Frank Darabont & Kurt Wimmer
WHITE - 9-7-8 1.
1 OPENING CREDIT SEQUENCE. Images and sounds are surreal, 1
A HAND is trying to dial three simple numbers. Trembling
fingers miss, try again...we hear boop-boop-boop.
911 operator, what is your emergency?
The phone rises, gripped tightly. Knuckles white. We're TIGHT,
it's dark, we see no face -- just slack, trembling lips.
Whoever it is, he can't talk. All we hear is breathing, all
we sense is grief and panic and deep shock.
Hello? Can you hear me? Can you
What? Can you speak up?
2 EXT. ROAD - NIGHT 2
Lights appear like phantoms over blacktop, flashing. Police
cars coming our way.
Sir, what is the nature of your
The man can't speak.
Sir? Are you injured? Do you need
The cars blast by us...
3 INT. HOUSE - NIGHT 3
TIGHT ON PHONE AND MOUTH:
...her eyes...she can't...
WHITE - 9-7-8 2.
4 EXT. HOUSE - NIGHT 4
POLICE VEHICLES converge in SLOW-MOTION, dreamlike. Doors fly
open, COPS jump out, weapons drawn as WE MOVE with them to:
Front door. RAMP TO NORMAL CAMERA SPEED as it opens, revealing:
BENSON CLYDE, phone still gripped. He barely registers the
weapons aimed at his face. CAMERA CLOSES IN ON HIM, as:
She can't...close her eyes.
He's pulled from frame. CAMERA KEEPS MOVING, following COPS
into the house...
Dark as hell inside. And tense. Arms training weapons. Moving
up a tight hallway, emerging into...
THE LIVING ROOM
...where the flashlight beams find blood-spatter patterns.
Furniture shattered and overturned. A kid's sneaker.
The flashlights play across TWO BODIES in the wreckage -- a
woman's pale hand, a child's motionless leg.
CAMERA DRIFTS AROUND to the cops' faces, as:
(unsnaps shoulder radio)
Dispatch, we have multiple 10-55s,
need full response, 11-41.
5 EXT. HOUSE (SLO-MO) - NIGHT 5
Chaotic now, vehicles and lights. The eye of the storm is
Clyde on the lawn, hugging his knees, fetal with horror and
grief. He's screaming at the sky, but no sound is coming out.
EMS TECHS enter shot, steal the frame, race toward the door...
6 INT. HOUSE (SLO-MO) - NIGHT 6
TRACKING SHOT at floor level, photos being taken. FLASHES
bathe the foreground wreckage. FORENSIC TECHS step gingerly.
Uniformed cops hang grimly back, hugging the walls...
CAMERA BRINGS US TO CLOSEUP: A PROFILE IN DEEP SHADOW in the
foreground, face tilted obliquely in the wreckage.
A CAMERA FLASH reveals the face with shocking glare and the
IMAGE FREEZES. A TEN YEAR-OLD GIRL, eyes open, staring at us.
Her eyes. That's how they were.
Open like that. You see?
WHITE - 9-7-8 3.
7 INT. CITY HALL - CONFERENCE ROOM - DAY 7
Clyde is seated, speaking slowly and precisely. ANGLE WIDENS,
revealing the room, light filtering through blinds, as:
When I found my wife and child dead,
my little girl's eyes were open.
The last thing she saw of this earth
were the faces of the men who took
her life. Can you understand that?
Yes. Yes, I can.
Can you? Really?
(looks to somebody else)
Mr. Clyde. I don't see this helping.
No? You married? Children?
ANGLE HAS NOW WIDENED/DRIFTED to include D.A. JONAS CANTRELL,
Senior Attorney for the State. He wears thick glasses and is
suffering the early stages of macular degeneration.
Divorced. I have a son and daughter.
Both in college.
My daughter was ten. I married late
Clyde spreads the crime scene photos further on the table.
ANGLE COMES AROUND to reveal the third man in the room:
The D.A. under Cantrell -- focused, exceptional at what he
does, the man you'd want on your side.
You, Mr. Price? Married? Kids?
Nick doesn't answer, stays focused on the task:
I've seen the crime scene photos,
Mr. Clyde. Many times. They're
horrifying. But they don't alter
the facts of the case.
BLUE - 9-19-08 4.
Facts? Those men are guilty. Both
of them. You know they are.
This isn't about what we know. It's
about what we can prove in court.
Things have gone against us. Tainted
crime scene, evidence thrown out...
Maybe you just haven't tried hard *
Look. We've had only one real break
in this case. The fact that one
asshole has decided to testify
against the other asshole.
In return for immunity. So he gets
away with it.
The other man doesn't. He'll go
down for the crime. That has to
count for something.
Yes. It counts for half.
Don't reward one of the men who
murdered my family. Please.
Mr. Clyde. I can't claim to know
what it's like to be in your
position. Losing your wife and child.
But please try to grasp how limited
our options are. This is how the
justice system works.
Clyde sits for a long moment, numb, absorbing this.
Ah. I see my mistake. I came for
justice. Instead I got a system.
8 INT. CITY HALL - HALLWAY - DAY 8
SARAH LOWELL, fresh out of law school, is waiting anxiously
for the meeting to end, arms full of file folders. *
BLUE - 9-19-08 4A.
With her is BILL REYNOLDS, the defense attorney in this case, *
glancing impatiently at his watch. *
Clyde exits the room fast, not watching where he's going, *
accidentally plowing into Sarah as he passes. *
BLUE - 9-19-08 5.
Sorry. My fault.
On he goes. Nick and Cantrell exit the room.
You're due upstairs in three minutes!
You're gonna be late!
Thank you, voice of doom.
They move toward the elevators with Reynolds. Sarah's at their *
heels, sensing the tension and keeping her mouth shut.
(to Cantrell) *
We doing the right thing?
(jumps in) *
You even doubt it? C'mon, you didn't
just tumble off the fucking truck.
Do the math...
Cantrell has trouble seeing the elevator button, misses. Nick
presses it for him. (This is thrown away without comment;
both men are used to Cantrell's bad eyes by now.)
They elevator opens, they get on... *
9 INT. ELEVATOR - DAY 9
...and ride up:
It's your office.
It's your decision.
Nick shoots him a withering look, glances back at Sarah.
What do you think?
What are you asking her for? She's *
just an intern. *
(deer in the headlights) *
I am just an intern. *
BLUE - 9-19-08 6.
You were top of your class at Yale,
don't give me that shit.
Young lady. Someday you might have
our jobs. You know the issues of *
the case before the court. Speak.
Okay. Um. You can take both men to
trial, spend a year and millions of
taxpayer dollars, and probably lose.
Or you can cut a deal and at least
put one of the men who did the crime
on death row. It's a no-brainer. *
You make the deal. *
(smug, to the men) *
They trade a look. Cantrell glances to Sarah. *
When the day comes that you argue a
real case in court, you might refrain
from summing up with "duh."
I'll avoid that. *
10 INT. JUDGE'S CHAMBERS - DAY 10
JUDGE LAURA BURCH presides. Nick, Cantrell, Sarah are present. *
CLARENCE DARBY is the focus, Bill Reynolds at his side. *
JUDGE BURCH *
The agreement has been vetted by
both sides? Satisfactory to all?
Yes, your Honor. Defense approves.
State also approves, your Honor.
Nick places a document before DARBY, along with a pen.
Clarence Darby. This document
guarantees that you will provide
testimony against Rupert Ames in
the matter of which you were both
accused. In return, you will be
BLUE - 9-19-08 7.
shielded from further prosecution
for those capital crimes. But you
will plead guilty to the lesser
charge of breaking and entering.
You'll do a maximum of five years.
With good behavior, you could be
out in three.
That also depends on your testimony
and the level of your cooperation.
Your Honor need not worry on my
account. I assure the court that I
am aware of the opportunity I've
been given. And I am deeply grateful
to all concerned.
Nick gives Cantrell a glance, both stoically enduring this
proceeding. Darby pulls the document closer.
If I may. It has come to my attention
that Rupert Ames has been spreading *
lies about me to the tabloid press. *
About certain alleged activities of *
which I have no knowledge. Sexual
and otherwise. Libel and
You can always sue him.
Well, no matter. My tongue will wag
in court, under oath. His tongue
will wag in hell.
He puts pen to paper, looks to Nick.
He'll get the chair?
We don't do chair. We do needle.
11 INT. CITY HALL - GRAND INTERIOR STAIRCASE - DAY 11
Cathedral-like, pigeons fluttering. The door from the hallway
opens and BETSY, a months-old GERMAN SHEPHERD PUPPY, bounds
toward us on a leash pulling Cantrell toward the top of the
vast marble staircase. Nick trails them, nervous as hell:
BLUE - 9-19-08 8.
Whoa, Jonas, take my elbow. *
I'm not blind. Yet. I'll do it.
You're shitty on stairs. At least
let me take the leash so the dog
doesn't pull you down.
No. She needs to imprint on me. Not
you, not somebody else.
Cantrell starts down. Nick's at his side, hovering and ready
to grab him, jumping at every little lurch Cantrell makes.
That's the whole point of this phase.
She needs to get the idea that she
and I are partners. Then the real
training can begin. Unless you wanna
lead me around the rest of my life.
12 EXT. COURTHOUSE STEPS - DAY 12
Nick and Cantrell emerge into daylight and find Darby in the
protective custody of a FEDERAL MARSHAL on the courthouse
steps, surrounded by a crush of REPORTERS:
...it was a burglary gone wrong. We
thought the house was empty. Rupert
found the woman and child at home
and went crazy. I was stoned and in
fear of my own life, so I fled...
They catch sight of Bill Reynolds, the defense attorney.
Bill! You let all your clients give
testimony on the courthouse steps?
Hellooo, kettle to pot. Since when
do you shy away from publicity?
Since everything in this case has
gone sideways so far. Tell your boy
to save it for the courtroom.
BLUE - 9-19-08 9.
He's your boy too now. You tell
Reynolds proceeds down the steps...
...and vanishes in the crowd. Nick glances sourly toward Darby.
...and may I say for the record how
very sorry I am that I failed to
prevent Rupert Ames from committing
those terrible crimes...
You good here?
Long as nobody bumps into me.
CAMERA FOLLOWS Nick through the crowd toward Darby...
...been given a chance to put the
drugs and foul living behind me. To
atone for my past failings and
weakness of character. It is a gift
given me by God's grace...
Darby sees Nick, grabs his hand, shaking it for the cameras.
...and the grace and wisdom of this
court. I cannot thank you enough,
sir. I cannot.
A BARRAGE OF CAMERA FLASHES. Nick caught off guard before the *
press, Darby not letting go. Then Nick sees: *
Clyde, a tiny defeated figure far below, waits at the bus
stop. He's gazing up, seeing this photo op happen.
breaks the handshake with a flush of discomfort, signals the
WHITE - 9-7-8 10.
Marshal, escort your man, please!
(to the reporters)
Mr. Darby is done here!
Darby is hustled down the steps. The reporters surge to Nick,
surrounding him, shouting questions.
Nick looks over their heads and glimpses Clyde getting on a
bus. The door closes, the bus pulls away...
13 INT. NICK'S HOUSE - NIGHT 13
Nick enters. Dark. He drops his briefcase by the door.
14 INT. BATHROOM - NIGHT 14
REFLECTED IN THE MIRROR: KELL, Nick's wife, is just out of
the bath, wearing a robe and toweling her hair.
Nick enters behind her. She cranes back for a kiss, keeps
toweling her hair in the mirror. He hugs her from behind,
buries his face in her neck. Drained.
Shit day. Better now.
How's she doing?
Fine. She drove me a little crazy
She was busy?
In overdrive. Here. Feel.
He reaches around, slowly unties her robe, pulls it open...
...revealing her pregnant belly. (Our angles have avoided
this till now.) He places his hand, feeling for movement.
Of course she stops kicking the
moment you get home.
15 INT. BEDROOM - NIGHT 15
SLOW TRACKING SHOT finds them in bed, Nick with his head on
Kell's chest. Pensive.
WHITE - 9-7-8 11.
I had to say some things to a man
today I didn't want to say. And I
did something I didn't want to do.
You didn't lie to him. Or bullshit
him. Or shine him on.
None of those things.
So you had your reasons. You did
what you had to. It's not your fault
the world sucks.
Nick smiles, eases his face to her belly.
You in there. Listen up. Your mother
just said the world sucks. You may
wanna rethink this whole thing. My
advice? If you're asking? Just stay
in there. I promise you, nothing
will ever make as much sense as it
does right now...
What is wrong with you?
...plus there's shit you don't need
to know about. Rap. Internet porn.
Madonna's entire back catalog.
Did someone drop you on your head?
Seriously. I have swollen ankles
and all I do is pee. That baby's
Okay. I'm sure you heard that. Then
again there are the Beatles. 70's
funk. Louie. Ella. Be a shame to
(beat, getting serious)
All right, kid. Bring it on. But
when you're old enough for the world
to disappoint you, I hope you won't
blame your old man for bringing you
into this mess. Give me that at
FADE TO BLACK
WHITE - 9-7-8 12.
16 INT. BEDROOM - DAWN 16
Nick and Kell asleep. She's no longer pregnant -- it's now
ten years later. A long beat of quiet...
A small face peers in from the hallway. EMMA, their 10 year-
old daughter. She darts in, puts her face to Nick's.
You know what it is?
IT'S MY BIRTHDAAAAAY!
She jumps up on the bed, bouncing up and down and dancing
around, hollering at the top of her lungs:
IT'S MY BIRTHDAY, IT'S MY BIRTHDAY,
IT'S MY BIRTHDAY!
Nick and Kell are too groggy to do anything but ride it out.
Emma sails off the bed and vanishes out the door, hollering
all the way up the hallway:
I'M SO COOL IT'S MY BIRTHDAAAY!
Nick and Kell are left groping with blankets, heart rates,
Glad it's once a year.
17 INT. KITCHEN/BREAKFAST AREA - MORNING 17
Nick and Emma finishing breakfast, getting ready to leave,
Kell packing Emma's lunch at the counter:
Why can't you be here?
It's a work thing. Grownup stuff.
You know that happens sometimes.
BLUE - 9-19-08 13.
(draws sneakily close)
He claps his hand over her mouth.
I believe we've established that. I
let go, you'll stop reminding me?
(she nods, he lets go)
We'll celebrate this weekend. Tonight
is all about your friends. Knock *
yourselves out, don't give mom any *
grief. I'll try to be home in time
to tuck you in, okay?
Okay. But what are you doing tonight
that is more important than...
She's doing that "sneakily drawing close" thing again. Nick
holds up his finger, cautioning her to say it quietly.
(leans in, whispers)
Something he'd get out of if he
could. Here. Take lunch. Grab *
backpack. We go. *
Emma grabs her stuff, kisses dad, races from the room. Kell
grabs her keys to follow, kisses Nick goodbye.
Nice evasion. Thanks.
18 EXT. RURAL ROAD - DUSK 18
Cars are traveling an old service road...
19 INT. TOWN CAR - DUSK 19
Nick's in back with Cantrell. The years have left Cantrell
90% blind; his glasses are beyond Coke bottle-thick.
BLUE - 9-19-08 14.
Between them sits Betsy the German shepherd, now ten years
old, wearing a guide-dog harness. She looks miserable wearing
a big cone-shaped POST-SURGERY COLLAR.
How long she have to wear this stupid
Till the stitches heal. Week or
Nick dotes on the dog, they're old pals:
Poor honey. Sucks, doesn't it? But
you're very pretty. Yes, you are.
Even with a radar dish on your head.
There they are. Like clockwork.
ANGLE SHIFTS TO Sarah -- much more confident and power-suited
than last time we saw her -- riding up front with the driver.
19A EXT. AERIAL ESTABLISHING - GEORGE HILL PRISON - LATE DAY 19A*
The car pulls up to the gate as CAMERA RISES to reveal the *
new facility positioned right next to the old one... *
20 INT. EXECUTION CHAMBER - NIGHT 20
The condemned, RUPERT AMES, is placed against the upright
execution table and buckled in. The table is tilted back to
vertical. All Rupert can do is lay there and watch, as:
MEDICAL TECHS swab his arms with alcohol, prepare the needles,
find his veins. The needles are inserted, taped off. The I.V.
lines are attached. Very methodical.
The techs leave the room. The curtain is drawn aside, revealing
the big window that separates the chamber from:
BLUE - 9-19-08 15.
21 INT. VIEWING ROOM - NIGHT 21
Nick and his colleagues are among SEVERAL DOZEN WITNESSES
seated in chairs. They watch as WARDEN IGER faces Rupert.
Rupert Ames. Do you have anything
Rupert doesn't have much of an IQ and he's scared shitless,
but he does his best:
I'm here. Clarence Darby ain't. And
that ain't right. 'Cause that man
is evil, ain't no other way to say
it. All them things he done, and
him turn witness against me for it.
He pauses, trying to untangle his thoughts.
I did wrong too. I guess I'll pay
up. But it was always him sayin'
jump and how high, and I just went
along. Now he's killin' me and he
got you people to do it. And that's
a shame. A goddamn shame. And...
...and I guess that's all.
Nick trades a look with Sarah. Cantrell is stoic.
Warden Iger nods to TWO GUARDS manning the LETHAL INJECTION
MACHINE, on which EIGHT OVERSIZED GLASS CYLINDERS in a vertical
row are the main feature, filled with various clear liquids.
There are two switches -- one a dummy, the other live (no way
to know which is which). The guards power up the machine.
Lights activate on the board. Each man grabs a switch, waits.
Nick watches the wall clock. It hits 7 o'clock. The warden *
nods and the guards flick their switches, quickly leaving the *
room. The warden follows them out, closes the door.
We hear the pumps quietly activate. Rupert is taking shallow
breaths, terrified...then lays back to wait.
PLUNGER ONE slowly descends, emptying its contents into the
Rupert sags as the fast-acting barbiturate spreads through
his veins...his breathing slows...his head drops back... he
PLUNGER TWO depresses, sending the second vial of liquid into
the I.V. lines with a quiet whir of pumps...
BLUE - 9-19-08 16.
PLUNGER THREE activates...then PLUNGER FOUR...the row of
cylinders emptying in sequence...
Rupert lies unconscious, just drifting away...
He suddenly comes to. He draws in a long, shaky breath. It
catches in his throat. His eyes go wide. His entire body starts
to clench against some increasing pain.
