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/ Law-Abiding Citizen

CANTRELL Clarence Darby's defense attorney. He brokered the testimony deal with us ten years ago. He's been missing now since...

CLYDE March of '06.

Sarah spins the laptop -- a photo of Reynolds, a story of his disappearance. *

CLYDE 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.

NICK Tell me.

CLYDE 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 * convincing. *

BLUE - 9-19-08 52.

PUSH IN ON Clyde in the frozen silence...

CLYDE You want the location of the body? Tonight, 7 p.m., I get my meal * delivered to my cell from La Traviata.

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:

DUNNIGAN SPECIAL AGENT SAM DAVIES, NICK PRICE WITH THE D.A.'S OFFICE!

DAVIES NICK! TELL ME ABOUT THIS BODY!

NICK SUSPECT SAYS NEW JERSEY! ACROSS THE STATE LINE! THAT MAKES IT FEDERAL, THAT MAKES IT YOU!

DAVIES (to another FED) GET THE CAMDEN OFFICE TO HAVE A GROUND TEAM MEET US! (to Dunnigan) LOCATION?

DUNNIGAN 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.

NICK I'LL BE IN MY OFFICE! PLEASE CALL ME! WE GOT A LOT OF PEOPLE HOLDING THEIR BREATH ON THIS!

DAVIES WILL DO!

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:

CLYDE 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.

NICK 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 * killed...

81 EXT. AERIAL SHOT - DAY 81

THE FBI HELICOPTER THUNDERS over beautiful green hills...

SARAH (V.O.) He's a tinkerer. Little inventions * and gizmos...

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:

SARAH ...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.

CANTRELL Weird how?

SARAH Properties with no real value. Around * airports, chemical plants. Stuff * nobody wants...

83 INT. CELLBLOCK - DAY 83

A CONVICT comes to his bars, peering out... *

CONVICT * Motherfucker...

...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...

SARAH (V.O.) He votes. He gives money to charity, mostly victim's funds...

84 INT. OFFICE - DAY 84

SARAH ...but he also gives a big chunk to macular research.

CANTRELL (looks up) He donates to eye research?

SARAH RPI. That's the charity you work with, isn't it?

CANTRELL Huh. Strange.

BLUE - 9-19-08 55.

85 INT. CELL - DAY 85

The waiter, hemmed by guards, nervously reads the order:

WAITER ...consomme...sea bass...squab... * New York strip, rare...a variety of * pates...

CLYDE Rack of lamb?

WAITER ...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:

FIELD AGENT 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:

WAITER You're bruising the crepes.

GUARD Life's a bitch, then you die.

IGER ...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...

CLYDE 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...

NICK (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:

IGER Idiot.

Then he too departs, as:

CLYDE

aims his remote. MUSIC for dining. Clyde glances back at * Dwight, who's poised and tense.

CLYDE I suppose if I don't share, you'll beat the shit out of me. Make me squeal like a piggy. That sort of thing.

DWIGHT Fuckin' A.

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...

CLYDE I wonder what the little people are eating tonight?

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.

FORENSIC TECH 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:

FORENSIC TECH ...gently on three...one...two...

DAVIES (on cell) --we'll have to wait for the autopsy results, but--

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:

NICK Agent Davies?

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.

NICK Why do you have him in the dome?

IGER He killed his cellmate. We had to separate him out.

CANTRELL What's wrong with solitary?

IGER 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...

NICK (to Sarah) 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.

IGER Nice trick with the rack of lamb. Didn't see that one coming.

NICK Why'd you kill your cellmate?

CLYDE I claim self-defense.

NICK Here's what I think. You suckered us in. You ordered that meal for the purpose of killing him.

CANTRELL Which makes it premeditated. Again.

CLYDE And, again, you'll have to prove that in court. As I've said before... (to Nick) ...make your case. Or set me free.

DAVIES (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. (turns) We're done dancing. I have the right to claim jurisdiction here, do I not, Detective Dunnigan?

DUNNIGAN That is correct, Agent Davies.

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 disappear.

CLYDE (beat, glances to Nick) You see, Nick? That man is pissed! That's what I'm talking about! No deals, no compromise! You see?

NICK I see you totally disconnected from reality, that's what I see!

BLUE - 9-19-08 61.

SARAH (handing off phone) Judge Burch with an answer for you.

