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?

                  Yes.    Anything.

                  My mother tried to send me anti-aging

     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.

94   INT. REALTOR'S OFFICE -- DAY                                     94

     EUGENIE, the REAL ESTATE AGENT, walks John to the door.

                You're sure that you don't want a
                lawn sign?

                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.


     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.

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.

                 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


      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.


      George nods, takes Luke's hand and walks to the kitchen.

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.                                   


                 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.               

                 I need some passports.

                 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.

                 You have to pay up front.

                 I can do that.

                 You know the Uptown on 5th Ave?


                 Ask for Harv.

                 What's your name?

                 Just say Mouss.

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.                   

                 Mouss said to come see you.

                 He did, did he? What do you want?                            

                 Three passports, a driver's license,
                 and real social security number.

                 How do you know Mouss?

                 He babysits my kid.

                     (sizes him up, then:)                                    

      Harv gives him a look; nods for him to follow.                          


      They step out the back door.

                 You have the photos on you?

                 Yes.   How much?

                 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.

       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.

                   I ever see you again, you lose an                            

      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.

                   You did remember I was showing the

                   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.

                   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.


114   CONTINUED:                                                         114

                   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.

                   It was stupid, I fell off the bike.

                   The bike that's been in our garage
                   for two years? Put your head back.

                   Some guy made a crack about Lara.

                   So, that's what you do now: punch
                   everyone who thinks she's guilty?

                   What's that supposed to mean?

                   It means it's important what YOU
                   believe, not --

                   Really?   So, what do you believe,

      John stands and opens the back door.

                   Why are you trying to start a fight?

                       (calling out back door)
                   Come on, buddy!
                       (to his mother)
                   Where is his bag?

                   Why are you doing this?!

      Luke enters as Grace tries to hide her tears.

                   No reason. I just stupidly thought
                   people who loved her would actually
                   believe she's innocent. My mistake.


115   CONTINUED:                                                       115

                   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.

                       (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.           

                   Does your face hurt?

                   A little.

                   Did you hit him back?


                   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.


      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.

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.


      Mike speaks in a loud, atonal and unnerving voice.

                 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.

                 What do you need?

      John indicates Mike should lower his voice.

                 Three passports, a driver's license
                 and social security number that can
                 take a credit check.

                 Thirty seven hundred.

                 That's too much.


122   CONTINUED:                                                          122

                   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.

                   I'll bring them Wednesday.

                   Not here.   Don't come here again.

      Mike stares at him.      John stares back.

                   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.                               

                   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:

                   No video game.


127   CONTINUED:                                                       127

                               LUKE   (O.S.)

      John moves to check the answering machine.

                   I'll play checkers with you after

                               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.


                       (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.

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.

                 Mr. Brennan?


      No other visitors today.     A NOTARY sits with Lara and John.

                 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.

                 I'll just be a moment.

      He turns back to his wife.

                     (touching him, melting)
                 Your poor face. How could you do
                 that to yourself?

                 I am useless without you.    I can't
                 even ride a bike.

                 I think it's very sexy.

                 I'm sorry we had to do this.


135   CONTINUED:                                                        135

                   You have nothing to apologize for.
                   But you should have told me before

                   I know.

                   I don't want you not telling me

                   From now on I will.

                   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.)

      He turns to see Paula standing in the open garage door.



139   CONTINUED:                                                           139

      John tries to look casual as he stands with the thinly
      disguised gun in his hand.

                   I was wondering if I could ask you
                   to water my plants next week; I'm
                   going in for an operation.

                   I hope it's nothing serious.

                   My idiot doctor misdiagnosed me.
                   He's blaming the lab; the lab's
                   blaming him. But I'll be fine.

      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.

                   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.


      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.


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.

                   You were supposed to leave.

                   I need them.

                   You notice that guy was a cop?

                   Which guy?

                   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


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.

                   How are you doing today?

                   Don't touch that.


      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.

       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.

                   So, you are where in here?

                   ...In the middle there.

                   In the middle. Can you point to

                   It's hard to tell.   I think that's
                   me there. Why?