Nick is surprised, uncertain. Betsy starts GROWLING SOFTLY at *
Cantrell's side. Her head comes up, hackles rising. *
Nick glances to the dog...then to Iger, sees the stunned look
on the warden's face. Something is definitely wrong.
The pumps keep whirring, the plungers keep descending...
Rupert he throws his head back, mouth wide...
The witnesses go tense, confused -- what the hell?
Ah--ah--Jesus, don't that HURT!
Rupert looks down at his arms, his expression turning to sheer
horror, because: The veins are turning angry red, then
blackening, as the liquids course through them...
OH FUCK, OH FUCK, THAT HUUUURTS!
Those are last coherent words he speaks. From then on, he's
just shrieking and bouncing against his straps, because:
His veins are starting to smoke. Noxious and foul. The flesh
starts giving away, blood eating though skin like acid.
Shock sweeps the onlookers:
What's going on? Nick?
People are on their feet. Horror and incomprehension.
Nick, goddamn it, what?
I don't know!
Rupert is fast becoming a horror:
BLUE - 9-19-08 17.
It's going down his arms and legs, up his neck, infusing his
ears -- a nauseating discoloration courses through his body,
using his veins as a road map, going from red to yellow to
black like bruises birthing spontaneously before our eyes...
People in the room scream, turning away. Nick pushes his way
to the viewing glass, shouting at the techs:
WHAT THE FUCK'S GOING ON? DO
The techs dash into the chamber -- but are instantly gagging *
and choking on the toxic fumes billowing from Rupert. They *
retreat coughing, pulling the door shut again. *
Rupert's screams spew forth toxic fumes...breath blows smoke
from his nostrils...eyes liquefy...he's arching against his
restraints so hard that bones begin snapping, blood spewing
and smoking through his skin...
All Nick can do is stand at the glass in horror as whatever
is happening runs its course and the victim collapses in a
cloudy, toxic haze...
22 EXT. PRISON YARD - PARKING AREA - NIGHT 22
Drained and waiting: Nick sitting against the town car.
Cantrell across from him with Betsy at his side (the guide
dog will always be at his side in this movie, specified or
not). EMERGENCY LIGHTS are swirling all around them.
A PARADE OF PEOPLE descends: DETECTIVE DUNNIGAN, Sarah, Warden
Iger, COPS, PRISON STAFF. Intense:
We're still trying to sort through
Gentlemen, we face a terrible
shitstorm of scrutiny in the days
to come. We need answers. Start
with what we know.
Lethal injection is a series of
drugs given in a specific order.
Somebody had to have replaced one
or more of those ingredients with
(off their looks)
Industrial solvent? Acid?
Let's not guess, let forensics do
BLUE - 9-19-08 18.
How could the chemicals be switched?
We're in a goddamn prison! *
I'll ask because somebody has to. *
Is there any chance, no matter how
remote, that this was an accident?
A mix-up? Weird shit happens?
A beat of awkward silence. The warden hesitating.
Show them. The bad part.
23 INT. PHONE JUNCTION ROOM - NIGHT 23*
Dunnigan brings our group in. ELECTRICIANS huddle at an array *
of circuits and trunk lines. In the dancing flashlight beams: *
Some kind of bypass on the phone *
Nick sees a CIRCUIT-BOARD spliced into the wiring.
Twenty minutes before the execution, *
the prison stopped receiving incoming
calls and emails. Cell service went *
dark too. Signal was probably jammed.
The bad part. I was just on with
the Governor's office. He commuted
Rupert Ames' sentence. They were
trying to call us to stop the
execution. They couldn't get through.
Nick and Cantrell are stunned as this sinks in.
The Governor's incoming number
triggered this device and shut out
any further calls.
Cantrell removes his glasses, rubs his eyes. Softly:
Oh, fuck me. Fuck me.
BLUE - 9-19-08 19.
One more thing. *
Dunnigan aims his maglight and swings the junction box cover
all the way open. Scrawled on the inside of the door in red
are the words: "HIS TONGUE WILL WAG IN HELL."
This mean anything to you? *
CAMERA PUSHES IN on Nick...
24 EXT. PRISON YARD - PARKING AREA - NIGHT 24
Nick's LAPTOP sits on an unmarked car, streaming the D.A.'S
DATABASE by wireless. Nick taps the keys, as:
Clarence Darby. That's what he said
when he agreed to testify against
the man we executed tonight.
"His tongue will wag in hell." Those
very words? It was ten years ago.
I remember it too. Some things stick
in your head.
Check the court transcripts, they're
DARBY'S MUGSHOT (ten years ago) scans up, along with pertinent *
info of that time. GARZA, Dunnigan's partner, peers at it. *
I know this prick. I'm pretty sure *
he's one of our C.I.s.
Surprised looks are traded.
You think, or you know?
BLUE - 9-19-08 20.
That's not the name he uses now. *
But I'm pretty sure he's one of
Okay, raise Bernstein, I want
everything he's got, including an
address. We roll with tactical.
How about I ride-along? Give you a
fast, accurate ID on this guy?
Is that necessary?
You said yourself we should move
fast. This thing'll be all over the
morning news cycle. We'd all look a
lot better if we have the right man
in custody by then.
Off Cantrell's look...
25 EXT. BRIDGE/CITYSCAPE - NIGHT 25
AERIAL SHOT: ANGLING DOWN to find a CONVOY OF POLICE VEHICLES
speeding across a bridge.
26 INT. UNMARKED CAR (MOVING) - NIGHT 26
Garza driving. Dunnigan riding shotgun. Nick in back, putting *
on a tactical vest. A transmission comes over the car's *
dashboard computer: a MURKY NIGHTTIME SHOT OF A MAN in *
sunglasses and Hawaiian shirt. *
That's him. "Wayne Dunlap."
Is that Clarence Darby?
I think so. Hard to tell.
Dunnigan scrolls the classified police data pertaining to the
informant: dates, number of convictions attributed...
BLUE - 9-19-08 21.
Jesus, look at this. No wonder
Bernstein loves him.
We scored a lot of good intel off
this fuckhead through the years.
Almost a shame to bag the guy.
A snort from Nick. The cops glance back.
He's helped us put a lot of bad
people behind bars. Look. Arrests,
I can read a C.I. profile. What I
see is an asshole dirty up to his
ears in the drug trade. So you cops
look the other way? He gets a free
pass as long as he keeps feeding
Isn't that what you did ten years
ago? Give this guy a free pass in
return for a conviction?
(off Nick's look)
Maybe we played this asshole to our
advantage on the street, but you're
the one who put him there. So, no
offense, but you might wanna go
fuck yourself a little.
Nick stares at the man on the dashboard computer screen...
27 INT. CLARENCE DARBY'S HOUSE - NIGHT 27*
...who is indeed Clarence Darby, naked and drenched with sweat, *
taking a hit off a crack pipe. A woman's HAND flails up into
frame, trying to grab for it.
He sucks in a full breath, hands the pipe off to: LISA, the
thin tattooed skank he's got bent over his bed and is fucking
from behind. She flares the bowl with a lighter, barely
registering any reaction as he keeps pumping her.
BLUE - 9-19-08 22.
This shit makes you soft, baby.
Thank you...for stating the
He grits his teeth. Screams. Finishes. He sags, catching his
breath, and glances at the PLASMA TV SCREEN, which has been
playing silently. He grabs the remote, unmutes the set:
NEWSCASTER (V.O.) *
...rumors the execution did not go
well due to technical flaws, but
that has yet to be confirmed...
"Did not go well." Way to go, Rupert.
You even fucked up dying.
You know that guy?
Knew. Past tense.
CELL PHONE RINGS, he answers.
Depends. Who's this?
Somebody who doesn't want to see
you in jail. Look out your window.
Argue later. Do it now.
Darby goes to the window. Headlights in the distance. Lots of
them. He grabs binoculars off the sill.
BINOCULAR POV: VEHICLES
All cop. Racing this way. No lights, no sirens.
lowers the binoculars, stunned.
BLUE - 9-19-08 23.
There's a world of shit coming your
way. I'd get out the back. Now.
Click -- line dead. Darby frozen for a moment, looking around
at all the drugs and paraphernalia. He scrambles, tossing on
his pants, grabbing his shirt. Lisa jumps off the bed --
She goes to the window, sees cars sweeping from the darkness.
Are those fucking cops?
Darby lunges to a bookcase, grabs a REVOLVER from behind the *
books, sails out the bedroom door...
28 INT. DOWNSTAIRS - NIGHT 28
...and races down the steps with Lisa at his heels.
You ain't leaving me here!
She catches him halfway across the room, holding him back. He
smashes the gun into her face repeatedly...
...and knocks her bleeding and crying to the floor. He sails
on through the kitchen, leaving her there...
29 EXT. DARBY'S HOUSE - NIGHT 29
...and bursts through the screen door, fleeing barefoot across
the back yard as VEHICLES AND COPS swarm the front of the
house. A cruiser nails him with a spotlight:
(over car speakers)
You! Freeze right there!
Darby, never slowing, swings his arm around, FIRING his
revolver blindly at all the lights...
30 EXT. FRONT YARD - NIGHT 30
...whoa, fuck, gunshots! Cops scramble and dive. Nick has
just gotten out of Dunnigan's car -- a cruiser's window takes
a blind hit nearby, exploding glass. Nick ducks, total shock, *
out of his element. Drawing, Dunnigan throws him to the ground. *
BLUE - 9-19-08 24.
31 EXT. BAD NEIGHBORHOOD - NIGHT 31
Darby runs like an amped-up rat in a maze, hearing cop cars
in the night: Engines ROARING, tires SQUEALING...
Suddenly, the SOUND OF A HELICOPTER above. Darby dashes for
cover against a garage, lost in shadow. A massively bright
searchlight sweeps from above, probing...
Darby crouches, heart hammering, watching the searchlight
scan over rooftops. His phone RINGS, he answers:
Ditch the gun. Wipe the prints.
Kiss my ass.
I heard six shots. Revolver? Bring
Darby glances at the gun, realizing. He bangs his head back
against the garage wall in frustration -- fuck!
You shot at cops. That's attempted
murder if they find the gun on you.
You're in deep enough without that.
Darby frantically wipes the gun with his shirttail, as:
You'll need my help getting out.
What'll it cost me?
We'll discuss terms later. Go south,
across 10th. Past the El tracks.
Alley behind the clinic.
A cop. Take his ride, he won't give *
you any trouble.
How do you know?
'Cause I tasered his ass. You gonna
keep asking questions?
BLUE - 9-19-08 25.
Click -- line dead. Darby breaks cover, heaves the gun into
somebody's yard, keeps moving...
32 EXT. DARBY'S HOUSE - NIGHT 32
Chaotic with cops and lights. Lisa is dragged out, shrieking
and bleeding, her face a broken mess. ANGLE TO Nick watching
it all unfold. He sees Dunnigan approach:
No way he's getting out of this
33 EXT. ALLEY - NIGHT 33
Darby finds a POLICE CRUISER parked in the moonlight, window
down. Dark inside. A LOCAL COP is sprawled across the front
seat...groaning, coming to.
Darby jumps in, passenger side, wrestles the cop upright. He
yanks the cop's service revolver, slapping him awake.
Darby reaches over and keys the engine to life.
Drive, fucker! I'll put your brains
on the dash!
Don't shoot! Don't hurt me, okay?
Depends on you. Go.
The cop hits the gas. Tense moments go by as they accelerate
up a dark road. Darby ducks as COP CARS stream past.
34 EXT. DARBY'S HOUSE - NIGHT 34
Dunnigan and Nick tense, hearing a VOICE over the radio:
...air unit three...see no sign of
suspect...think we lost him...
Keep sweeping the area, unit three.
(to Tactical Commander)
Go house-to-house. Check everything. *
Garages, dumpsters, storm drains... *
BLUE - 9-19-08 25A.
You gotta be kidding me. *
Dunnigan -- angry, at a loss -- doesn't reply. Cops are *
scrambling in all directions. *
Nick turns, steps TOWARD CAMERA INTO A TIGHT SHOT, gazing off *
into the darkness. Something very weird just happened here, *
but he has no idea what. Softly: *
How could we lose him? *
BLUE - 9-19-08 26.
35 EXT. INDUSTRIAL ZONE - NIGHT 35
Tracks and factories, remote and deserted. Far away, the POLICE
COPTER is still buzzing, searching...
The police cruiser appears, stops. Darby emerges with gun and *
flashlight leveled, motions for the cop to get out. The cop *
complies with hands raised, shaking.
In the ditch.
...please...don't kill me...
Knees. Let's go.
Darby shoves him stumbling into the ditch. The cop sinks to
his knees and starts to weep.
I'll never see my wife and little
girl again. I'll never see them.
It's fucked up.
Darby steps closer, draws the hammer back, takes aim for a
head shot...but his PHONE RINGS. He pulls it fast.
This my guardian angel?
On his knees in the muck, the cop's quiet weeping becomes
soft laughter. He brings up a cell phone, speaks into it:
I see you got out okay.
Darby draws back, confused, gun still aimed. The cop snaps
his cell phone shut, rises to face him.
You know why I'll never see my wife
and daughter again?
He takes his hat off, peels his moustache away. Darby pins
him with the flashlight, finally and fully revealing:
You took them from me.
Recognition floods Darby. He pulls the trigger, and:
BLUE - 9-19-08 27.
Nothing. Just a click, Darby freezing, a hiss of pain. Not
Clyde reaches for the gun, pries open Darby's fingers, pulls
it from his grasp... revealing the TINY NEEDLES that sprang
from the pistol's grip into Darby's palm.
Darby stares at his perforated palm. His knees give out and
Clyde catches him, eases him to the ground. *
36 OMITTED 36*
39 INT. FARM SHED - NIGHT 39*
ANGLE: A head encased in a hood. The hood is pulled off,
revealing Darby -- eyes wide, lying on a rough table. Benson
Clyde leans over him, checks his pupils.
He displays the prop gun rigged with the needles.
Tetrototoxin. Fascinating stuff. It
paralyzes you, but leaves all other
neurological functions intact.
WHITE - 9-7-8 28.
He sets the gun down, starts rooting through some instruments
that Darby can't see (though he's straining to).
That means you can't move. Or talk.
But you can see. Hear. Feel.
That last one's important. Feel.
You can feel everything.
(glances at bottled drugs)
Got some other items here. Drugs to
revive you in case you pass out.
Stuff like that.
Darby almost manages to speak, thrashing weakly. Clyde leans
over, checks his pupils again.
Wearing off a little. No worries.
He tucks a padded block under Darby's head like a pillow,
raising his head so he can see better. Clyde moves down the
table, tightens straps holding Darby down. But the worst part:
TOURNIQUETS are tied on Darby's arms and legs at various
points. Darby sees them and starts hyperventilating.
Oh. These. Don't want you bleeding
out. This will take a while.
Clyde puts on a thick coat, like a meat-packer's. He returns,
sorting implements, Darby trying to see. Clyde obliges him,
holding things up:
Fingers. Maybe toes.
Eyelids. In case you insist on
shutting your eyes.
Darby's screaming -- but with the tetrototoxin in his system,
all that's coming out is air, like a slow leak.
Clyde picks up an object, unfolds it -- a full-body plastic
coat. He puts it on over his other coat, as:
Earlier on the phone? I said I'd
get you out? You asked me what it
would cost? Well.
BLUE - 9-19-08 29.
He finishes buttoning up, crosses back to the table, raises a
new object into view: a CIRCULAR POWER SAW. *
We'll start with an arm and a leg.
Go from there.
Pause. The reality of what he's about to do washing over him: *
I've been waiting to say that line *
for years. But it wasn't very funny,
was it? No. Played much better in
my head. Maybe it's my delivery.
He puts a construction-site face protector atop his head, the
kind with a full plastic face shield that can be flipped down. *
He turns and undoes the slipknot of a laundry cord stretching *
up to the ceiling. He feeds the cord and a full-length mirror *
tilts down horizontally above the table. Darby finds himself *
staring straight up into it -- he'll see everything. *
ANGLE FROM BEHIND VIDEO CAMERA
The CAMERA'S LCD SCREEN looms large in our shot. The LCD is
dark, the camera inactive. It's mounted high on a tripod,
aimed down at the table. Clyde approaches b.g., pauses.
Gosh. My heart's beating. You? *
He flips his visor down -- dark, no face visible. He reaches
up, turns the camera on. The LCD screen activates.
ANGLE CLOSES IN until all we see is:
THE LCD IMAGE. Grainy in low light. Clyde, now faceless behind
the visor, crosses to the squirming figure on the table. We
hear the CIRCULAR SAW BUILD TO A HIGH SHRIEK...
FADE TO BLACK
...and the SHRIEKING SAW FADES...
40 HOLD IN BLACK. 40
THE BLACKNESS OPENS UP -- we're in a cop car's trunk looking
up as the lid is opened. A FIGURE in a meat-packing coat looms
over us, faceless and scary behind a dark face protector.
ANGLE INTO TRUNK *
reveals OFFICER HILTS hand-cuffed and duct-taped. He's spent *
the night in here. He recoils, terrified and blinded by glare. *
BLUE - 9-19-08 29A.
The figure opens a wicked-sharp butterfly knife, CLICK-CLACKS
it open. He leans down, slits the tape binding Hilts' arms,
drops the keys in the cop's hands.
41 EXT. COUNTRY DIRT ROAD - DAWN 41
The police cruiser sits on a dirt road, a FEMALE DISPATCHER'S
VOICE issuing softly and incessantly from the radio:
BLUE - 9-19-08 30.
...unit twenty one, come in...unit
twenty one, please respond...report
The mysterious figure strides from the police cruiser to a
MIDNIGHT BLUE 1965 LINCOLN CONTINENTAL in superb condition,
shrugging off his thick coat. He gets in, hits the gas.
Hilts struggles to uncuff himself in the cruiser's trunk, *
arms and legs cramping, as: *
The Lincoln becomes a CLOUD OF DUST receding in the distance... *
42 INT. NICK'S KITCHEN - MORNING 42*
Cleaning up the aftermath of the party: Nick up on a step-
stool taking down the birthday banner; Kell in her robe feeding
the dishwasher; Emma zooming in and out shuttling paper plates
and plastic cups into a big trash bag...
...and while we were singing karaoke,
Ashley was all dancing around and
jumping up and down and suddenly
she gets this look on her face...
I saw it coming.
...and suddenly she just went barf.