107 INT. JUDGE'S CHAMBERS - DAY 107

JUDGE BURCH 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

NICK 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.

IGER 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:

NICK You're doing everything wrong. Making all the wrong moves.

CLYDE It would seem that way.

The wording catches Nick -- but he dismisses it, turns:

NICK 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. *

CLYDE I'm seeing fire in your belly, Nick. I like it. Keep going. This is our deal, after all...

CANTRELL Let's not mistake this! This is not about the two of you!

BLUE - 9-19-08 62.

CLYDE (shouts) 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:

DAVIES You wanna take this fuck down? Be my guest. Whatever you need.

CLYDE (bangs his bars) That's the spirit, yes! (to Nick) 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. * (to Davies) Good call, Sam. Making me disappear was a bad idea. You couldn't have handled the blowback.

NICK Blowback? *

CLYDE * 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?

NICK You're insane.

CLYDE See how insane you think this is. You're going to release me from this place with all charges dropped within twenty four hours...

NICK Or what?

CLYDE 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. *

CLYDE 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:

CANTRELL What can he do? We've got him boxed in. He's isolated, for God's sake.

NICK 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.

DUNNIGAN You think it was a bluff? *

NICK We underestimated him before. I'd like to know what this prick is capable of. (calls to Sarah) Update on the background check?

SARAH 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... *

NICK That's it? Nothing else unusual? *

ROYCE 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.

NICK What kind of government work leaves a blank spot, Sam?

DAVIES 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.

KELL Where are you?

NICK (catches himself) Million miles away. Sorry.

KELL Don't be. This guy's really doing a number on your head, isn't he?

NICK Yeah. I guess he is. (she expects more) It's...killing his cellmate. I need that to make sense.

KELL Why? Happens in prison all the time.

NICK Yeah, I know, but...we're not talking some gang-banger. This man is precise. Does things for a reason.

KELL He's psycho. You said so yourself. We saw it on that video. Psychos don't need a reason, Nick. They're just psycho. (off his look) Whatever. You'll figure it out. You * always do.

NICK (smiles) Thanks. I'm a poor excuse, though. It's date night. You deserve better. (a glance around) Just wish you'd picked another * restaurant. *

BLUE - 9-19-08 65.

KELL 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:

WAITER Have we decided?

Nick's CELL PHONE RINGS. He pulls it, checks the number, gives them a look -- sorry, gotta take this.

NICK Sam? What is it? (beat) Not far, maybe six blocks. I'm having dinner with my wife.

112 EXT. CITY HALL - NIGHT 112

DAVIES Two words: doggy bag. Be in your office in ten minutes. * (beat) 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:

NICK He's coming here?

DAVIES 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.

NICK Yes. Yes, we're all here. Downstairs? Okay. Understood. (hangs up) 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...

SPOOK (O.S.) 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.

SPOOK Which one of you is Davies?

Davies takes a step forward. THE SPOOK eases partially into the light -- flinty gaze, military-style haircut.

SPOOK 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.

NICK What are we dealing with?

SPOOK 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.

CANTRELL (to Davies) You gotta be kidding me with this guy.

SPOOK He's not. Tell me you grasp the implication of what I've said, or we're done here.

CANTRELL (smile fades) Yeah. Okay. I get it.

WHITE - 9-7-8 67.

NICK What was Clyde? Some kind of spy?

SPOOK 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?

NICK Ask Clyde?

SPOOK That's right. Ask Clyde. And he'd figure something out. Gizmos, strategy. He was good at it.

NICK How good?

SPOOK (beat) You play chess?

NICK Yeah. Tournament level in college, matter of fact.

SPOOK 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.

NICK What about Clyde?

SPOOK 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.

NICK I have been. Any thoughts?

SPOOK 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.

DAVIES Like what? He's locked up. What can he do?

SPOOK (gives him a look) You're an average chess player, aren't you?

DAVIES Actually, I kind of suck.

SPOOK I can tell. But I like your tie.

DAVIES (perplexed) Thank you. Father's Day.

SPOOK 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. (beat) 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 Daddy!

Emma jumps up and runs over for a hug.

EMMA Mom said I could stay up late. Wanna play Scrabble?

NICK 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.

NICK Sorry about date night.

KELL It's fine. You learn anything?

NICK Thing or two.

He moves up the hallway -- slowly, as if noticing the walls for the first time, the picture frames, the light fixtures...