      He freezes the tape and points to a blurry figure in the

                   So that's not you there.   By the

                       (points to another person)
                   I was over here. You want to tell
                   me what's going on?

                   You want me to tell you?


148   CONTINUED:                                                        148


      The Major holds the piece of the key that jammed in the lock.

                   You know what a bump key is?


      Major puts it on the desk and just stares at John.    Finally:

                   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)


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

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!

                   Not home?   So you're saying I'm blind?

                               MALE NEIGHBOR
                   No, I'm saying you're an idiot.


154   CONTINUED:                                                             154

      Mick pounds on the door aggressively.      Then just gives up.                

                   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.)

159   EXT. PARK -- DAY                                                       159

      John sits on a bench, frustrated and lost.      Luke trots up.

                   Can I have my cookies?

                   You hungry?    You want your sandwich?


      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.

                       (to John)
                   I'm sorry. She just already has it
                   all figured out.
                       (John nods awkwardly)

                   I remember.


159   CONTINUED:                                                           159

                       (knows he doesn't)

                       (smiles and admits)
                   I remember your daughter.

                   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.

                   He has his father's memory.

                   It's for Carrie's birthday party.                              
                   Please come; I'd love to meet your                             

                   I'm afraid she can't be there.
                   ...It's complicated.

                   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?

                   Oh, we're know....


      John smiles, busted.

                               NICOLE (CONT'D)
                   Come on, we owe you for the cookies.

                   That's true.     And I made those

                   And learned how to pre-package them.


159   CONTINUED:    (2)                                               159

                   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.

                   Do you trade off time with Luke?

                   No. Luke and I are together full

                   Wow. I guess that's why I see you
                   so much.

                   She'd like nothing better than to be
                   here. With him. Lara. She really
                   misses...all this.

                   I guess it's all about priorities,
                   isn't it?

                   No.  She's not like that.   She'd...
                       (has to admit)
                   She's in prison.


                   I don't tell most people.

                   I understand.

                   She's innocent. She didn't kill the

                   ...Good.   I mean, I'm sure she didn't.

      Nicole doesn't know what else to say.

                   We should really be getting home.


159   CONTINUED:    (3)                                                    159

                       (feigns disappointment)
                   Oh, okay.

                       (waving the envelope)
                   Thanks for the invitation.    We'll
                   try and make it.

                   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.

                   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...

                   She didn't write that.

                   My mistake. Dearest Luke, who I
                   love so, so much. I wish I could
                   have walked you home today, it was
                   so beautiful out.

163    EXT. PAULA'S HOUSE - BACKYARD -- LATE AFTERNOON                    163 

       Luke and John water Paula's vegetable garden.

                  But what's wrong with her?

                  She's not feeling well.

                  Why didn't she just stay home?

                  Because sometimes people get so sick
                  you have to go to the hospital to
                  get fixed.

                  How do you know when you're that

                  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

       ...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.

       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.

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.

                 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:

                 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.


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.                          

                   ...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!                                 

                   I was only here through the appeal.                                  
                   We knew I'd be moved to a prison.                                    

                   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.

                   I don't have two weeks!     I need it                                

                   The title hasn't been cleared --
                   there is no way that --

                   How much can they give me?!


      John turns on his heel and slams out through the door.

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

      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.

                 What are you doing?!   You almost
                 killed us!

                 Are you --?

                 Are you out of your mind?!   You don't

      She stoops to grab the few items that fell.    He tries to

                 I am so sorry --


185   CONTINUED:                                                          185

                   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.

                   No, it was a long shot.       Thanks.

187   INT. CRIMINAL COURTHOUSE -- CONTINUOUS                              187

                       (into phone)
                   How's Lara?

188   INT. COUNTY JAIL - ENTRY HALL -- CONTINUOUS                         188

                   She's okay.     Thanks, Meyer.

      John hangs up and stands.


      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.

                   What's wrong?


                   Is it Luke?

                   No. He's fine. I had Meyer see
                   what he could do about not getting
                   you moved.


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.

                   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.

                   That's nice, that the two of you
                   talk. What world do I live in, 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?