Total puke moment. And we were all
like, ewwww gross! It was so funny...
She's out of the kitchen to grab more stuff. Kell starts
preparing a bowl of cereal for Emma.
Funny for her. I cleaned it up.
I had my "ewwww gross" moment last
Hey. I had a house full of shrieking
ten year-old girls.
Hey. I saw a guy's veins dissolve.
Honey. It's not a competition.
(off his look)
Okay, you win.
BLUE - 9-19-08 31.
Emma re-enters, dumping more trash:
...so Tara says that's what you get
for eating too much cake and that
almost made Ashley puke again...
The DOORBELL RINGS. Kell glances out the window.
(grabs her cereal)
I'll get it!
She runs out. Nick comes off the step-stool, gratefully accepts
a cup of coffee from Kell. He suddenly freezes, notices:
The kitchen TV is playing CNN: a top-of-the-hour story on the
Rupert Ames execution and foul-up.
Oh, shit. We've gone national.
43 INT. LIVING ROOM - DAY 43
At the front door, a MESSENGER hands Emma a GIFT BASKET
trailing mylar balloons with "Happy Birthday Emma" on them.
She closes the door, turns toward us, finds a CARDBOARD
ENVELOPE on the basket -- a card? She opens it, finds:
Not a card. An unlabeled DVD.
44 EXT. COUNTRY DIRT ROAD - DAY 44
LOCAL SHERIFFS (not city cops) are spreading out across the *
fields, beating the grass, looking for clues...
ANGLE TO Officer Hilts, blanket-draped and still rattled by
his night-long ordeal, being interviewed by a SERGEANT:
...the suspect who tasered you last *
night...was it the same person who *
let you out of the trunk this
I never saw a face...either time...he
wore a thing, a face shield...
Suddenly, we hear a DISTANT VOICE shouting in panic:
BLUE - 9-19-08 32.
Everybody's gaze snaps up, tense. Across the fields, a YOUNG
COP is stumbling away from a distant farm shed, pointing: *
Come quick! You gotta see this!
45 INT. NICK'S KITCHEN - DAY 45
Nick at the table with Kell, riveted to CNN: STATE OFFICIALS,
including Iger, are being grilled in a media frenzy. Cantrell
was right, it's a shitstorm of scrutiny...
46 INT. LIVING ROOM - DAY 46
Emma, munching her bowl of breakfast cereal, slots the DVD in
the player. She backs up, hits play with the remote.
An IMAGE appears on screen, grainy. Emma looks perplexed.
It's not a normal DVD -- more like a bad home movie:
A figure in a plastic coat and face shield turns from the
camera to a table, where another man is strapped down.
The first man raises a circular saw. The man on the table is
thrashing weakly, trying to move. Emma still has no idea what
she's looking at. Suddenly:
The man with the saw makes a quick sweep across the table,
across the other man's leg at the shin. The move was so fast
and casual that it's taking a moment to sink in:
Emma stands frozen, clutching her cereal bowl.
B.G., we see Nick lean back in his chair, reacting to her
tone of voice...and by what sounds like a shrieking saw.
On screen, the man with the saw picks up the severed limb and
shows it to the victim. It's been lopped off below the knee.
Emma drops her bowl -- it shatters at her feet. Nick and Kell
enter behind her, confused, not sure what they're seeing...
On screen, the man with the saw lops off the victim's forearm.
Oh my God!
Emma turns, throws herself into her parents' arms. They drop
to their knees, shielding their sobbing daughter. PUSH IN ON
them staring at the shrieking saw...
BLUE - 9-19-08 33.
What the hell is this? Jesus Christ,
Nick! Turn it off! Turn it off!
It's okay, baby, I'm here...
Nick lunges to turn off the TV as:
FROM THIS POINT ONWARD, WE PLAY THE SEQUENCE AS MONTAGE:
47 INT. FARM SHED - DAY 47*
The door is swung open in a blaze of sunlight. The local cops
enter with pistols drawn and shotguns leveled. Faces go stark
with horror as their eyes adjust.
Oh my Lord.
48 INT. A RENOVATED FARMHOUSE SOMEWHERE - DAY 48*
A RECORD is pulled from a sleeve. An old-school vinyl LP.
49 INT. FARM SHED - DAY 49*
Cops easing in. ANGLE SWINGS QUEASILY AROUND as they enter,
WIDENING to reveal a scene of nightmare intensity: Blood
everywhere. Streaks. Spatters. And body parts. Strewn and
discarded. Intestines nailed to the rafters overhead.
50 INT. FARMHOUSE - DAY 50
A RECORD PLAYER NEEDLE DROPS, hits the groove with a HISS of
vinyl. MUSIC STARTS TO PLAY LOUDLY, BOOMING through the space. *
FOCUS REMAINS WITH the spinning record. An OUT-OF-FOCUS FIGURE
in a rolling chair pushes away from the record player and
sails across the room toward a brightly-lit work table...
51 INT. FARM SHED - DAY (SONG CONTINUES) 51*
Cops are covering their mouths with handkerchiefs, gagging.
The stench is incredible. Flies are buzzing and swarming. One
cop turns away and doubles over, trying not to puke.
The Sergeant moves cautiously forward, finds: A HEAD. On the
wooden dissection table. Clarence Darby, not that you'd
recognize him. His eyes are gone. His lips are missing. His
teeth...well, most of them are scattered about.
52 INT. FARMHOUSE - DAY (SONG CONTINUES) 52
A MINIATURE CIVIL WAR SOLDIER is held in extreme magnification
before us under a tabletop magnifier, the tip of a paintbrush
delicately evoking stunning detail...
BLUE - 9-19-08 34.
53 INT. NICK'S HOUSE - DAY (SONG CONTINUES) 53
Emma is still sobbing into her mother's arms as Nick takes
the frame f.g., shouting into the phone:
My daughter is traumatized! She's *
only ten! It's a goddamn snuff film! *
In my home! *
54 INT. DETECTIVE'S BULLPEN - DAY (SONG CONTINUES) 54
Price got a video of it happening
delivered to his house...
Dunnigan enters frame f.g., snatches up his extension. He
listens for a few beats, trying to get a word in:
Yeah, we know. Nick, we know. The
body's been found. The pieces,
anyway. Call just came in.
In some old shed on a farm outside *
the city. About a hundred and fifty
acre piece of property.
55 INT. NICK'S HOUSE - DAY (SONG CONTINUES) 55
Belonging to who?
56 INT. FARMHOUSE - DAY (SONG CONTINUES) 56
A GIANT EYEBALL stares at us, unnaturally magnified by a
tabletop magnifier. The lens is swept aside, revealing:
Benson Clyde. In addition to the tabletop magnifier, he's
wearing MAGNIFYING LENSES on his head. He examines the figurine
with his naked eye, then flips the glasses down to continue...
57 EXT. COUNTRY HIGHWAY - DAY (SONG CONTINUES) 57
VEHICLES race along two-lane blacktop: CRUISERS, UNMARKED
CARS, TACTICAL VANS. A POLICE HELICOPTER skims along just
above them at scary-low altitude...
The cars veer off pavement and up a dirt road, kicking up an
awesome trail of dust as the copter sweeps wide, pacing...
58 INT. CARS - DAY (SONG CONTINUES) 58
Tense faces: Dunnigan, Garza, Nick.
WHITE - 9-7-8 35.
59 INT. FARMHOUSE - DAY (SONG CONTINUES) 59
Clyde pauses, hearing a RUMBLE under the music. Glances up as
the rumble passes overhead -- a helicopter? He clicks on a
tiny fan, holds the figurine under it, giving it a final dry.
60 EXT. FARMHOUSE - DAY (SONG CONTINUES) 60
A shitstorm descends: vehicles swerving in, COPS jumping out,
machine gun-toting SWAT TACTICAL TROOPS pouring from vans...
61 INT. FARMHOUSE - DAY (SONG CONTINUES) 61
Clyde, still holding the figurine under the whirring fan,
leans to one side in his chair, glancing out the window.
He glimpses scurrying figures behind cars, cops darting and
surrounding the house, motioning with hand signals...
He holds up the figurine for a final look. Satisfied with it,
he places it onto:
A CHESSBOARD -- the last piece. All the others are also hand-
painted, gorgeous. Real craftsmanship here.
He stands. Calmly moves to the middle of the room. Kicks off
his shoes. Peels off his shirt and undershirt. Even takes off
his pants. There will be no confusion about hidden weapons.
He positions himself, very precise and purposeful. Lifts his
hands high above his head. Presenting himself. Waiting.
Then, bam: doors EXPLODE in and windows SHATTER as the SWAT
tactical troops storm the room, bad-asses in black, machine
guns aimed, encircling him, everybody shouting:
DO NOT MOVE--FREEZE MOTHERFUCKER--
DON'T EVEN TWITCH--WE WILL FIRE
UPON YOU--LET'S SEE THOSE HANDS--
Clyde is the calm eye of a pissed-off storm of highly
professional cops with itchy trigger fingers. He remains
serene, looking around at them, hands raised high...
ON THE FLOOR! FACE DOWN! DO IT NOW!
He compliantly goes to his knees, then prone, offers his hands
behind his back. They move in, cuff him, as troops spread
throughout the house yelling "Clear!"
62 EXT. FARMHOUSE - DAY 62
Nick, wearing his kevlar, follows Dunnigan and Garza. Nick
glances over and sees a perfect 1965 midnight-blue Lincoln
Continental in the carport...
BLUE - 9-19-08 36.
63 INT. FARMHOUSE - DAY 63
Clyde is pulled to his feet just as Nick enters. UNIFORMS
spread out, securing the house. Dunnigan faces Clyde...
Benson Clyde. You have the right to
...as the full Miranda is read, Nick and Clyde have their
eyes locked throughout -- this moment is all about them...
...understand your rights as I have
Clyde is hustled outside, leaving Nick with Dunnigan and Garza
in the farmhouse -- it's renovated, clean, very loft-like.
Nick drifts to the table, sees the chess board, can't help
admiring the pieces. Then his eyes go to a floor-to-ceiling
bookcase. He's stunned to realize: they're all law books.
Check this shit out.
Nick turns, moves to Garza's side. Dunnigan joins them. All
three staring at a wall. ANGLE SHIFTS around to reveal:
The long-ago PHOTO (clipped from a newspaper) of Nick and
Clarence Darby shaking hands on the courthouse steps.
ANGLE WIDENS to reveal:
Photo after photo. The crime scene photos...photos of Clyde
and his family in happier times...photos clipped from magazines
and newspapers about the murder and trial...all very neatly
and precisely arrayed. The entire wall covered with them.
THE MUSIC KEEPS BOOMING from the record player. Dunnigan turns *
TIGHT TO CAMERA and yells:
CAN SOMEBODY TURN THAT FUCKING MUSIC
64 INT. POLICE INTERROGATION ROOM - DAY 64
Clyde sits alone and isolated in a small room. WIDEN to reveal
Sarah at the observation glass. She turns as Nick steps up.
He says he'll only talk to you.
WHITE - 9-7-8 37.
Nick and Dunnigan prepare to go in. Dunnigan takes off his
gun and holster, lays them on a table, as Garza activates the
VIDEO. Cantrell finds a chair by feel, sits down, as:
Nick and Dunnigan enter. Dunnigan melts into a corner to
observe as Nick sits across the table from Clyde.
Why so formal? We go way back. Call
me Benson. Or Ben.
Nick sits across the table from Clyde, settles in.
Well. I'm here. So?
So. Maybe you can explain what this
is all about.
Nick almost laughs -- not what he expected to hear.
I think that's obvious.
Clyde spreads his hands questioningly -- not really.
You murdered two people. Rupert
Ames and Clarence Darby.
(shifts his gaze)
Dunnigan. I thought I'd made it
clear I would only speak to the
gentleman across the table from me.
Dunnigan glowers at him, looks to Nick.
You murdered two people. Rupert
Ames and Clarence Darby.
BLUE - 9-19-08 38.
Darby? I knew about Ames, of course.
I've been following the news about
his horribly botched execution. But
Darby too? Quite a coincidence.
Cut the shit. We know you did it.
Save everybody a lot of time and
trouble and just confess.
Are you going to continue to insist
on being part of this conversation?
(beat, gives in)
Fine. Far be it from me to be rude.
Clarence Darby was found on your
property. Old abandoned shed? *
I didn't know I had one. It's 150
acres, uncultivated. The other day
I found a creek I never knew I had.
Hunters trespass all the time. You
going to try to pin the dead deer
on me too?
I don't believe this guy.
That man is frosty.
INNER ROOM *
It occurs to me that an even
moderately clever person could try
to frame me for the murder simply
by killing him on my property. One
of Darby's drug rivals? That's an
(off Nick's stare)
A jury would have to weigh that
possibility. What else you got?
BLUE - 9-19-08 39.
How about video of you dismembering
Darby while he was still alive?
That's odd. See, if I were to do
such a thing, I'd probably wear
something so I couldn't be
identified. Some kind of mask maybe.
But you say it's actually me on the
video? Did the camera capture my
good side? *
Nick snaps, lunges across the table, grabs Clyde.
You sick fuck, you sent it to my
house! My daughter saw that video!
It fucking traumatized her! She
couldn't stop sobbing!
Dunnigan moves in fast, trying to pull Nick off (but failing):
Whoa-whoa, Nick, ease off!
No trouble here, Detective, we're
fine. Thank you, though.
Dunnigan backs off. Clyde turns back to Nick, who's still got
him in his grasp, their faces close.
Your daughter is, what, ten now?
That's a wonderful age. My daughter
was always so busy at that age, so
interested, so into everything.
Jumping around. I called her "Bean,"
she jumped around so much.
Nick is easing off by inches, subtly and ineffably weirded-
out, unable to break Clyde's gaze. Softly:
I am sorry, Nick, that your daughter
experienced that. You're right.
That video should not have arrived
that way. The person who sent it
should have thought twice.
Dunnigan moves in again, gently but firmly pulls Nick away.
WHITE - 9-7-8 40.
Unless there's hard evidence tying
me to these crimes -- forensic or
otherwise -- why am I here? Why are
we having this conversation?
We know you did it.
It's not about what you know. It's
about what you can prove in court.
(off Nick's look)
Your words. Like when you called it
a justice system. You know the thing
about a system, Nick? Any system
can be played.
You think you can play us? You gonna
take me on?
Clarence Darby did. And I'm much
smarter than he was. Or you.
Nick advances, furious, held back by Dunnigan:
I'm gonna bury you, fucker!
(lunges to his feet)
That's it, that's what I want! That
fire in the belly! That's what I
wanted ten years ago! Do it, Nick!
(shouting at Clyde)
Sit down! Sit the fuck down!
Clyde does, settles in, speaking calmly:
Or. Set me free.
Did I stutter? Make your case. Or.
Shake my hand on the courthouse
steps and send me on my way.
(off Nick's look)
I'll even make it easy on you. I
will confess, how's that?
BLUE - 9-19-08 41.
You're gonna confess.
Let's start tomorrow after a good
night's sleep. We'll all be fresh
65 EXT. CITY HALL COURTYARD - DAY 65
Nick paces agitated, with the group: *
Ten years he's been planning this? *
Patient people make me nervous.
This? This freaks me out. *
Is he serious about confessing? *
What's his deal, is he crazy?
Confession or not, we're gonna nail
him on two counts of first-degree.
Agreed, but softly. Nothing hard-
ass, no grand-standing. Kid gloves.
Kid gloves? He's a psycho with a
Depending on who's writing the
headline, he's a grieving husband
and father who got revenge on the
men who murdered his wife and child.
(off Nick's look)
Public sympathy is to be respected
and feared. This could blow up in
our faces if we're not careful. We
can't look like we're pissed off or
have an ax to grind.
Are we pissed off? Do we have an ax
BLUE - 9-19-08 42.
Then stop acting like it.
Beat. Nick takes a deep breath.
Okay. He got under my skin a little.
66 EXT. CITY HALL - DAY 66
STEADICAM TWO SILHOUETTES: We're following Nick and Sarah
through one of the pedestrian tunnels to the street:
...background check's gotta be
thorough, I want to know everything
there is to know about this son of
a bitch. Get all the ADAs on it,
tell 'em I better not see them
sitting around on their asses or
texting their pals...
How about outside help? That P.I.
who helped us on the Jacovitz case?
Yeah, he was good. And Hanson's *
always reliable. But try to limit
their hours, okay?
We find a MERCEDES at the curb -- Kell at the wheel, Emma in
back. Nick gets in. Sarah leans down, happy to see them. Emma's
face lights up -- the little girl obviously adores her.
Well, hello there beauty!
Hey Kell! Hey Emma, how's my dynamo?
We haven't seen you in so long it's
ridiculous. When are you gonna come
by for a visit?
Who needs a life, right? Talk to
your husband, maybe he'll give us a
day off one of these years.
Soon, huh? Seriously, we miss you.
BLUE - 9-19-08 43.
Sarah blows Emma a big extravagant kiss. Emma returns it,
waves as they pull away. Nick and Kell glance back, happy to
see their daughter acting a bit more like her old self...
67 INT. NICK'S HOUSE - NIGHT 67
Late. Nick, in t-shirt and pajama bottoms, comes up a dark
hallway with a file in his hand, rubbing his eyes. He comes
to his daughter's bedroom door, quietly turns the knob...
...and finds the bed empty. Sheets thrown back.
Nick stands for a moment, every irrational fear he's ever had
washing over him. CAMERA FOLLOWS HIM fast down the hallway...
...into the master bedroom, where he finds Emma sleeping with
Kell. He stands for a moment, heart hammering. Softly:
Kell stirs, sees him, puts a finger to her lips. In whispers:
I saw her bed empty. Scared the
shit out of me. Don't know why.
She had a bad dream. She wanted to
sleep with us tonight.
(feels his heart race)
He climbs onto the bed, cuddles up, Emma between them.
I had a nightmare. That man. *
I know. Shhh. We're all good. You're
safe. Nobody's gonna hurt you.
Especially not that man. Daddy's
gonna put him in jail forever. That's
what daddy does. He makes sure the
bad people stay locked away.
Nick lays there, listening...
BLUE - 9-19-08 44.
68 OMITTED 68*
69 INT. "THE DOME" - DAY 69*
A huge domed chamber. In the center of the floor stands a
smaller free-standing domed cage, like a bizarre birdcage.
Inside the birdcage: Nick and Garza wait. Garza mans a camera.
Outside the birdcage: Observers. Some (Cantrell and Sarah)
occupy floor-level, where the video monitors are. Others (Iger
and Dunnigan) are on a catwalk above that encircles the room.
A door opens and Clyde is brought into the birdcage. He gazes
around, checking his surroundings.
I admit I expected something more
modern. That jail downtown? *
Filled to capacity. It has been for
years. They had to re-open this for
the overflow. Part of it anyway. *
Welcome to the county jail annex. *
All new inmates come here. It was *
in the papers.
Right. Prison crowding. It's a
He sits. Nick joins him, pulls out a legal pad.
For the record: You've waived legal
counsel. You've offered to confess
to the murders of Clarence Darby
and Rupert Ames. Yes?
We'll get to that. First, what I'd
really like to talk about is the
cot in my cell. It's lumpy.
(off Nick's stare)
Hardly any padding? Steel springs?
BLUE - 9-19-08 45.
I know what lumpy means. Sorry to
hear it. But we're not here to talk
about prison conditions, we're here
to talk about things you've done.
Start with things I haven't done.
Like get any sleep last night.
(beat, leans forward)
I said let's begin today fresh and *
rested. You recall my words? *
What do you want from me?
A bed in my cell.
A bed. In your cell.
Yes, please. One of those Sleep-
Matic adjustables. Those are best. *
You want the variable temperature
That would be nice.
Beat. Nick tosses his legal pad on the table, swivels around
in his chair to the observers up on the catwalk, spreads his
arms in a "help me" gesture.
It's a steel cot! It's bolted to *
the wall! *
BLUE - 9-19-08 46.
I'm sure they have a wrench. *
We also have rules prohibiting *
personal items such as beds. *
(looks to Nick)
Let me get this straight. You're
going to let a bed prevent this
confession from taking place.
You looking to deal? All right,
how's this? How about I don't kick
your fucking teeth down your throat?
Clyde is mildly taken aback. The cops tense up.
Sorry, Jonas. Okay, kid gloves.
My daughter slept in our bed last
night. She hasn't done that since
she was six. You gave her nightmares.
So excuse me if I don't feel like
cutting any little deals today.
My daughter can't have nightmares,
because she died with Clarence *
Darby's breath in her face. You *
gave him a reduced sentence and his *
freedom. All I want is a good night's
70 EXT. PRISON COURTYARD - DAY 70
Everybody's wound up, talking fast:
This is bullshit. He's jerking our
I can justify the expense. *
It's not just a bed. Every inmate *
here will be on the phone to their *
lawyer filing lawsuits for equal
treatment. Can you justify that? *
BLUE - 9-19-08 47.
We give him a bed, he confesses, we *
take the bed away. At most it's one *
Cantrell weighs it, decides:
We're talking a high-profile double
homicide. Order the bed.
71 INT. CELLBLOCK - CLYDE'S CELL - DAY 71
Clyde watches as MAINTENANCE MEN remove the unbolted cot from
the cell and his Sleep-Matic is rolled in.
CONVICTS watch, dumbfounded. Clyde's cellmate, a towering
Aryan Brother named DWIGHT DIXON, stands quietly amazed...
Switching the drugs was easy...
72 INT. "THE DOME" - DAY 72
Back in the birdcage:
I hacked the Fedex database, diverted
the package to me, made the switch,
sent the package on. It's automated
tracking numbers moving millions of
packages daily. Nobody's questioning
who receives what, or why.
And the prison phones?
Get a phone company uniform, hack
the prison database, schedule an
official visit. They'll wave you
through the gate, like they did me.
It's simple if you know how things
(off Nick's look)
It's a system. You learn how it
works. You play it. Any system.
BLUE - 9-19-08 48.
I saw him die. That stuff burned
his veins. He suffered terribly.
Nick flips to a new page on his pad.
Let's move on to Clarence Darby.
(sits back) *
Hey, you like music?
Very much. Why? *
I could tell. I love music. All of *
it. It's like air in my lungs. So
the thing about Clarence Darby is,
I want my record collection and
player brought to me. The vinyl
discs as well as CDs.
Reactions all around the room. Iger leans forward:
Vinyl records and CDs can be broken
into shards. They make excellent
weapons. My answer to that one, Mr.
Clyde, is not no, but hell no. *
Clyde absorbs that, looks to Nick, as:
It's a legitimate concern.
(beat, calls to Iger)
How about my ipod and speaker dock?
73 INT. CELLBLOCK - CLYDE'S CELL - DAY 73
AN IPOD AND SPEAKER DOCK now occupy a small plywood shelf
attached to the railing outside Clyde's cell. A GUARD plugs
it in via a long orange extension cord.
ANGLE WIDENS to Iger, who turns to the bars and hands a remote
control through to Clyde. Dixon's watching balefully, as is
every inmate on the cellblock.
WHITE - 9-7-8 49.
The player stays out here. You hand
the remote to the on-duty guard
every night at lights out. Those
terms aren't negotiable.
I appreciate your compromise.
Iger draws close to the bars. Quietly:
You looking to get your ass kicked?
(off Clyde's look)
By every inmate on this cellblock.
You keep this up, they'll take it
out on you. Harshly.
Clyde glances back to Dwight. Dwight's watching, glowering,
agreement in his silence. Clyde turns back to Iger.
Just trying to keep you alive in
here. That's all.
Iger walks away. Clyde aims the remote. MUSIC STARTS PLAYING.
He leans his head on the bars, listening, blissed. Cons all
over the cellblock are staring daggers at him.
I took his fingers with a bolt
cutter. His toes with a pair of tin
snips. His balls with a hacksaw...
74 INT. "THE DOME" - DAY 74
...his penis with a box cutter. His
skin with a filet knife. His teeth
with pliers. His eyes...for those I
used my fingers.
(looks to Nick)
Check the video I made. All that
will match up. I kept him alive for
an hour, give or take. Time it.
Nick trades looks with the others in the room -- everybody
have what they need? People nod. Nicks closes his pad.
My office types it up, you sign.
BLUE - 9-19-08 50.
Nick rises, putting things in his briefcase. People get ready
to leave -- but Clyde motions Garza to keep it rolling.
How about a signing bonus? The small
concessions you've made so far have
kept my cooperation flowing...why
not give me a reward for signing?
You don't want to sign, don't sign.
We've got you on videotape, we'll
go to trial. In ten years, when
your appeals are exhausted, I'll
attend your execution. I'll make
sure nobody tampers with the drugs.
Don't be such a hard-ass, Nick. I
don't want much. Just a good meal.
(directed at Iger)
The food here? Sucks. No offense.
Dunnigan glances at Nick and stifles a smile, enjoying where
this is going in spite of himself:
What do you have in mind?
There's a place in town on Halston.
La Traviata. Ever been? *
It's a little above my pay grade.
You know it, don't you, Nick? *
I've eaten there. So? *
They cater. Tonight, at 7 p.m., I *
would like my meal delivered to my
cell from La Traviata. With nice
silverware, crisp linens...
Not gonna happen.
BLUE - 9-19-08 51.
Because I have no interest in making
it happen. And you have nothing
left to bargain with.
C'mon, Nick. We've just started
bargaining. You haven't even heard
what I'm offering yet.
This makes people pause. Something in the tone of his voice.
Miss Lowell? Is your laptop still
on? Would you please do a search?
She flips the laptop opens, dread mounting even though she's
not sure why, poises her fingers over the keys.
Cantrell's quietly stunned as the name sinks in. Pin-drop
silence now. Laptop keys CLACKING SOFTLY. People frozen.
Who's William Reynolds?
Clarence Darby's defense attorney.
He brokered the testimony deal with
us ten years ago. He's been missing
March of '06.
Sarah spins the laptop -- a photo of Reynolds, a story of his
Detectives Dunnigan and Garza will
like this offer, Nick. It'll clear
one of their department's missing-
persons files. And it'll solve them
their third homicide this week.
How do you think I located Clarence
Darby after he got out of jail and
legally changed his name? Reynolds
told me -- though it took some *
BLUE - 9-19-08 52.
PUSH IN ON Clyde in the frozen silence...
You want the location of the body?
Tonight, 7 p.m., I get my meal *
delivered to my cell from La
75 OMITTED 75*
76 EXT. ROOFTOP HELIPAD - FEDERAL BUILDING - DAY 76*
A HELICOPTER THROTTLES UP, everything moving fast: an FBI
FIELD TEAM, led by AGENT SAM DAVIES, emerges from a staircase
door onto the roof, where they are met by Nick and Dunnigan.
Davies dons his kevlar vest on the move toward the waiting
copter, everybody SHOUTING over the rotors:
SPECIAL AGENT SAM DAVIES, NICK PRICE
WITH THE D.A.'S OFFICE!
NICK! TELL ME ABOUT THIS BODY!
SUSPECT SAYS NEW JERSEY! ACROSS THE
STATE LINE! THAT MAKES IT FEDERAL,
THAT MAKES IT YOU!
(to another FED)
GET THE CAMDEN OFFICE TO HAVE A
GROUND TEAM MEET US!
SUSPECT WILL GIVE US A GPS MARK!
WE'LL ADVISE YOU IN THE AIR!
BLUE - 9-19-08 53.
They get to the helicopter, feds loading in as Nick pulls a
business card, hands it to Davies.
I'LL BE IN MY OFFICE! PLEASE CALL
ME! WE GOT A LOT OF PEOPLE HOLDING
THEIR BREATH ON THIS!
Davies gets in, signals the PILOT. The copter takes to the
air, buffeting Nick and Dunnigan...
77 INT. CLYDE'S CELL - DAY 77
TIGHT ON CLYDE. He looks up, speaking slowly and clearly:
GPS position is as follows...
78 EXT. AERIAL SHOT - DAY 78
FBI HELICOPTER THUNDERING over the city...
VOICE ON RADIO *
...delta niner foxtrot...GPS *
coordinates follow... *
The helicopter veers, banks into a steep turn...
79 INT. D.A.'S OFFICE - DAY 79
Nick enters, moves through the bullpen. ADAs (assistant
district attorneys) are working and grimly focused. Nick pokes
his head into Sarah's office. She looks up.
What do we have so far? *
80 EXT. PRISON - DAY 80
A HIGH-END DELIVERY VAN bearing the logo of La Traviata is
waved through the gate into the delivery entrance...
SARAH (V.O.) *
He's got no next-of-kin. No family *
since his wife and daughter were *
81 EXT. AERIAL SHOT - DAY 81
THE FBI HELICOPTER THUNDERS over beautiful green hills...
He's a tinkerer. Little inventions *
BLUE - 9-19-08 54.
82 INT. NICK'S OFFICE - DAY 82
Nick gazing out the window, Cantrell seated with his dog,
Sarah reading the report thus far:
...he holds two dozen patents that
have made him a lot of money the
last ten years. He's invested a lot
of it in real estate. Weird stuff.
Properties with no real value. Around *
airports, chemical plants. Stuff *
83 INT. CELLBLOCK - DAY 83
A CONVICT comes to his bars, peering out... *
...because here comes the rolling La Traviata cart -- gleaming
domes keeping food warm, silver utensils, crisp linens, a
ROSE in a bud vase. A red-jacketed LA TRAVIATA WAITER is
pushing the cart, accompanied by GUARDS and Warden Iger.
More cons appear at their bars, faces peering, an angry grumble
growing in the cellblock as the cart goes by. The waiter's
looking around, nervous...
He votes. He gives money to charity,
mostly victim's funds...
84 INT. OFFICE - DAY 84
...but he also gives a big chunk to
He donates to eye research?
RPI. That's the charity you work
with, isn't it?
BLUE - 9-19-08 55.
85 INT. CELL - DAY 85
The waiter, hemmed by guards, nervously reads the order:
...consommé...sea bass...squab... *
New York strip, rare...a variety of *
Rack of lamb?
...oh, yes, rack of lamb...
86 EXT. NEW JERSEY HILLTOP - DAY 86
THE HELICOPTER ROARS IN, lands. Davies and his men jump out.
AN FBI GROUND TEAM is waiting for them. A CAMDEN FIELD AGENT
runs up and points at the ground, shouting:
WE THINK WE'VE GOT A CAIRN HERE!
SOMEBODY LAID A BED OF STONES AND
PLANTED SOD OVER IT!
Davies signals his team. SHOVELS AND PICKS hit the ground...
87 INT. CELL - DAY 87
...while GORGEOUS FOOD hits paper plates. It's being slopped
unceremoniously from the fine china by the guards. TILT UP to
Iger overseeing this process, passing china and utensils to
the waiter, who's flustered:
You're bruising the crepes.
Life's a bitch, then you die.
...no plates, they break into nice
jagged pieces...nothing sharp,
nothing that can be made sharp...no
forks, no knives, no spoons....lose
that carafe...we will have no
potential weapons of any kind this
evening, thank you...you can eat
with your fingers...
The guards will think me gauche.
Clyde's got the rose, teasing his nose with it. All around *
the cellblock, inmates are shouting insults and threats...
BLUE - 9-19-08 56.
88 INT. OFFICE - DAY 88
Sarah is exiting, leaving Nick and Cantrell to stare at the
phone and wait for it to ring...
(calls after her)
Thanks. Keep digging.
89 EXT. HILLTOP - DAY 89
Digging. Sod coming off, being set aside on plastic. FLASH
PHOTOS being taken. Stones being pried up...
90 INT. CELLBLOCK - DAY 90
Waiter and guards exit with the cart. The entire cellblock is
SHOUTING. Iger pauses, gives a final glance back. Softly:
Then he too departs, as:
aims his remote. MUSIC for dining. Clyde glances back at *
Dwight, who's poised and tense.
I suppose if I don't share, you'll
beat the shit out of me. Make me
squeal like a piggy. That sort of
Clyde motions "join me, won't you?" They each take a seat.
Clyde passes Dwight a crisply-folded linen napkin. Dwight
tucks it like a bib. Clyde lays his on his lap.
A hurled object CLANGS off their bars. The cons are now
throwing things, hollering to raise the dead. Clyde cranks
the music a bit louder, motions for Dwight to dig in.
Dwight goes for it, cramming food in his mouth and grabbing
for more, fingers digging in...
91 EXT. HILLTOP - DUSK 91
...fingers digging in, pulling loose soil, prying stones. A
layer of soil is brushed aside to reveal:
A face. Embedded in the dirt. He's been there a long time.
FLASH PHOTOS highlight desiccated lips and teeth...
BLUE - 9-19-08 57.
92 INT. CELL - DUSK 92
...lips and teeth -- Dwight chewing, laughing. Oddly enough,
he and Clyde seem to have started enjoying each other's
company. THE MUSIC PLAYS in bizarre counterpoint to: *
THE CACOPHONY of an angry cellblock -- if the cons weren't in
their cells, this would be a riot. All imaginable items are
being hurled through bars: toilet paper rolls, books, shoes,
clothes, all raining down, showering the cellblock floor...
I wonder what the little people are
Dwight throws his head back and laughs...
93 INT. OFFICE - DUSK 93
...while, in deep silence, Nick unwraps a sorry-looking deli
sandwich, swaps his pickles for Cantrell's potato salad (their
long-standing ritual). They both keep glancing at the phone...
94 INT. CELL - DUSK 94
...as Clyde and Dwight indulge their food orgy. Dialogue is
not important, so we won't hear any -- we'll let the MUSIC *
take over and carry -- because it's all about tone:
They're laughing and talking, winding each other up. And the
more Clyde wisecracks, the more Dwight laughs.
Clyde finishes gnawing a lamb rack and says something to Dwight
about the ruckus. Dwight turns, glances out, as:
Clyde casually, but with purpose, lowers the bone onto his
lap -- adding it to one already there. He picks up a fresh
one, starts chewing the meat off...
95 EXT. HILLTOP - DUSK 95
Dark enough now for flashlights. In the beams, we see the
body mostly excavated. Forensic team members gather, in gloves
and breather masks, getting ready to try lifting.
Okay, let's see if we can get him
out in one piece...
ANGLE FINDS Davies at the helicopter, activity around him,
holding Nick's card and dialing a cell phone...
96 INT. CELL - DUSK 96
Clyde laughing, chewing, gnawing that third bone. ANGLE CLOSES
DOWN as he brings it to his lap...
BLUE - 9-19-08 58.
TIGHT REVEAL: His napkin wrapped tightly around his hand
provides padding for his palm. The two earlier bones are
already held between his fingers -- he places the third, makes
a fist -- and the bones now protrude from his clenched knuckles
like a trio of spikes.
TILT UP to Clyde...he reaches across, turns a paper plate
over to cover the crepes...
97 INT. OFFICE - DUSK 97
The PHONE RINGS. Nick snatches it up. He listens, looks to
Cantrell...nods. They found the body.
98 EXT. HILLTOP - DUSK 98
Behind Davies, B.G., the body's being extracted from the hole:
...gently on three...one...two...
--we'll have to wait for the autopsy
WHAM -- the GRAVE ERUPTS as HALF A DOZEN BURIED CLAYMORE MINES *
pop like firecrackers, knocking Davies forward... *
99 INT. CELL - DUSK 99
...and Clyde lunges, face no longer laughing, the rolling
cart slamming into the wall as the lamb bones protruding from
his fist go slamming into Dwight's throat...
100 EXT. WIDE LANDSCAPE/HILLTOP - DUSK 100
...and the dust cloud cascades across the hillside... *
101 INT. CELL - DUSK 101
...and Clyde has Dwight pinned on the floor against the bars,
arm ramming like a piston, punching those bones into Dwight's
throat again and again, blood everywhere...
102 INT. OFFICE - DUSK 102
TIGHT ON NICK holding the phone. He knows something awful
just happened on the other end:
103 EXT. HILLTOP - DUSK 103
An open CELL PHONE lies on the grass. Feet stumble haltingly
into the shot. TILT UP TO:
BLUE - 9-19-08 59.
Davies, dazed, staring offscreen in shock. Dust and smoke
billowing. People running, shouting...
104 INT. CELL - DUSK 104
Clyde rises into the shot, calm now, covered with blood. He
unwraps the napkin from his hand, snaps it open, uses it to
wipe the blood from his face.
He takes his seat, positions the cart, uncovers the crepes
and resumes eating...
FADE TO BLACK
105 INT. PRISON COURTYARD - DAY 105
A steel gate slides open, revealing Nick. Flanking him are
Cantrell, Dunnigan, Davies (banged up and bandaged), Iger,
others. They move toward us with purpose, grim and resolute,
Sarah bringing up the rear with a young ADA named ROYCE.