                   Yes.   Sorry.

      Lara lowers her voice a little, but not her intensity.    The
      guard walks away under:

                   Now you come here all long-faced,
                   like you've let me down. What do
                   you want me to do, make you feel

                   Got it.   I'm sorry.

                   And now you're apologizing.   You
                   really are a gem.


189   CONTINUED:    (2)                                               189

                   What do you want from me?

                   Nothing. You're too perfect already.
                   You know you never even asked me if
                   I did it. If I killed her.

                       (stopped dead)
                   Because I knew you didn't.

                   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.
                   SIR, you need to exit the building

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.

                 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.

                 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.                

                 You think?

                     (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.

                 Hi Mom.

                 What are you doing here?

                 I've got class.

                 Five o'clock at night?


195   CONTINUED:                                                          195

                          (kisses Luke)

      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.

       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

      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.

                       (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.

                   -- Shoot them both!

                   -- I'll shoot the dog!


202   CONTINUED:                                                      202

                   -- Shoot the dog!

                   -- You shoot the dog, I'll kill you!

      John fires into the floor beside the dog.

                   -- You want the police here, asshole?!

                   -- Good idea!

      John fires two more shots into the floor.

                       (to thug)
                   -- Put the gun down!

      The thug obeys, rests it against the wall.

                   -- Call the dog off!!   Put it away!

                   -- Release!

      The dog stops its attack but goes back to barking.

                   -- Put it away!!
                       (aims gun at it)
                   PUT IT AWAY!!

      Alex reluctantly opens a closet door.

                   In!   Get in!

      He has to shove the barking dog into the closet.

                       (to thug)
                   You, too!

                   I'm not getting in there!

      John fires into the wall!

                   Get in!


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.

                   -- 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)

      He shoves David forward, closer to Alex.

                   You're dead.

                   I didn't do anything!!

                   You brought him!

                   I didn't bring him!

                   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

                   On your knees! Hands behind your

      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.

                   I can't kneel!

                   On the floor!

      David kneels with great difficulty.         Alex calmly does as
      he's told, his eyes on John.


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?

                   That's twelve hundred dollars!
                       (emptying his pockets)
                   Here, take it.

      A couple of hundred dollars spill onto the floor.

                       (gun on Alex)
                   Where do you keep your money?!

      Alex scoffs, seeing weakness in John.

                   Yeah, I'm going to give you my money.

                   I'll shoot you!

                   You won't even shoot a dog.

                   Tell me!

                   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.

                   I'm going to kill you both.

                   No, I'm going to kill you both.

                   Give him your money!

                       (to David)
                   Keep your dead bitch mouth shut.

      Enraged, John fires a round into Alex's leg.      Alex screams.


203   CONTINUED:    (2)                                                     203

                   Stop it!!

                       (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.

                   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!

                   You going to burn me out?

      John lights a rag as the thug in the closet continues to
      yell and pound. Now calmly:

                   Yeah.    That's what I'm going to do.

                   Oh Jesus.    Oh Jesus.

                   Your money.

                       (no longer smiling)
                   This is a meth lab, you idiot!

                   No.    It was.

      And he tosses the burning rag at the smashed bottle.        David
      screams as the room explodes in flames.


203   CONTINUED:    (3)                                                 203

                       (suddenly desperate)
                   My kid is upstairs!!

                   -- What??

                   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.

                   Let me go!!

                   Get up there!!

      John pushes him up the stairs as a shield, following the
      trail of blood.

                   The house is going to explode!


      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.


204   CONTINUED:                                                         204

      John stands. Alex lies dead, sprawled over David.   David
      looks around through the roiling smoke:

                   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.

                   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.

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

                 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.

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.

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.

                 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.

                 John?    Are you alright?

      John turns around, surprised.

                 I'm fine.

      The two men look at each other for a moment, John leaves the

      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.

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.

                 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.

                 What do you say?

                 Thank you.

                 Give Grandma a big kiss.

                 I'm too tired to kiss.


                 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.

                 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.


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.

                   Bye Mom.

      They kiss.    John's father stands behind him.