Why do you have him in the dome?
He killed his cellmate. We had to
separate him out.
What's wrong with solitary?
We don't have the authority. Not
without a court order. This place
was re-opened under protest as it
is. Some areas are off-limits to
our use -- tied up in a legal
challenge by the ACLU as cruel and
unusual. Especially solitary.
(off Nick's look)
It was nicknamed the dungeon...
Get Judge Burch on the phone.
Sarah speed-dials as a GUARD lets them in...
106 INT. "THE DOME" - DAY 106
Clyde waits in the birdcage, shackled. The group spreads into
the room, silence thick. Nobody will enter the birdcage this
time. Clyde occupies it alone -- owning it, in fact -- as:
BLUE - 9-19-08 60.
Nice trick with the rack of lamb.
Didn't see that one coming.
Why'd you kill your cellmate?
I claim self-defense.
Here's what I think. You suckered
us in. You ordered that meal for
the purpose of killing him.
Which makes it premeditated. Again.
And, again, you'll have to prove
that in court. As I've said before...
...make your case. Or set me free.
(pissed, moving forward)
Your booby-trap killed two of mine *
and put four in the hospital. That *
brings the total of people you've *
killed to six -- and be advised the *
Bureau does not suffer losing agents
in the field.
We're done dancing. I have the right
to claim jurisdiction here, do I
not, Detective Dunnigan?
That is correct, Agent Davies.
(again to Clyde)
So. I'm gonna rendition your ass.
Rumor has it we have places that
make Guantanamo look like Disneyland.
Don't bother packing, you're gonna
(beat, glances to Nick)
You see, Nick? That man is pissed!
That's what I'm talking about! No
deals, no compromise! You see?
I see you totally disconnected from
reality, that's what I see!
BLUE - 9-19-08 61.
(handing off phone)
Judge Burch with an answer for you.
107 INT. JUDGE'S CHAMBERS - DAY 107
I'm the ACLU's biggest fundraiser
in this state. You wanna put that
piece of shit in solitary? Good. As
far as I'm concerned, you can bury
him in the bowels of hell.
108 INT. "THE DOME" - DAY 108
Thank you, Judge Burch.
(hangs up, looks to Iger) *
Consider your court order signed.
(moves to Clyde)
Freedom? Not likely. In fact, you
just bought a one room suite in the
dungeon. Very exclusive.
You'll have it all to yourself --
the first man down there in over
twenty years. Quite an achievement.
Clyde sinks with a sigh of resignation and defeat, rests his
head wearily on the bars. Nick moves in, speaking quietly:
You're doing everything wrong. Making
all the wrong moves.
It would seem that way.
The wording catches Nick -- but he dismisses it, turns:
Sam. I know you got hit hard. I
know you're furious. But I'd like
my shot at prosecuting this case.
(off Davies' look) *
This started with us. Let me finish *
it. Give me that chance. *
I'm seeing fire in your belly, Nick.
I like it. Keep going. This is our
deal, after all...
Let's not mistake this! This is not
about the two of you!
BLUE - 9-19-08 62.
Wake up, blind man! It's been exactly
that since I watched him shake
Clarence Darby's hand on the steps
of the Hall of Justice ten years
ago! The Hall of Justice!
His voice echoes off. In the silence that follows:
You wanna take this fuck down? Be
my guest. Whatever you need.
(bangs his bars)
That's the spirit, yes!
It's on you now, Nick. It's your
game to lose. Just don't screw up.
You do, they'll scapegoat you. That's *
how the justice system works. *
Good call, Sam. Making me disappear
was a bad idea. You couldn't have
handled the blowback.
Cause and effect. Your actions *
provoke reactions. The choices you *
make come back to haunt you. *
(off their looks) *
There are things I've set in motion. *
Dominoes that will fall. Didn't see *
the rack of lamb coming? Start a
list. All I can do at this point...if
I feel like it...is stop them from
happening. Ready to talk deal?
See how insane you think this is.
You're going to release me from
this place with all charges dropped
within twenty four hours...
Or I start killing everybody.
BLUE - 9-19-08 63.
109 INT. SOLITARY WING - DAY 109
"The Dungeon" -- a small underground block of FIVE CELLS dating
back a century or more. A GUARD is spraying WD-40 into the
lock of a cell, trying to turn the key. It finally does, as:
Clyde is brought in. GUARDS have him on poles connected to a
leather collar around his neck, and they're none too gentle.
Clyde tosses a final glance back at Nick and Iger. *
Clock's running, Nick.
...and then he's gone, shoved inside.
110 EXT. PRISON COURTYARD - DAY 110
Nick and the others exit the Dome, thoughts racing:
What can he do? We've got him boxed
in. He's isolated, for God's sake.
Let's keep him that way. Strict
rules apply. Law says he gets one
hour outside his cell a day, that's
what he gets. Just one, under heavy
guard. The other twenty-three hours,
he's in that cell, he's a ghost, he
doesn't exist. No contact whatsoever.
You think it was a bluff? *
We underestimated him before. I'd
like to know what this prick is
(calls to Sarah)
Update on the background check?
Properties, investments, a few small *
businesses he owns -- a lot of it's *
hidden behind false names and shell *
companies, but we're still digging... *
That's it? Nothing else unusual? *
The last twenty years, he's been *
Joe Blow Citizen. But prior to that, *
we've hit a blank spot. He used to *
do consulting for the government, *
but we can't pin down what. *
BLUE - 9-19-08 64.
They absorb this -- especially Davies. All eyes go to him.
What kind of government work leaves
a blank spot, Sam?
I'll make a few discreet calls. See
what I can find out.
111 INT. RESTAURANT - NIGHT 111
Expensive, upscale. We find Nick and Kell at a table. She's
got her menu, but her attention's really on Nick. He's toying
absently with his wine glass.
Where are you?
Million miles away. Sorry.
Don't be. This guy's really doing a
number on your head, isn't he?
Yeah. I guess he is.
(she expects more)
It's...killing his cellmate. I need
that to make sense.
Why? Happens in prison all the time.
Yeah, I know, but...we're not talking
some gang-banger. This man is
precise. Does things for a reason.
He's psycho. You said so yourself.
We saw it on that video. Psychos
don't need a reason, Nick. They're
(off his look)
Whatever. You'll figure it out. You *
Thanks. I'm a poor excuse, though.
It's date night. You deserve better.
(a glance around)
Just wish you'd picked another *
BLUE - 9-19-08 65.
This is our place. You love it here. *
(as a waiter approaches)
You should have said something... *
She raises her menu -- yes, we're in La Traviata. And the
waiter is the same guy who brought Benson Clyde his meal:
Have we decided?
Nick's CELL PHONE RINGS. He pulls it, checks the number, gives
them a look -- sorry, gotta take this.
Sam? What is it?
Not far, maybe six blocks. I'm having
dinner with my wife.
112 EXT. CITY HALL - NIGHT 112
Two words: doggy bag. Be in your
office in ten minutes. *
Nick, don't ask questions. I was on
the phone all day. Believe me when
I say we've got one shot at this.
He clicks off...
113 INT. NICK'S OFFICE - NIGHT 113
...and faces Nick and Cantrell in the dimly-lit office:
He's coming here?
So I'm told. It's called inter-agency
cooperation, but don't ask me what
agency because I wouldn't know.
This isn't even back-channels, this
is Theseus in the fucking Labyrinth.
(off their looks)
I just blew thirty years' worth of
favors today calling in this one
chit. I hope it's worth it. *
The desk phone RINGS. Nick answers, listens a beat:
WHITE - 9-7-8 66.
Yes. Yes, we're all here. Downstairs?
He said not to take the elevator.
Off their puzzled looks...
114 INT. CITY HALL - SPIRAL STAIRCASE - NIGHT 114
Huge, descending seven floors, circles within circles dropping
into darkness. Nick and Davies lead the way down. Cantrell
brings up the rear with his dog and cane...
That's good there.
They freeze. Nick and Davies peer down. They start to make
out a FIGURE in the murky darkness one level below.
Which one of you is Davies?
Davies takes a step forward. THE SPOOK eases partially into
the light -- flinty gaze, military-style haircut.
You must be well thought of, Agent
Davies. I don't do this. But I was
asked nicely by the right people.
They briefed me on your problems
with Benson Clyde.
What are we dealing with?
Things I can neither confirm nor
deny. Things of which, if I'm asked,
I will disavow any knowledge.
The guys trade a look. Cantrell can't help chuckling.
You gotta be kidding me with this
He's not. Tell me you grasp the
implication of what I've said, or
we're done here.
Yeah. Okay. I get it.
WHITE - 9-7-8 67.
What was Clyde? Some kind of spy?
Spooks like me are a dime a dozen.
Clyde was a brain. He ran a think-
tank, inventing things for use in
the field. Ways to kill people.
(off their looks)
You need to get rid of somebody.
It's not a situation where you can
get close. What do you do?
That's right. Ask Clyde. And he'd
figure something out. Gizmos,
strategy. He was good at it.
You play chess?
Yeah. Tournament level in college,
matter of fact.
In my line, we use an aptitude
profile based on chess. A tournament-
level player like you can think
five to eight steps ahead of an
average player, did you know that?
Me, I think about ten steps ahead,
so I'd take you in a game.
What about Clyde?
Off the charts. If you're eight
steps ahead, he's twenty. Or fifty.
He's already got the game won on
the first move, you don't even know
you're playing yet.
(further into the light)
This cellmate he killed? You think
that was random? Bullshit. That was
a pawn taken off the board. If I
were you, I'd be trying to figure
out what the move was.
BLUE - 9-19-08 68.
I have been. Any thoughts?
Top of my head? Was the cellmate
ever connected with this case? Or
with Clyde? Was anybody else in
that facility? Guards? Cons? The
janitor? Any connection at all, no
matter how remote. Because if Clyde
says he has things in play, he does.
Like what? He's locked up. What can
(gives him a look)
You're an average chess player,
Actually, I kind of suck.
I can tell. But I like your tie.
Thank you. Father's Day.
There's this tie -- we call it the
Albert, after Albert DeSalvo. They
tiptoe in one night, thread a piano
wire with a ratchet gizmo into one
of your ties. Sounds crazy, but *
trust me it works. You put your tie *
on and all day long it slowly
tightens. You don't even notice
it's cutting off the blood-flow to
your brain. Then you drop dead.
Brain-dead or plain dead, doesn't
much matter at that point.
Clyde invented that.
The Spook melts back into the shadows. The guys crane forward,
trying to see. There's a brief spill of light below as a
doorway opens and closes...he's gone.
The three of them stand there absorbing everything they've
heard. Nick sits on a step. Quiet looks are traded...
...and they all start taking off their ties...
WHITE - 9-7-8 69.
115 INT. NICK'S HOUSE - NIGHT 115
Nick enters tie-less, subdued, distracted. Kell and Emma are
in the living room playing Scrabble.
Emma jumps up and runs over for a hug.
Mom said I could stay up late. Wanna
Let me talk to mom first.
Emma returns to the couch. Kell comes to Nick, noticing his
weird vibe: he's looking around at the room.
Sorry about date night.
It's fine. You learn anything?
Thing or two.
He moves up the hallway -- slowly, as if noticing the walls
for the first time, the picture frames, the light fixtures...
Hey, I was thinking. Maybe you could
pack an overnight bag for you and
Emma in case you need to...you
know...spend the night in a hotel.
Why would we wanna do that?
No reason. It's like a fire-drill
thing. You know. In case.
116 INT. BEDROOM - NIGHT 116
He comes in, opens the closet, reaches up for some overnight
bags -- but pauses, drawn to his tie-rack inside the door.
He stares at the ties hanging in neat rows...starts touching
them, running his hands up and down the fabric...
BLUE - 9-19-08 70.
Kell stands in the doorway watching. Wondering what the fuck
is going on. And getting a little creeped out.
He freezes, feeling something in the seam of a tie. Runs his
fingers up and down, thinking something's in there.
Emma appears in the doorway too, at her mother's side. Both
staring now. They watch as:
Nick grabs a pair of scissors from Kell's sewing kit, carves
the tie lengthwise, rips it open, feverish and faster, finds
nothing inside but mangled fabric and thread and -- stops.
Looks back. Realizes they're staring at him.
What the hell are you doing?
Nick pauses -- what the hell is he doing? He starts to regain
his sense, laughs at himself in amazement.
It's okay, baby -- I'm fine, I
promise. Go back to your game.
Dubious, Emma departs. As soon as she's out of earshot:
Seriously, Nick. What the fuck.
Nothing. I got paranoid for no
reason, that's all. I'm fine now. I
can't believe I let that son of a
bitch Clyde get to me like that.
Are you in danger? Are we?
The question hangs there -- the real question. *
I'm sure we're fine. *
He pulls his phone, speed-dials. *
I'll make goddamn sure. *
(beat, into phone) *
Sarah, roust the ADAs. Tell 'em *
we're pulling an all-nighter.
BLUE - 9-19-08 71.
117 EXT. PRISON COURTYARD - NIGHT 117
ADAs are parking their cars along the wall, directed by a
waving GUARD. ANGLE FINDS a lot of people: cop, prison, FBI. *
Sarah jumps out of her car and hurries over to Nick and the
others with a flock of EIGHT ADAs at her heels.
Ready to turn this place upside
118 INT. PRISON ADMINISTRATION OFFICES - NIGHT 118
...we find the ADA team spread around the bullpen, aided by
prison personnel and police advisors -- everybody's on
computers, or sorting heaps of paper files, etc.
See if there's anybody locked up
here -- or working here -- ex-cop,
witness for the prosecution --
anybody who might have had anything
to do with the original Darby-Ames
case, or has any previous history
with Benson Clyde. Start with the
cellmate. Flag anything, no matter
how insignificant it seems...
JAMESON glances up in dismay from his keyboard.
This could take days.
Sarah, grabbing a stack from a filing cabinet and slamming
the door shut with her hip, gives him a laser look:
We boring you, Jameson? You got
someplace to be?
No, Miss Lowell.
(crossing the room)
Weekend plans? Cancel 'em! I don't
wanna hear any shit about it!
(on Jameson again)
Clack-clack, Jameson. Clack-clack.
BLUE - 9-19-08 72.
Jameson dives onto the keys, starts clack-clacking. Sarah
gives Nick a nod -- she's got this in hand. Nick exits...
119 EXT. PRISON GROUNDS - NIGHT 119
...and finds a FORENSIC TEAM disassembling Clyde's Sleep-Matic
bed -- nuts, bolts, struts, electronics. The mattress is being
razored open, wadding pulled out and run under fluoroscopes.
It used to be a Sleep-Matic
adjustable bed. Now it's not.
CAMERA FOLLOWS them to a table where an FBI TEAM is focusing
all their skills and tech on Clyde's ipod and speaker dock.
The TEAM LEADER places the buds in his ears, listening.
What do you have?
Rocky Mountain Way. Joe Walsh.
(off Nick's look)
What do you want from me, it's a
The other agents snicker, not hiding their amusement, but: *
Tear it apart, make sure. Memory. *
Speakers. Wiring. Everything. *
120 INT. CLYDE'S CELLBLOCK - NIGHT 120
GUARDS, FEDS, BOMB-SNIFFING DOGS -- they're cruising the
cellblocks, flashlights swiveling, beams catching the faces
of sleepy cons in their cells or at their bars...
We find Nick and Iger at Clyde's now-empty cell. TWO FBI *
emerge, shake their heads. *
Blood stain. Few fibers. That's it.
(sleepy, at his bars)
Warden, man, whassup?
Everybody back to sleep.
(looks to Iger)
I want to see him.
BLUE - 9-19-08 73.
121 INT. SOLITARY WING - CLYDE'S CELL - NIGHT 121
Two doors: solid steel outer door, inner barred door. The
outer slides aside, reveals Nick outside the bars. Inside
stands a shadow, waiting: Clyde.
You're up early. Trouble sleeping?
It was a good bluff. But you're
done. Fucking with my head. Scaring *
my family half to death. Done.
Clyde moves closer to the bars, into the light.
Amazing, isn't it? How primal that
is. That pull? What a man is capable
of when it comes to his family? *
You strip away all the polite shit, *
that's what we're really about.
I hope you never face what it is to *
lose them, Nick. It's like dying
yourself. There's nothing worse.
That could play as a threat, of course -- but it's not. It's *
genuine. And pained. And sincere. And Nick knows it.
Good night, Ben.
Good night, Nick.
And then the moment's gone and the mocking Clyde returns:
Is it casual Friday?
(off Nick's look)
I've never seen you not wear a tie.
And that says volumes: Clyde's totally aware of what they've
been up to and is tickled by it.
The outer door GRINDS SHUT...
122 EXT. PRISON GROUNDS - DAWN 122
Night has passed, day is coming. All the earlier energy has
dissipated into anticlimax and weariness. People straggle
across the yard in groups toward their vehicles...
BLUE - 9-19-08 74.
Nick, Dunnigan, Davies, Iger -- all look whipped. Sarah
approaches, briefcase in hand, files under her arm.
We dug pretty deep for one night.
Still got a ways to go, but on a
first look? Nothing. Nada. Zip.
Well, that's good news.
So far. Now we double-down. Make *
absolutely certain. *
(nods after ADAs) *
Let them all sleep a few hours, *
then bring 'em back for round two. *
Due diligence. My middle name. *
She trudges toward her car, following the ADAs toward their
vehicles. Nick trades relieved looks with the men -- everybody
coming down from a tense night. Davies shakes their hands:
Fellas. For once, glad not to be of
Love it when they cry wolf.
The men separate in different directions. Dunnigan catches a
glimpse of Sarah almost at her car -- she loses a page from
under her arm, which flutters away on the breeze.
(calls to her)
Miss Lowell! Lost something!
She looks back, sees the page skittering slowly across the
ground. Weary, she blows a strand of hair from her eyes, sets
down her briefcase, walks back to get it...
Dunnigan smiles, keeps walking. The other men too. Nick stands
a moment, watching, then starts toward his car...
The ADAs are getting to their cars, pulling key fobs, aiming
them to unlock their cars...
Sarah is getting to the page, leaning down...
The ADAs are pressing the remotes, a CHORUS OF CHIRPS...
And WHAM -- the cars EXPLODE in a stunning SERIES OF
DETONATIONS, killing the ADAs, throwing bodies through the
air, kicking cars off the ground and flipping a few skyward...
BLUE - 9-19-08 75.
Nick is knocked flat by heat and shrapnel ripping the air...
Sarah goes flying. An arcing car slams upside-down nearby on
a rocket-booster of flame and shattering axle...
And from this point on the visuals and sound are surreal: *
pries himself off the ground, stunned, looking around, trying
to figure out what the fuck just happened. He's disoriented,
all sound muffled. Smoke drifting. Flames billowing.
Dunnigan runs up to Nick, shouting something. We can't tell
what, because Nick can't hear. Dunnigan sees Nick is alive,
turns and keeps going, running to help the others...
Nick looks over, sees bodies being pulled clear by responders,
men running in, beating at flames...
Nick, dazed, looks through the drifting smoke and sees Sarah
trying to sit up. There's something wrong with her leg.
Nick pulls himself to his knees, staggers to his feet as sound
filters back in: screams, shouts, the roar of flames.
He stumbles through the smoke to Sarah. She's on the ground
in shock, sobbing and flailing, crying out. Nick sees the
jagged piece of metal that slammed deep into her calf, nearly
severing it. He drops to his knees, tries to calm her:
You're gonna be all right.
He pulls the metal from her leg -- mistake. Blood sprays. He
clamps down hard with both hands, blood going everywhere.
MEDIC! I NEED A MEDIC!
He keeps clamping down, Sarah screaming and sobbing, as we
GO TO BLACK
123 IN A SERIES OF FADE-TO-BLACKS, THE FOLLOWING IMAGES: 123
FIREMEN spraying the flaming rubble of the cars...
TANGLES OF WRECKAGE billowing smoke...
A BODY BAG dragged across the ground, added to a ROW OF BODY
BAGS awaiting transport...
EMERGENCY VEHICLES parked haphazardly, lights spinning...
COPS AND RESPONDERS dealing with the scene...
BLUE - 9-19-08 76.
SARAH being wheeled on a gurney to a PARAMEDIC VAN by an EMS
TEAM, oxygen mask on her face, gravely injured but stabilized,
everything swirling around her, Dunnigan clearing a path...
NICK appears, takes her hand. She clasps it weakly. They load
her on and the vehicle pulls out with siren and lights...
124 EXT. PRISON GROUNDS - DAY 124
Back to "real time" -- Cantrell is just getting out of his
town car with his dog. WE FIND Nick on his cell:
Baby. Listen. Don't be worried or
scared. But I want you to pack those
overnight bags... I don't have time
to explain now. Just do it, okay?
I'll call you back as soon as I can --
please, honey, I gotta go.
He clicks off as ANGLE COMES AROUND, revealing Davies and his
TEAMS coming his way:
Each car had an explosive charge on
the gas tank.
He's got someone working with him.
On the outside. He's got to.
Not necessarily. Everything looks
We found a short-range transmitter
beacon buried outside the prison
wall. When your people showed up
here and drove in through the gate,
the signal armed the bombs. *
He could have planted those bombs a
(grappling for sense)
No...no, we've got two dozen ADAs
on payroll. Those eight were picked
last night on the spur of the moment.
How could he know which eight would
WHITE - 9-7-8 77.
He didn't. Our people just found
bombs on every car in your ADA pool.
All two dozen. We're disarming those
125 INT. "THE DOME" - DAY 125
TIGHT ON CLYDE shoved into the birdcage. The neck-poles are
disengaged. He moves forward, gazing through the bars...
I want a phone in my cell. If I'm
conducting my own defense, it would
be useful. Also in case you and I
need to be in touch, Nick.
(glances at clock)
Your twenty four hours are about
up. In return for the phone, I'll
extend you another twelve hours.
How many more people die while you
stand around dithering? How many do
you get killed before my point starts
Cantrell closes in, tracking Clyde by voice:
Motherfucker! Whatever point you
had was lost long ago! Eight kids
dead in that yard, most of them
just out of college! Eight! I have
to talk to their families. I have
to try to explain why their loved
ones are dead.
Clyde leans down, right in Cantrell's face, intense:
I've been waiting for my explanation
for ten years. So far...
...NOBODY'S FUCKING BOTHERED!
Beat. Cantrell spits in his face, turns away trembling with
rage. Clyde calmly wipes it off, rises to address them all:
BLUE - 9-19-08 78.
If it hasn't dawned on you, this is
a war. As in any war, there will be
collateral damage. The question, as
always, is how much damage you're
willing to take before you withdraw.
Maybe I got a better idea. Maybe we
end this war right now.
Fourteen people dead! I have to say *
this out loud?
(moving toward Clyde)
Prisoners die in custody all the
time. Attacking a guard. Trying to
escape. Shit like that.
Clyde, eyes locked, pulls his shirt open -- here's your target.
Dunnigan, temper flaring, yanks his revolver and aims.
Don't tempt me.
Jesus Christ, man, dial it back...
Do it. It would be decisive. Stupid,
(off Dunnigan's look)
Can you handle the blowback,
Detective? The "shit like that?"
Nick's stunned, seeing the whole situation spiraling out of
control. He steps in, seizing the moment back:
Put the gun away! Are you crazy?
It's an option. All I'm saying.
Risk the blowback. Ride it out.
We're not risking anything. Or
letting him tear us down.
You're not getting us to throw out
the rules, like you. No way.
BLUE - 9-19-08 79.
I like rules. I've wanted you to
follow them from the start. Like
the one that says you prosecute a
man who murders my family.
So. Rules. A phone buys you another
twelve hours. But if you haven't
cut my deal and let me go by the
What? What then?
I'll kill someone in this room.
That sucks the air out of the conversation -- everybody stares
as that sinks in. Glances are traded.
He looks at the room full of people, scans their faces as if
trying to pick. He points his finger, starts going from one
end of the group to the other...
...from person to person, to the end, moving back again...
...my mother...told me...to pick...a
He lands on Cantrell. Silence. Cantrell obviously can't see.
Who's he pointing at?
126 EXT. PRISON COURTYARD - DAY 126*
Everybody on the move, emotions high:
Fuck him. Let him try.
That's not helpful! We have fourteen *
dead! You could ask them what he's
capable of, but they're in no
position to answer.
BLUE - 9-19-08 80.
We'll give him his phone. We'll tap
in and monitor every call.
Buys us another twelve hours, we
could use that right now. That puts
the deadline at...
(checks his watch)
...about 7:30 tonight.
Shit. I'll be in front of a room
full of lawyers. The A.B.A. dinner.
I'm the keynote speaker.
No way. Find a replacement.
Until his deadline passes, you're
in protective custody. Not
Cantrell isn't happy about it -- but nods.
And have them switch the location
of that dinner.
That's last minute.
BLUE - 9-19-08 81.
Exactly. He could have gotten your
schedule in advance -- been planning
to take you out at the dinner along
with everybody else. That eenie-
meenie act could have been horseshit.
(off their looks)
We have to get a few moves ahead.
Plan for every contingency.
This way, Mr. Cantrell. Garza, you're
with Mr. Price.
They split up. Dunnigan leads Cantrell to an unmarked car
while Nick and Garza head toward Nick's. Nick's phone RINGS.
He checks the number, answers:
Hey baby -- no, I'm fine. Really.
Honey, calm down...
He listens a beat, calls to the men getting in the other cars:
Our shit just hit the fan in a big
way -- we're all over the news...
Yes, all eight died. Sarah's in
surgery right now...
...they think so, but...
...okay, I'll meet you there. Love
He hangs up, aims his key fob -- and hesitates. He and Garza
trade a look, thinking the same thought. ANGLE SHIFTS to:
BOMB EXPERT *
You're good. Car's been swept.
Of course it has. Thanks.
Nick, feeling foolish, presses the fob. Nothing but a tiny
CHIRP. He and Garza get in.
127 INT. UNMARKED CAR (MOVING) - DAY 127
Dunnigan drives. Cantrell and his dog ride in back. Both men
tense and silent. TWO POLICE CRUISERS provide escort...
128 INT. NICK'S CAR (MOVING)/EXT. HOSPITAL - DAY 128
Nick is pulling up toward the hospital, sees a TV NEWS VAN at
the entrance, a MINICAM CREW arguing with hospital security.
BLUE - 9-19-08 82.
Go around. I'll get us in back.
Nick hits the gas, drives past the news van...
129 INT. HOSPITAL - DAY 129
...and they come past the nurse's duty desk. UNIFORMS are
stationed in the hallway. Garza pushes a path through:
Keep the press off this floor,
Nick squeezes past. The floor is busy. He finds Kell in the
waiting area. She looks up, spots him.
Kell rises. She and Nick pull into a tight embrace. No words
for a long moment. Kell's shaken, fighting tears.
She's in surgery now. They're saying
she'll be okay.
Thank God. That's good.
Good? You'll have to explain the
good part, Nick. I'm missing it.
This is crazy. What if something
happened to you? What would I say
to Emma? What would we do?
You didn't lose me. You won't. Does
the school know we're pulling Emma
out of class?
I called, yeah, but -- I'd rather
be here for Sarah when she wakes
up. Nick -- and for you. I want to
You are. Getting our daughter out
of harm's way. And yourself.
(calls to Garza)
Detective. Will you escort my wife,
There's not much time. I'll be there
to see you off. Okay? Please?
BLUE - 9-19-08 83.
Kell reluctantly walks away with Garza, while: *
130 EXT. CITY HALL - DAY 130
A media frenzy is brewing: TRUCKS pulling in, NEWS CREWS
gathering. ANGLE TO A REPORTER on-camera:
...reporting live from a tense scene
at City Hall...we have confirmation
of earlier reports that eight people
with the district attorney's office
were killed this morning in an
explosion at the County Correctional
Annex in George Hill...
131 INT. D.A.'S OFFICE - DAY 131
Nick enters, finds the STAFF around the bullpen watching the
same live report. Everybody's in shock, a few are crying... *
...details are sketchy at this point,
and names are being withheld...
People start noticing Nick. Royce comes up, looking dazed.
Sarah's fine. That's the good news.
Oh, God, that's a relief...
(calls to the others)
Miss Lowell is okay...she's okay...
Everybody reacts -- they needed a shred of good news.
We've been getting calls from
upstairs. The mayor's people.
(off Nick's look)
Someone from our office has to make
a statement to the press. With Mr.
Cantrell absent, the mayor wants
you to do it.
WHITE - 9-7-8 84.
Royce...how much petty cash do we
have in the safe?
I don't know...four thousand?
Give it to me. And your cell phone.
I need to borrow it for a few days.
What do you want me to tell the
132 INT./EXT. CITY HALL - DAY 132
A FIGURE enters shot, pushes a door open into glaring daylight.
CAMERA FOLLOWS him outside to a podium set up before a swarming
MOB OF PRESS shouting questions. ANGLE COMES AROUND to reveal:
Royce, nervous, leaning to the microphones.
We in the D.A.'s office are still
reeling from the events of this
morning, as you can imagine. It's a
tragic day for us...for our city...
133 EXT. TRAIN STATION PLATFORM - DAY 133
Kell and Emma on the platform, Garza hovering nearby, CROWDS
swarming around them as boarding calls come over the P.A.
system. Kell is looking around, anxious.
Nick appears on the platform, hurrying. They see him. Emma
runs, throws herself into Nick's arms as he crouches.
I wanna see Sarah...
Hey, hey...she's fine, don't be
scared. That's not allowed. And
there's no reason for it.
Why do we have to go?
BLUE - 9-19-08 85.
'Cause your mom wants to see a few
Broadway shows. You gonna begrudge
You're kinda full of shit, Dad.
Nick's taken aback -- not sure whether to laugh. He trades a
look with Kell, who's too tense with worry to care.
Okay, you're right. Maybe I am a
little. But only a little. The part
you can believe is that this is all
going to be fine. Sarah, us.
(directed at Kell)
I mean it. Okay?
She detaches from her father. Nick rises to Kell, pulls an
envelope, hands it to her...
No credit cards. Too easy to track.
Meals, hotel, whatever -- pay cash.
...then takes her cell, swaps it for Royce's...
I'll keep this. It can be traced.
Use this one instead. Don't answer
unless you see it's me. *
FINAL BOARDING CALL FOR NEW YORK
CITY DIRECT, FINAL CALL...
I love you.
Emma's right. This sucks.
She embraces him, fears and emotions swirling.
Be goddamn careful.
BLUE - 9-19-08 86.
She breaks the embrace. Nick stands, watching them get on the
train. The doors close. The train starts out...
Nick turns. Garza's been watching -- a look of sympathy for
what Nick's going through...
134 INT. TRAIN - DAY 134
Kell and Emma on the train, watching buildings slide by outside
the window. Kell troubled, holding her daughter...
135 EXT. AERIAL SHOT OF TRAIN - DAY 135
WE FOLLOW the train traveling a path through canyons of
buildings, leaving the city...
ANGLE SWAPS TRAIN FOR CAR as we drift over a bridge and find
Nick's car racing across the span... *
136 INT. CANTRELL'S HOUSE - DAY 136
Nick and Garza enter. ANGLE COMES AROUND to reveal the house
swarming with HIGH-TECH FBI FORENSIC TEAMS turning the house
upside-down, tearing things apart, X-RAY SCANNING walls...
Cantrell sits isolated, near tears of frustration, as the
place is trashed around him. He glances up, hearing:
Nick? These guys won't even let me
pack a bag. Not even a toothbrush.
Davies enters frame, accompanied by FORENSIC TECHS -- not the
guys from downtown, but people who work serious ops.
We have granules of an unidentified
substance in the ice-maker...
He holds up a drinking glass with a few ice cubes, runs a
black-light wand behind it -- dark granules become visible on
each pass, embedded in the ice.
I'm betting something lethal.
Like this salt.
(pours a small amount)
Not sodium chloride. Potassium
chloride. It's a neuro-blocker,
stops the heart -- they use it in
lethal injections. You'd be dead
before you got up from the table. *
BLUE - 9-19-08 87.
Nick tosses the others a grim look. *
I'm telling you, Clyde has someone *
working with him. Someone on the
Who? Who could he have?
Somebody from his past. Could be *
that spook we met on the stairs, *
for all we know -- he'd know how to *
plant this shit...
Him? No--why would Clyde let him
come talk to us?
To fuck with our heads? To get us
to bring in our ADAs so he could
blow them up?
It would be a Clyde move. But it's *
(to Cantrell) *
Could he have planted this stuff in *
your house before he was arrested?
I--I don't know...
Jonas, think -- last few days, have *
you used any ice? Any salt?
I don't use salt--my cholesterol.
Ice? Yeah--not long ago.
Before or after he was arrested?
I don't remember! You track your *
use of ice, Nick? You keep a daily *
TECH #2 calls from the kitchen:
BLUE - 9-19-08 88.
Heads-up! Looks like polonium here.
In his tea pot. Same way the Russians
killed Litvenenko. Took him two
weeks to die.
(off their looks)
It's an exotic isotope. All you
need is a trace amount. Rips through
your organs and bone marrow.
Nick's been listening, thunderstruck, paler by the moment. He
looks to Cantrell sitting there, quiet and shaking.
I'll buy you a new toothbrush. *
137 EXT. AERIAL ESTABLISHING OF HOTEL - DAY 137
DRIFTING IN on a reflective glass skyscraper -- spectacular.
138 INT. HOTEL ROOM - DAY 138
The door opens, revealing Nick, Cantrell, et al. They come
into the room...actually, "room" undersells it. It's the most
spectacular suite known to man -- huge open floor plan, with
a stunning view of all the downtown buildings surrounding us.
I'm actually a little jealous Clyde
didn't pick me.
Cantrell laughs -- and it lightens everybody's mood. Nick *
drifts to the windows, gazing out, as: *
It's the presidential suite. Last
person who stayed here was actually
a president. Of a country. Security
here is amazing.
It's not bad, Jonas. I think you
can muddle through.
You're muddling with him. I don't
want you back at your house until
my people sweep it. You need pajamas,
buy some in the shop downstairs.
Nick nods, pulls Sarah's reports from his briefcase.
BLUE - 9-19-08 89.
The background check my office was
compiling -- these properties we *
think Clyde owns? If he is working *
with somebody, they could be *
operating out of any of these. We *
should check them. *
I'll try to wrangle additional *
manpower. Big job. *
(pages the report) *
No shit. This is quite a list. Over *
It's not even complete. Sarah was *
in the middle of it -- untangling
property ownership from under assumed
names, shell companies. She's the
expert on all that.
Fellas... I'm grateful for all your
efforts. I just wanted to say it.
Save it for tonight. Hope you're in
the mood for Chinese takeout.
Where are you going?
That stuff in your house -- it's
all gone too far. I started this. I
owe everybody at least one last try
at defusing it.
139 EXT. COUNTY JAIL ANNEX - DAY 139
A STEEL DOOR opens. Clyde steps out, shackled, blinking at
daylight. He comes down a short flight of steps...
CAMERA COMES AROUND to reveal his surroundings: not within
prison walls, but rather behind the prison -- a loading area
we haven't seen, comprised of fences and razor wire.
Nick walks in the rear gate, passed through by Warden Iger
himself -- this is clearly an off-the-books meeting. Nick and
Clyde walk to each other, meet halfway.
WHITE - 9-7-8 90.
Interesting location you've chosen.
I thought we'd have some privacy.
For what? A talk? Or...
Maybe you've decided to take
Detective Dunnigan's advice.
He's noticing GUARDS atop the prison wall and surrounding
roofs -- all with sniper rifles.
Be the perfect place for it. Outside
the wall. Look like you were shot
trying to escape.
WIDE ANGLE FROM ABOVE
Nick and Clyde below. A SCOPE suddenly rises into frame,
turning our shot into a SNIPER SCOPE POV, jumping Clyde's
face into magnification. He smiles in the crosshairs...
RESUME NICK AND CLYDE
You have some kind of signal worked
out? You scratch your nose and blam,
I'm a goner?
Something like that.
Might solve all your problems. What's
stopping you? Afraid of the blowback?
No. It's to prove a point.
(off Clyde's look)
Just because I have the power,
doesn't mean I have to use it.
Ah. Nice. Good one.
One can show mercy.
Yeah. So why don't you?
BLUE - 9-19-08 91.
We see Clyde's brain bend a little -- trying to wrap his head
around it. It's almost painful for him.