      George grabs his son in an awkward hug.      John is shocked.
      He pats his father's back. They break.

                       (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                                        

      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.

226   INT. BRENNAN HOUSE -- MORNING                                      226

      Luke sits on his bedroom floor, trying to cram a firetruck                
      into his already full rollerboard.                                        

                 Can I carry it?

      John appears with a box of trash bags.

                 No.    Just what fits in your bag.                             

      John hurries off.

                 ....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

      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.                      

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.

                 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.


      Harris enters Lt. Nabulsi's cubicle to find him standing.


237   CONTINUED:                                                            237

                               SGT. HARRIS
                   Taillight matches any 2004-2009 Prius.

                               LT. NABULSI
                       (with a certain disgust)
                   What kind of a criminal drives a

                               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

                               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.)                                    

      They see Nicole in the side yard, spreading a paper tablecloth.              


      They move to help keep the tablecloth from blowing away.                     

                   Thanks.   Good to see you.                                      


238   CONTINUED:                                                       238

                       (hands her present)                                    
                   It's a pony.                                               

                   Those aren't easy to wrap.                                 
                       (now awkward)
                   You know the party is at eleven,

                   What time is it?
                       (checks watch)
                   Nine. Oh, I'm so sorry, I should
                   have looked more carefully.

                   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.                                

                   Oh. Actually, I can't stay.   I have                       
                   to run some errands.

                       (recovering with grace)                                
                   We'll see you later then.                                  

                   Thanks so much.
                       (a moment)

      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.

                   No problem.                                                

      John throws one more look at Luke then walks off.                       

239   EXT. COUNTY JAIL - DELIVERY AREA -- MORNING                        239

      The driver steps out of the prison and returns to the lab
      van carrying his tray.


                              SGT. HARRIS
                      (enters with reports)
                  Rapist is in a wheelchair.   Not sure
                  if that was karma or --

                              LT. NABULSI
                  The murderer. Where is she

                              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

                              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

       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.


                               SGT. HARRIS
                       (enters with paper)
                   Husband. School teacher.

                                LT. NABULSI
                   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.

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

      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.


      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

                              LT. NABULSI
                 Right now?

                              SGT. HARRIS
                 Right now.


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.


      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.                

                   Put the phone down.

      Guard #1 obeys.                                                           

                   Oh please, no.                                               


                   Remove your holsters, put them on
                   the floor and get on your knees.


256   CONTINUED:                                                              256

                       (can't make sense of this)
                   What are you doing here?

                   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                    

                                 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

      Nabulsi puts the walkie down and flips on the siren.          Harris           

                               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.                   

                   Tape their hands and feet.
                       (when he hesitates)
                   Do it!!

      The nurse tapes the guards' wrists behind their backs.                         

                   You have to stop this.

                               JAIL GUARD #1
                   You walk out that door with him and
                   you will both be killed.


258   CONTINUED:                                                                258

                   Tape their mouths!

      John picks up the key and undoes Lara's cuffs.

                   No.   Stop.

      John yanks her clothing and a white smock out of the bag and
      tosses them to her.

                   Put it on.

                   WHY ARE YOU DOING THIS?!

                   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!




      They stare at each other.         John offers her his cell phone.

                   Okay. Tell your son you aren't

                   ...Where is he?

                   Waiting for you. Tell him you aren't

                   How can you do this to me?


258    CONTINUED:    (2)                                                 258

                    Push send. Tell him I'm not coming
                    back either.

                    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:

                    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.


       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.


       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.                      

        WHITE    9-10-09                                            91.

260A   CONTINUED:                                                        260A

                    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 

                    Where's Luke?! Is he safe?   Where
                    is he?!

                    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.                                             


       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.

                    Back away!

                                LT. NABULSI
                    Don't be stupid. Drop the weapon.                           

                    Get back!                                                   


265   CONTINUED:                                                         265

                               LT. NABULSI
                   We have units at every exit.     You'll
                   be shot trying to leave.                                     

                       (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

                       (freaking out)
                   Oh please oh please oh please...

                   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)

      She nods.