I think we've come a little too far
for that, haven't we, Nick? I mean,
what do I say? Sorry, my bad? Which
way to the execution chamber?
Don't give me that. Death doesn't
Yeah, but...we're in the flow of
this now. You cry havoc, you let
slip the dogs of war, you go with *
it. You don't just stop because *
someone says hey wait. By then the
dogs are dragging you.
Until one side admits defeat. What
if I did that? What if I said...
...you were right. I was wrong.
What if I say I should have
prosecuted both men ten years ago?
I'd say you're making progress. You
should have, you know. Prosecuted
I'd have lost.
With your head held high. And without
any blame from me.
Nick's CELL RINGS -- he turns away, answers:
She is? Great news. I'll stop on my
way back. And Royce? Put some get-
well flowers in her room, they sell
'em in the lobby. Thanks.
(hangs up, baleful)
Six hours in surgery.
BLUE - 9-19-08 92.
But she's okay -- good. Miss Lowell
is a fine young woman.
Oh, hey...your wife and little girl
get out of town all right?
You asking that question makes me
want to scratch my nose.
Clyde glances around at the snipers with a laugh.
Just a guess. It's what I would do.
Get 'em out, make sure they're safe.
C'mon. Like I'd ever have hurt them
There are limits. Even in war. I
may be many things, Nick. But I'm
not Clarence Darby. I'm not Rupert
Ames. I'm not that kind of monster.
What kind are you?
Not the kind who'd hurt your wife
and child. Christ, look at me. Mine
were my salvation -- then they were
killed -- and all I had left was
this. Life without them in this
fucking charnel-house world.
Pause. Drawing close:
It hurt to lose them, didn't it?
Your family. Even knowing they'd
Imagine knowing they wouldn't.
I can't. I can't imagine that. *
BLUE - 9-19-08 93.
Good. I envy you. For me, knowing *
mine won't come back is the only
thing that's crowded my thoughts
for ten years. If I could take a
rusty knife and cut out that part
of my brain, I would.
I won't make any more deals with
murderers. If hearing that makes a
difference...if that was the point
of all this...you've won.
We see Clyde's brain hurting again -- he's trying to believe
that, would like to believe that...
Counselor. I have no doubt, as we
stand here, that you really believe
that. I wish I could.
Are we done? You gonna scratch your
nose, or can I go?
Silence now. Nothing left to say. They turn and walk in
140 INT. CLYDE'S SOLITARY CELL - DAY 140
...and Clyde is brought in, locked into gloom as the doors
SLAM behind him. He stands, staring at the darkness...
141 EXT. CITYSCAPE - DUSK 141
The sun is setting...
142 INT. NICK'S CAR (MOVING) - DUSK 142
...as Nick drives back into town, crossing one of the bridges.
143 INT. HOTEL BALLROOM - DUSK 143
(Not Cantrell's hotel, but one close by.) A SIGN reads: "A.B.A.
Dinner." PEOPLE are entering, passing a GREETER. ANGLE FINDS
Judge Burch arriving...
144 INT. JUDGE BURCH'S OFFICE - DUSK 144
A SECRETARY answers the ringing phone:
VOICE ON PHONE
Laura? Laura, that you?
BLUE - 9-19-08 94.
I'm sorry, Judge Burch is gone for
VOICE ON PHONE
Dang it. Listen, honey, I flew in
from Galveston for this A.B.A thing
Laura invited me to -- just got
here and they said it was moved.
You got a number, address, anything?
145 INT. HOSPITAL ROOM - DUSK 145
Nick peers in. Sarah's in bed, leg braced, in traction. She's
awake but groggy -- which isn't stopping her from giving
instructions to Royce, who's scribbling notes at her bedside:
...tell Hansen we need hard info on
those addresses...don't let the
shell game on ownership title slow
him down...at this point we'll take
Sarah looks over, sees Nick step in, gives him a weak smile.
Hey. Nice flowers. Thanks.
He comes to the bed, takes her hand, squeezes it.
How you doing?
This place has great drugs. Damn. I
should've totaled my leg long ago.
But her emotions are in turmoil -- she puts her hands over
her face, holding back a sob.
They're all dead?
I'm afraid so.
Sarah lets herself cry. Nick waits, then: *
You're alive. That counts for a *
I'm sorry I put you in harm's way. *
BLUE - 9-19-08 94A.
She absorbs that, angrily wipes her eyes.
It wasn't you. It was that son of a
bitch. I hear he's threatened Jonas? *
BLUE - 9-19-08 95.
We're all over it. Jonas is safe -- *
out of reach. *
146 INT. CANTRELL'S SUITE - NIGHT 146
Cantrell on the upper level, wearing brand-new sweats, white
cane tapping the unfamiliar place, Betsy at his side. He
follows VOICES around the corner...
Inside a room, Garza's playing poker with three other cops:
LASZLO, FLEMING, and MITRIUS.
Laszlo, the cheatin' prick...
Wanna sit in?
If I had my Braille set, I'd clean
you out. Not much of a game if you
have to tell me what my cards are.
The other guys toss Garza a look -- what a moron.
People forget. No worries.
Enjoy your game, fellas.
Need help? Want one of us should
walk you down?
I'm good. Unfamiliar places take me
a little longer. But I get there.
(calls after him)
Holler if you need anything.
(back to the game)
Okay, who's in, who's out...
147 INT. HOTEL BALLROOM - NIGHT 147
WAITERS setting out salads, guests taking seats, as:
WHITE - 9-7-8 96.
Good evening. Sorry for any confusion
our last-minute change of location
might have caused...
148 INT. CANTRELL'S SUITE - NIGHT 148
That incredible city view -- skyscrapers all around, aglow
with lights. Cantrell enters frame, drawn to the glass...
A POLICE HELICOPTER IS ROARING slowly past out there, drifting
among the buildings at our eye level. Cantrell raises his
hand, places it on the glass, feeling the vibrations...
The copter's searchlight sweeps the windows, highlighting him
briefly with incredible light he can't see...
149 INT. OTHER HOTEL BALLROOM - NIGHT 149
...but we can see the copter going by from here, searchlight
playing over Cantrell's building -- which is plainly visible
just across the way.
ANGLE WIDENS to find Judge Burch at a table, as:
...please join me in a warm welcome
for our keynote speaker this evening,
Judge Laura Burch...
She rises and heads for the podium amidst APPLAUSE...
150 EXT. CHINESE RESTAURANT - NIGHT 150
Nick exits, arms loaded down with bags of takeout, talking on
his cell phone as he heads for his car:
...yes, you pain in the ass, of
course I got your kung-pao...you
think I'd forget...just don't give
Betsy any, I can't deal with dog
farts all night...
151 INT. CANTRELL'S SUITE - NIGHT 151
Cantrell's sitting in front of that incredible view with Betsy
at his feet, on the phone:
How long, man, I'm starving...
152 EXT. CHINESE RESTAURANT - NIGHT 152
Nick gets to his car, checks his watch -- and pauses. The
time reads: "7:27." Nick is suddenly hit with a momentary
sense of dread. He glances up the street...
WHITE - 9-7-8 97.
reveals Nick in deep f.g. looking up the broad avenue -- in
the distance stands Cantrell's skyscraper.
I'm minutes away. Relax.
Nick shakes off his misgivings, hangs up, gets in the car...
153 INT. CANTRELL'S SUITE - NIGHT 153
Cantrell eases to the floor, sits with Betsy. He strokes her
fur. She WHINES, uneasy.
It's okay. It's gonna be okay.
154 INT. BALLROOM - NIGHT 154
Judge Burch at the podium:
...Jonas was upset not to be here
with you tonight...a personal matter
came up...but he wanted me to give
you all his fondest regards...
155 EXT. A ROOFTOP - NIGHT 155
ANGLE LOOKING UP at Cantrell's hotel -- a FIGURE steps into
our shot, his back to us. He pulls a cell phone from his
pocket, flips it open, sees the time: "7:29."
The thumb starts pressing numbers -- boop...boop...boop...
156 INT. CANTRELL'S SUITE - NIGHT 156
ANGLE DRIFTING ACROSS THE FLOOR -- Cantrell and Betsy against
the incredible city view...
He finally gets fed up with that surgery collar she's worn
the entire movie, reaches around, unsnaps the plastic. He
puts the collar aside, gently ruffs her shaggy neck.
There. That's better.
He puts his arm around her, taking comfort in her presence. A
quiet, pensive moment...
157 INT. NICK'S CAR (MOVING) - NIGHT 157
Nick driving, a block from the hotel now...
WHITE - 9-7-8 98.
158 EXT. ROOFTOP - NIGHT 158
...as the FIGURE finishes dialing. The thumb hovers a moment,
then presses "send." We hear the call RINGING through...
159 INT. CANTRELL'S SUITE - NIGHT 159
...and Cantrell hears a strange SOUND...almost like a phone
ringing -- sort of close but not -- weirdly muffled.
He looks around, trying to pinpoint it. His head finally
swivels down to Betsy lying at his side. She's WHINING, getting
a little freaked, licking her stitches...
Cantrell's hand travels down her fur to her belly...fingertips
tracing the stitching...and what he can't see is the strange
glow building under her skin...
But he can sense it. His eyes widen slightly...
...and WHAM! The room is swallowed in a DETONATION --
160 EXT. CANTRELL'S FLOOR - NIGHT 160
-- which BLOWS OUT THE ROOM IN A HUGE EXPLOSION, the rows of
windows vanishing in a storm of flame and shattering glass...
161 INT. BALLROOM - NIGHT 161
Judge Burch and the others gasp as the explosion lights up
the night from the building across the way...
162 EXT. NICK'S CAR - NIGHT 162
Nick slams on his brakes -- he cranes forward, gazing up in
horror as the explosion is reflected in his windshield...
163 EXT. ROOFTOP - NIGHT 163
The blast kicks from the face of the building, fireball rising
with eerie grace into the night sky, as:
The FIGURE steps into frame, pockets the cell phone. CAMERA
PIVOTS BEHIND him, losing Cantrell's building and bringing
the other hotel into view -- the one with the lawyers...
164 EXT. NICK'S CAR - NIGHT 164
Nick jumps out, stunned. He runs up the street toward the
hotel as glass and debris rains onto the sidewalk...
165 INT. BALLROOM - NIGHT 165
People crowd to the glass, staring out at the skyscraper across
the way -- at the smoking ruin that was once a floor...
BLUE - 9-19-08 99.
166 EXT. ROOFTOP - NIGHT 166
...and the FIGURE bends down, picks something up. He hefts it
onto his shoulder: a LAWS ROCKET-LAUNCHER. He flips up the
sight, takes aim at the other hotel, fires...
WHOOOSH -- the rocket streaks, leaving a contrail...
167 INT. BALLROOM - NIGHT 167
FAST CUT: Judge Burch and those around her reacting as the
glare of the rocket approaches in a heartbeat --
WHAM! OUR SECOND EXPLOSION of the night takes out the ballroom,
killing dozens, blowing flame and debris across the room...
168 EXT. STREET - NIGHT 168
Nick sees it: the contrail, the second blast, all of it. It
stops him dead in his tracks. Just overwhelmed.
169 OMITTED 169*
170 INT. CANTRELL'S SUITE - NIGHT 170*
Garza and his guys come stumbling and bleeding from the room *
they were in. They get to the top of the stairs, find the *
front of the suite open to the windy sky outside...
(gasping on radio)
...we need help up here... *
Jesus Christ. What the fuck hit us?
171 EXT. STREET - NIGHT 171
Nick stares up, wondering the same thing as we
FADE TO BLACK
172 INT. CITY HALL - GRAND CONFERENCE ROOM - DAY 172
A 30-foot-high hand-painted domed ceiling above, an equally
huge ROUND TABLE below -- an imposing room that says power.
Nick is ushered in. A DOZEN OR MORE PEOPLE are seated -- top-
echelon city brass -- political, fire, police.
Also present are Davies and Dunnigan. (Dunnigan is not seated --
he's getting his ass reamed today.)
BLUE - 9-19-08 100.
The top dog: THE MAYOR. He's seething but not a screamer -- a
man who keeps it tightly reined:
We're worldwide news this morning.
Almost twenty dead, among them some
of this country's top attorneys. I
had friends in that room. Hell, I
almost attended myself.
The second explosion. I saw a rocket *
(to Davies and Dunnigan)
Clyde does have somebody on the
What you saw or think you saw is *
beside the point. What matters is *
that the FBI wanted to rendition *
this man out of my city. The reason *
he's still here causing havoc is
you. You wanted to prosecute this
case. Your ambition kept him here *
and provoked this tragedy.
...not entirely fair...
Detective. Your job is hanging by a
thread. I'd think a man of your
experience would know when to keep
his mouth shut and his ass covered.
Dunnigan -- formidable though he is -- looks away, keeps his
mouth shut. The Mayor approaches Nick, looks him in the eye.
BLUE - 9-19-08 101.
When I go in front of the cameras
today -- unlike some people who
seem unwilling to do so when asked --
I'm going to make goddamn sure the
media doesn't hang this abject
disaster around my neck. Why? Because
I'm hanging it on yours.
You're done. Gone. Fired. Non-
existent. Get the fuck out.
173 EXT. CITY HALL COURTYARD - DAY 173
People going about their business.
Nick exits, dazed, comes down the steps. He sits on a step,
vacant -- a man completely at a loss and out of options.
His CELL RINGS. He rouses himself, flips it open.
Hey. Some legal team from the mayor *
showed up here this morning. I hear *
you're off the case. Told you they'd *
scapegoat you, didn't I?
Nick? You there? *
How'd you kill Jonas? I know about
the second explosion, I saw the
contrail, so I know you got somebody
working for you. But the first
explosion -- how?
Say you find a guy with a bad cocaine
problem. Hungry ex-wives. Greedy
mistress. Heavy gambling debts. *
...a bizarre sound occurs on the line -- an unidentifiable
SHRIEKING SOUND that grows and rapidly dissipates...
Say that guy's a veterinarian. You *
hand him a million in cash, he'll *
do what you ask. Especially if he's *
looking to blow town for good...
BLUE - 9-19-08 102.
(can't believe it)
It was...inside the dog?
You own the vet, you own the dog.
Explosive wasn't even that big.
Stuff I use, it didn't have to be.
Hidden in plain sight. That's my
specialty. Haven't you figured that
Nick sighs, rubs his eyes, can barely even speak.
What's next for you? Mulling career
options? I suppose law is out.
I'm trying to get over my friend
being dead. Aside from that, fuck
I'll miss you Nick. It was a good
Didn't bring your family back,
though, did it?
(off Clyde's silence)
Has it made you feel better? All
this? You done making your point?
Just warming up. This is Clausewitz
shit, my friend. Total war.
CAMERA PUSHING IN on Nick, listening, as:
I'm gonna pull the whole thing down.
I will topple the gleaming pillars
and drag the whole fucking diseased,
corrupt temple down on my head.
Stay tuned. It'll be Biblical.
Click -- line goes dead. Nick sits staring at the phone...
BLUE - 9-19-08 102A.
174 INT. HOSPITAL ROOM - DAY 174
Nick enters, finds Sarah crying. A WALL-MOUNTED TV IS PLAYING
A NEWS REPORT of the explosions -- file footage of Jonas
Cantrell pops up. Nick drifts over, sits at her bedside, as:
...going live now to City Hall where
Mayor Tilden is about to make a
statement...announcing, we're told,
among other things, the dismissal
of District Attorney Nick Price...
The IMAGE cuts to the Mayor stepping to the mic.
Thank you all for gathering on this
solemn and anxious occasion...
WHITE - 9-7-8 103.
Nick MUTES it. He and Sarah don't speak for long moments --
he's waiting for her to pull herself together.
She finally does, going into professional mode, pulling her
laptop and files and reports around her.
We got the latest batch of background
in. Hansen and the other guy did
some good work here--
Sarah. Give it a rest. It's over.
(off her look)
I'm done. The mayor is nailing my
coffin shut. The best thing you can
do right now is distance yourself
from me as much as you can -- see
what you can salvage of your career.
Sarah is staring at him with "fuck you" in her eyes. She picks
up a multi-page list of addresses, hands it to him.
This lists over fifty shit-value
properties in industrial zones that
nobody in their right mind would
want to own -- stuff around chemical
plants, factories. All are owned by
Benson Clyde. Look at twenty-two.
Nick, not caring, scans down to:
"Joe's Lube-and-Drive Garage." Went
out of business in '94.
(looks up, irritated)
Now why would Joe's extinct Lube-
and-Shit Garage be of the slightest
possible fucking interest to you,
me, or anyone?
The garage, not so much. But the
address. Look at the location.
Nick looks down at the list again...staring...
175 EXT. JOE'S LUBE-AND-DRIVE GARAGE - DAY 175
A shitty garage in a shitty industrial park. Bordering it, on
the other side of some fencing, are municipal train tracks.
Nick's car pulls up. He gets out. It's a ghost town here.
BLUE - 9-19-08 104.
He goes to the garage window -- glass thick with dirt. He
wipes with his sleeve, but it doesn't help him see in.
176 INT. GARAGE - DAY 176
TIGHT ON ROLL-UP DOOR -- a CAR JACK jams in under the lip. We
hear CRANKING and the door rises...
Nick drops down, peering in. He squeezes under the door, stands
up. Gloomy in here. He hits the door switch -- it RATTLES up *
on its tracks, flooding the place with light... *
He looks around. Cobwebs. Dust. A CAR under a tarp on the
hydraulic floor-lift. Old shelves and pallets of tools. Rust.
Grime. The crap of ages.
He sighs, turns and walks out...
177 EXT./INT. GARAGE - DAY 177
...and pauses. Something tickling his brain.
Suddenly, a SHRIEKING COMMUTER TRAIN blasts by -- gone,
dwindling. It was a bizarre, distinctive sound...like the one
Nick heard during his last phone call with Clyde.
Nick stands frozen, pieces in his head tumbling and threatening
to fall into place. Something about the shape of that car
under that tarp...
He turns, staring at it. Goes back in, drawn to it -- it's
long, distinctly old-school, with sharp boxy corners...
He draws the tarp off -- finds a 1965 Lincoln Continental,
midnight-blue, in excellent condition. The last time he saw
it, it was parked in a carport at Benson Clyde's farmhouse.
What's it doing here? More pieces falling into place. Nick
leaves the garage again, walking out...
CAMERA TRACKS HIM across the tarmac, and as we come around
the corner of the building, we reveal:
The County Correctional Annex is right there, a backwater
corner of the prison not sixty feet away...
Nick stares up at it -- a very curious location indeed.
178 INT. GARAGE - DAY 178
FAST CUTS: Nick searching...behind shelves...the toilet...in
closets...the grimy little office...
He stops. Looks at the car. There's a mechanic's pit below
that hydraulic lift. He goes to the control, hits "up"...
BLUE - 9-19-08 105.
ANGLE FROM MECHANIC'S PIT
Nick's face comes slowly into view as the hoist rises...
FADE TO BLACK
IN BLACKNESS, WE HEAR: Boop-boop-boop...a cell being dialed.
The line RINGING. A voice answering:
179 INT. POLICE STATION - BULLPEN - NIGHT 179
INTERCUT WITH STREET (INDUSTRIAL AREA):
Do we finish this tonight?
(nervous glance around)
Look. No hard feelings, but there
is no "we." You're radioactive. I *
can't even be seen talking to you...
I know who he's got on the outside.
(that stops Dunnigan)
I'll ask again. Do we finish this
Poor Dunnigan looks tortured. He catches Garza's eye...
180 EXT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT 180
A TRAIN SHRIEKS through shot, revealing:
The garage quiet in moonlight. The area deserted. Beat. The
garage door rolls up on its tracks. Darkness within.
A PAIR OF HEADLIGHTS kick on, blinding us. The Lincoln emerges,
moves off into the night as the door rolls down again.
We hear SOFT STATIC from a police radio, and a voice:
BLUE - 9-19-08 106.
All units. Subject vehicle is on
ANGLE WIDENS to reveal we're in an UNMARKED CAR -- Dunnigan *
at the wheel, Nick beside him. Dunnigan's on the radio:
Everybody maintain distance.
Dunnigan puts the car in gear, pulls out...
FROM THIS POINT ON, WE'RE VERY MUCH IN MONTAGE STYLE (IT GOES
WITHOUT SAYING THIS NEEDS THE RIGHT PIECE OF MUSIC):
181 EXT. AERIAL SHOT - NIGHT 181
DRIFTING MAGICALLY THROUGH the downtown skyscrapers...neon-
lit rooftops...city lights reflecting off glass buildings...
AN FBI HELICOPTER drops into shot. CAMERA COMES AROUND, pacing,
the copter's reflection in the buildings we're passing...
182 EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT 182
SKYSCRAPERS pass the lens below us...
There's a midnight-blue Lincoln traveling the streets far
below. It turns a corner, moving up a long boulevard. CAMERA
PIVOTS around a skyscraper, following...
183 EXT. STREETS - VARIOUS ANGLES - NIGHT 183
The Lincoln cruising, cold reflections of street lamps kicking
off sheet metal, flowing along its body and windshield...
WE START ZOOMING AND RACKING FOCUS to the unmarked cars tailing
it in traffic....visually, it becomes a surreal dance of
headlights and traffic signals...
184 EXT. AERIAL SHOTS - VARIOUS ANGLES - NIGHT 184
A POLICE COPTER joins the FBI copter in the air...both cruising
eerily against a kaleidoscopic wash of city lights...
VOICE #1 (V.O.)
Maintain two thousand foot ceiling...
185 INT. DUNNIGAN'S CAR (MOVING) - NIGHT 185
VOICE #1 (V.O.)
Subject vehicle turning south off
of Hudson...into an alley...
Hang back...hang back...
WHITE - 9-7-8 107.
186 EXT. ALLEY - NIGHT 186
The Lincoln pulls to a loading door. The door rises...
187 INT. BUILDING - NIGHT 187
...and the Lincoln enters. It stops next to a LARGE CUBE VAN
with the logo: "Nomos Custodial Services."
CAMERA PUSHES IN as the car door opens, feet step out...
TILT UP to Clyde dressed in a custodial services uniform. He
slams the car door, gets in the van, fires up the engine...
188 EXT. AERIAL VIEW OF ALLEY - NIGHT 188
Far below us, the van emerges from the same door, comes out
of the alley and back onto the street...
VOICE #2 (V.O.)
I got a white van...large cube
type...think he switched vehicles...
moving north again on Hudson...
189 INT. DUNNIGAN'S CAR - NIGHT 189
Five and six, stick with that
building in case he's trying to
cowboy us. All other units, stay
with the van...
Dunnigan pulls out into traffic, resuming the tail...
VOICE #3 (V.O.)
I have visual on van. Logo on side
reads "Nomos Custodial Services."
Where the hell is he going?
190 EXT. CITY HALL - ESTABLISHING - NIGHT 190
The glorious old building looms above us. TILT DOWN to reveal
a red carpet event brewing -- LIMOS AND LUXURY CARS pulling
up, GUESTS in expensive attire getting out...
The NOMOS VAN STEALS THE FRAME as it drives past and turns to
go around the back of the building...
A LIMO STEALS THE FRAME BACK as it pulls to the curb. The
Mayor steps out, waving and smiling for FLASHING CAMERAS...
191 INT. DUNNIGAN'S CAR (MOVING) - NIGHT 191
Nick and Dunnigan drive past all the hoopla...
BLUE - 9-19-08 108.
You don't suppose Nomos Custodial *
has a service contract with City
Hall, do you?
Off Dunnigan's look of "oh shit"...
192 EXT. CITY HALL SERVICE ENTRANCE - NIGHT 192
TIGHT ON A CARD SCANNER as a card is swiped. THUNK -- the
lock disengages. TILT UP to Clyde as he rolls a loaded
custodial cart (with mops and trash barrel) inside...
193 INT. CITY HALL SERVICE AREA - NIGHT 193
A GUARD mans the security desk -- he glances up from a BANK
OF LIVE-FEED VIDEO MONITORS as Clyde rolls his cart in.
Mr. Nomos! Ain't seen you around.
Ted...had to get that vacation in.
Visited my sister in the Keys...
Nice. Good for you.
Hey, what's all that hoopla at the
Mayor's got a big fuckin' thing.
Thousand dollar a plate whatever.
They say the Governor might come.
I'll stay out of their way.
(calls after him)
They're up on six, avoid that floor.
They got more security than God...
194 EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT 194
Far below: The entrance lit up with arriving cars and guests,
A HELICOPTER DRIFTS through the shot just below us in SLOW-
MOTION, rotors thrumming eerily...
195 INT. SERVICE ELEVATOR - NIGHT 195
...while Clyde rides up. He stops at five, gets out...
BLUE - 9-19-08 109.
196 INT. HALLWAY - NIGHT 196
...and rolls his cart up the hallway. MUFFLED MUSIC from the
floor above. He comes to a door, sorts his keys...
197 INT. EMPTY COURTROOM - NIGHT 197
...and enters in darkness. Moving swiftly, he reaches into
his trash barrel, pulls a gleaming STEEL BRIEFCASE from under
the shredded papers -- he strides to the judge's dais, lays
the case atop it, turns and heads back to his cart...
198 INT. SERVICE AREA SECURITY DESK - NIGHT 198
...as a STREAM OF TACTICAL COPS stampede into the building
and up the stairs. ANGLE FINDS Nick, Dunnigan, and Davies
looming over the nervous security guard:
I told him to avoid six...
On a monitor: Clyde rolls his cart from the courtroom...
That's the main courtroom on five. *
That's right below the ballroom.
The Mayor's event.
199 INT. 6TH FLOOR HALLWAY AND BALLROOM - NIGHT 199
Early arrivals are coming up, entering the ballroom. The place *
is crawling with SECRET-SERVICE TYPES in suits. *
200 INT. 5TH FLOOR HALLWAY - NIGHT 200*
Clyde comes down the hallway B.G., rolling his cart...
F.G., ANGLE FINDS tactical cops with machine guns pouring
quietly up the stairs, taking up positions just around the
corners, poised and tense. TIGHTEN IN as the TAC LEADER uses
a small mirror to peek around the corner and spot Clyde:
(whispering on headset)
Subject in sight. Do we take him?
BLUE - 9-19-08 110.
201 INT. ANOTHER STAIRCASE - NIGHT 201*
Nick, Dunnigan and others are racing up the steps. Dunnigan *
raises his radio to say yes, but:
No. Let him go.
(off Dunnigan's look)
We know where to find him. Let's
get to that courtroom.
Dunnigan hesitates -- against every instinct in his body.
I hope you know what the fuck you're
Negative. We're letting him go. All
units hang back. Repeat. We are
letting the subject go.
202 INT. 5TH FLOOR HALLWAY - NIGHT 202
The cops trade surprised glances. The elevator DINGS. Clyde
gets on, the doors close. The cops swarm up the hallway...
203 INT. COURTROOM - NIGHT 203
This all happens fast: Bang -- the doors slam open. Nick leads
a huge phalanx of cops and FBI in, weapons and flashlight
beams stabbing in all directions.
They race to the judge's dais -- the steel case.
Don't touch it! Could be motion
Davies shoves his way to the front, grabs a small hand-held
drill from one of his guys' tactical vests:
I need light!
Dozens of beams converge. Davies places the drill, goes to
work on the case...grind, grind...
VOICE #4 (V.O.)
I have visual...suspect leaving the *
building...different service exit...
204 EXT. CITY HALL - NIGHT 204
Clyde exits a loading dock, gets in his van...
BLUE - 9-19-08 111.
205 INT. COURTROOM - NIGHT 205
...grind, grind...the drill taps through. Davies yanks it,
feeds a fiber-optic tube into the hole, puts his eye to the
eyepiece. He swivels the tube carefully, peering inside...
(glances up) *
Explosives. Nasty ones. *
What? C-4? *
Davies takes his eye from the eyepiece, looks at them.
C-4 is for girl scouts. This is
malglinite. Take out the whole floor
above us...maybe this entire corner
of the building...
Can you open it? Disarm it?
(back to eyepiece)
No, we got tripwires. We open this
lid, instant karma's gonna get us.
Don't see a motion sensor. Trigger
looks simple...dial a cell phone,
incoming call arms the trigger --
trigger's set to count down from
forty seconds, then boom.
(off their looks)
That call comes in, we have forty
seconds to get as far away from
this thing as possible.
(to his men)
Alert the mayor's security team. *
Evacuate those people upstairs -- *
clear that ballroom, go!
Dunnigan turns on him, instant shouting match:
No? What the fuck are you talking
about, this could go off any second!
WHITE - 9-7-8 112.
He won't set it off until that room
is full! People are still arriving,
red carpet shit, that's at least
another half hour!
I will not take that risk!
You have to!
Beat. Nick, no longer shouting, but intense and fast:
If I'm him, I've rigged cameras in
that ballroom -- live video feed --
first sign of an evacuation, I
trigger the bomb.
(off their looks)
We have to think ahead of this fuck!
Pause. Looks traded.
Okay, Nick. What's the move?
206 INT. LINCOLN/NOMOS CUSTODIAL - NIGHT 206
Clyde slams the van door, gets in the Lincoln. He pulls a
handheld CLAMSHELL VIDEO MONITOR -- it shows a LIVE FEED of
people entering the ballroom, mingling as they arrive...
Clyde smiles, starts the engine...
207 INT. CITY HALL BALLROOM - NIGHT 207
The Mayor enters, waving to everybody, shaking hands...
208 INT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT 208
The garage door rises. The Lincoln backs in, stops on the
hydraulic lift. Clyde gets out, throws the tarp over it.
Briefly checks his clamshell. Still plenty of time...
He raises the lift a few feet, drops down and crawls under
the car into:
209 THE MECHANIC'S PIT 209
Duplicate controls. He hits the button and the car sinks down
atop us, settling to the floor, sealing us into darkness.
WHITE - 9-7-8 113.
Beat. A BRIGHT LIGHT turns on -- one of those gazillion
candlepower flashlights. Clyde aims it and we see:
A TUNNEL hewn into the wall of the mechanic's pit. Just large
enough for Clyde to crawl into. He does...
210 INT. TUNNEL - NIGHT 210
Hand-dug, rough dirt held up by two-by-four bracing. A wheeled
platform is the transport -- Clyde's on his back, pulling
himself along by an overhead rope, hand over hand...
211 INT. UNDER THE PRISON - NIGHT 211
Clyde emerges in the suffocating darkness of a sub-basement
laid into a foundation that dates back to the Civil War. He
crawls free, shining his light as rats scurry in shadows...
He's on his hands and knees at first because the ceiling's so
low. He's finally able to rise, moving along at a crouch...
...and emerging into a proper sub-tunnel. Now able to walk
normally, he navigates the tunnels and comes to:
212 INT. CLYDE'S STAGING AREA - NIGHT 212
We're just below the solitary wing. Clyde has it rigged with
all his needs: computer, spare cell phones, various kinds of
clothing, even a shelf lined with snacks.
He quickly shrugs off his custodian's outfit, revealing his
prison jumpsuit beneath. He gazes up a welded steel ladder
(identical to four others in a row -- one for each cell).
He checks his clamshell one last time, tweaking the bad
reception with a relay -- ballroom looks full. He clicks off
his lamp and clamshell, sets them on a shelf...
He goes up the ladder to a hatch in the ceiling...
213 INT. CLYDE'S CELL - NIGHT 213
...and enters through a swiveling portal concealed behind the
toilet. In deep darkness now, he pulls his cell phone, starts
inputting a number -- boop...boop...boop...
And he freezes. Realizing...
There's somebody in there with him...a silhouette sitting on
the floor by the door. The figure reaches out, pushes open
the outer door a bit. Faint light spills in, revealing:
I came to talk. Guess who wasn't in
his cell? Imagine my surprise.
BLUE - 9-19-08 114.
Beautiful how you played us. Getting
yourself tossed into solitary -- *
pre-rigged with exits from all five *
cells. Whichever one we put you in,
you had your bases covered.
I thought I was such a bad-ass
putting you down here. Turns out I
was doing what you wanted.
That's how you play. Make the other
guy think it's his idea.
You came to talk, so talk.
Been thinking. If I'd done things
differently -- made different
decisions from the start -- we
wouldn't have gotten to this point.
But it happened. And here we are.
Here we are.
Your decisions put us here too.
This mess is on both of us. *
You want to hold hands? What's your
We can't change decisions we've
made. We can only account for
decisions we make from here. I know
what mine will be.
What about you? You gonna finish
dialing that number, or what?
Clyde hesitating, thumb hovering over the number pad.
If I don't? What are you offering?
You looking to deal?
BLUE - 9-19-08 115.
I'm willing to listen.
Okay, here's the deal. The deal
is...there is no deal.
(off Clyde's look)
I told you. No more deals with
murderers. I'm sticking to that.
That's my decision. It's what you *
taught me. Strange as it sounds, *
I'm grateful for the lesson. *
Nick rises, steps out -- pauses, turns back.
Your turn. You make the right
decision, I'll see what I can do
for you. But the wrong decision is
one you'll have to live with the
rest of your life.
The moment stretches. Clyde poised -- all down to this. In *
the end, he can't help himself: Boop-boop-boop -- hits send. *
Nick pushes the barred door shut...
...because like I said, it's a
decision you'll have to live with
the rest of your life. Which at
this point I figure is...
(glances at watch)
...another 35 seconds.
...and turns the key in the lock -- klatch.
Clyde hears a SOUND...like a phone ringing -- sort of close
but not -- muffled -- like the sound Cantrell heard...
Clyde, realization dawning, thrusts his hand out and jerks
the cot blanket up, revealing:
The steel briefcase under his cot. He glances up to see:
Clyde scrambles to his portal, yanks on the handle...
BLUE - 9-19-08 116.
214 CLYDE'S STAGING AREA (UNDER THE CELLS) 214
ANGLE ON: The hatch handle rattles -- now padlocked shut.
215 INT. JOE'S GARAGE/MECHANIC'S PIT - NIGHT 215
FAST CUT: Dunnigan thrusts himself out of the tunnel, cops
grabbing his arms, pulling him free...
216 INT. SOLITARY WING - NIGHT 216
Nick comes through the sally-port at a fast stride, through
another door, goes up the steps...
217 INT. CLYDE'S CELL - NIGHT 217
Clyde wheels around, frantic as a caged tiger -- he lunges to
the door, rattling the bars...
218 QUICK ANGLES 218
...while Nick pounds faster and faster up staircase after
219 INT. CLYDE'S CELL - NIGHT 219
Clyde -- enraged, bellowing -- picking up the steel briefcase,
swinging it hard against the bars, trying to batter through...
And then stopping. A self-awareness returning. Perhaps it's
the Clyde that's been missing for years -- the sane one.
Pause. He sets the briefcase down. Stands a moment.
He sits down on the briefcase. Calm now. Pulls a SMALL PHOTO
from his breast pocket. Gazes at it.
It's his wife and daughter. He stares at them a while.
Tucks the photo back in his pocket. Nods.
BOOOOM! The DETONATION is staggering, instantly vaporizing *
Clyde and the cell he's in...
220 SOLITARY WING 220
...BLOWING the bars right out of the stone on a WALL OF FLAME
that overwhelms the lens...
221 FAST CUTS: CORRIDORS AND STAIRCASES 221
...FLAME HURTLING with express-train force...
BLUE - 9-19-08 117.
222 EXT. PRISON COURTYARD - NIGHT 222
...and BLASTING TONS OF BRICK AND MORTAR skyward.
Nick enters the shot as WE DOLLY BACK WITH HIM, walking away
from the building going to dust and rubble B.G.
CAMERA PANS HIM AROUND, now following him, as he approaches
Davies standing with Iger. Iger is staring, agog:
Thank God that wing was empty. *
A car arriving behind them: Dunnigan getting out, approaching. *
How do I explain this to the city?
I think the Mayor will have your
Nick approaches, comes abreast of them.
Looks are traded with Dunnigan and Davies. Relief. Fellowship.
A touch of sadness. Words aren't needed here.
Nick keeps walking, pulls his cell phone, starts dialing.
Dunnigan smiles. He knows exactly where Nick's going...
223 INT. TRAIN STATION PLATFORM - DAY 223
LONG LENS: Nick sitting...waiting...
An ARRIVING TRAIN moves massively into the shot, pulling into
Nick rises. A SQUEAL OF BRAKES, steel on steel...
Nick engulfed in a crowd of arriving passengers, people getting
off, swirling and jostling all around him, wiping frame...
...only two faces he wants to see...
...and there they are...
He sweeps his family into his arms. The final moments of this
movie are all about faces and joy...
...and CREDITS BEGIN as we