                               JOHN (CONT'D)
                   Take the coat off.


      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

      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.            

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

                             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

                              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.                                                       

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.                                        

                   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.                    


       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

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

      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.


      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

                              LT. NABULSI
                  Let's find out where he is.

295   INT. SUV - DRIVING -- MORNING                                        295

                  Why didn't you tell me?


295   CONTINUED:                                                            295

                   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.                                     


                   Hi.   I'm here for my son.

                   Oh, they aren't back yet.                                       

                   Back from where?

                   The zoo.

                   ...The zoo?                                                     

      Finds an invite and hands it to him.       The back clearly says             
      they are going to the zoo.                                                   

                   It's a zoo party.                                               
                       (in case he's worried:)                                     
                   They ate first.


297   CONTINUED:                                                                297

                               BRENDA (CONT'D)
                   They should be back in about an hour.
                   Would you like to wait?

                   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.

                   What's wrong?

      John punches ZOO into POINTS OF INTEREST on the GPS.                             

                               LARA (CONT'D)
                   Where's Luke?

                   He's at the party.

      He sneaks a look at his stopwatch: 24 MINUTES and counting.

                   What party?     You said the party was                              

                   I was wrong.     She took them to the                               

      The GPS comes up with an address.          John punches a button.

                          (can't help herself)

                               GPS VOICE
                   Estimated drive time: seventeen

                   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.


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.


      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

      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.


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

                   You took the wrong turn!    It's back

      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?!!

                   She'll call my parents.


                   They'll take care of him, I will
                   figure out how to get him to us.

                   Are you out of your mind!

                   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


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.

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.

                 No, it really is fine. I can't thank
                 you enough for taking care of him.

                 It is our pleasure.    Wasn't it,

      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.



                 Did you have a nice time at the party?


      Lara walks him to the car, as if this day is no different
      than any other.

                 What was your favorite thing?

                 Ice cream cake.

      She lifts him into his seat and buckles him in.

                 They had ice cream cake here?

                 At Carrie's house.


310   CONTINUED:                                                       310

                   Oh.   What flavor?

                   Lots of flavors.

                   My favorite.

      John starts the car.

                               LARA (CONT'D)
                   I'm going to sit back here, okay?


      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

      NICOLE watches them pull away, confused about what she should

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.

                   I think we're going to the cottage.


      He nods knowingly.

                   I have money.

      Lara almost loses it; smiles.


311   CONTINUED:                                                          311

                   Good.   Then I'll stick close to you.


      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.

                       (no reply)
                   What are we going to do?

                   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

                                 DETECTIVE COLLERO
                         (casting her eyes down)

      She and Harris dig into the crumpled papers and photos.

                                DETECTIVE QUINN
                        (to Collero)
                   You're not going to nod off, are


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.

                   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

      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

      And now we notice the man's WIFE sitting in the back seat,
      with Luke and Lara. John pays the toll.


316   CONTINUED:                                                           316

                       (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.                     


      Harris and Collero finish recreating a portion of John's
      wall, complete with wallpaper.


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

                               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


      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.

                   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.


321    CONTINUED:                                                           321

                                LT. NABULSI
                    How many airports in Ontario and

                                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


       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.

                    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.


326   CONTINUED:                                                         326

                               DETECTIVE COLLERO
                   So, you just decided to go for a
                   drive, for the entire day?

                   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?

                   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.

                   I'll do this.

      She turns and smiles at the officer, putting on all her charm.

                                 LARA (CONT'D)

      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.


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.


       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

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.                                                    

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                                  

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.                   


336   CONTINUED:                                                            336

                               AIRPORT SECURITY CHIEF                              
                       (listens, turns to attendant #2)                            
                   Are there any other flights to Haiti                            

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.

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.


       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.


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

       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.


345   CONTINUED:                                                        345


      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

                   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.

Next Three Days, The

Writers :   Paul Haggis
Genres :   Crime  Drama  Romance  Thriller

User Comments

Index    |    Submit    |    Link to IMSDb    |    Disclaimer    |    Privacy policy    |    Contact