KELL (following him) Nick?

NICK 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. Or something.

KELL Why would we wanna do that?

NICK 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.

KELL Honey?

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.

KELL 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.

EMMA Daddy?

NICK 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:

KELL Seriously, Nick. What the fuck.

NICK 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.

KELL Are you in danger? Are we?

The question hangs there -- the real question. *

NICK I'm sure we're fine. *

He pulls his phone, speed-dials. *

NICK * 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.

NICK Ready to turn this place upside down?

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.

NICK 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.

JAMESON 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:

SARAH We boring you, Jameson? You got someplace to be?

JAMESON No, Miss Lowell.

SARAH (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.

NICK Well?

DUNNIGAN 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.

NICK What do you have?

TEAM LEADER Rocky Mountain Way. Joe Walsh. (off Nick's look) What do you want from me, it's a fucking ipod.

The other agents snicker, not hiding their amusement, but: *

NICK * 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. *

FBI FORENSIC Blood stain. Few fibers. That's it.

CONVICT (sleepy, at his bars) Warden, man, whassup?

IGER Everybody back to sleep.

NICK (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.

CLYDE You're up early. Trouble sleeping?

NICK 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.

CLYDE Amazing, isn't it? How primal that is. That pull? What a man is capable of when it comes to his family? *

NICK * You strip away all the polite shit, * that's what we're really about.

CLYDE * 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.

NICK Good night, Ben.

CLYDE Good night, Nick.

And then the moment's gone and the mocking Clyde returns:

CLYDE 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.

SARAH We dug pretty deep for one night. Still got a ways to go, but on a first look? Nothing. Nada. Zip.

IGER Well, that's good news.

NICK 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. *

SARAH 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:

DAVIES Fellas. For once, glad not to be of assistance.

DUNNIGAN 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.

DUNNIGAN (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: *

NICK

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:

NICK 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.

NICK 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:

NICK (on 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:

DAVIES Each car had an explosive charge on the gas tank.

NICK He's got someone working with him. On the outside. He's got to.

DAVIES Not necessarily. Everything looks pre-rigged.

BOMB EXPERT 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. *

DUNNIGAN He could have planted those bombs a month ago.

CANTRELL (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 show up?

WHITE - 9-7-8 77.

DAVIES He didn't. Our people just found bombs on every car in your ADA pool. All two dozen. We're disarming those now.

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...

CLYDE 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.

NICK Fuck you.

CLYDE (glances at clock) Your twenty four hours are about up. In return for the phone, I'll extend you another twelve hours.

NICK If not?

CLYDE How many more people die while you stand around dithering? How many do you get killed before my point starts sinking in?

Cantrell closes in, tracking Clyde by voice:

CANTRELL 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:

CLYDE I've been waiting for my explanation for ten years. So far... (shouts) ...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.

CLYDE 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.

DUNNIGAN Maybe I got a better idea. Maybe we end this war right now. (looks around) 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.

DUNNIGAN Don't tempt me.

GARZA Jesus Christ, man, dial it back...

CLYDE Do it. It would be decisive. Stupid, but decisive. (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:

NICK Put the gun away! Are you crazy?

DUNNIGAN (calmly reholsters) It's an option. All I'm saying. Risk the blowback. Ride it out.

NICK We're not risking anything. Or letting him tear us down. (to Clyde) You're not getting us to throw out the rules, like you. No way.

BLUE - 9-19-08 79.

CLYDE 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. (re-buttons) So. Rules. A phone buys you another twelve hours. But if you haven't cut my deal and let me go by the deadline...

NICK What? What then?

CLYDE I'll kill someone in this room.

That sucks the air out of the conversation -- everybody stares as that sinks in. Glances are traded.

NICK Who?

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...

CLYDE Eenie...meenie...miney...moe...

...from person to person, to the end, moving back again...

CLYDE ...my mother...told me...to pick...a person...and that...person...is...

He lands on Cantrell. Silence. Cantrell obviously can't see.

CANTRELL Who's he pointing at?

126 EXT. PRISON COURTYARD - DAY 126*

Everybody on the move, emotions high:

CANTRELL Fuck him. Let him try.

NICK 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.

CANTRELL (beat, tight) Point taken.

DAVIES We'll give him his phone. We'll tap in and monitor every call.

DUNNIGAN Buys us another twelve hours, we could use that right now. That puts the deadline at... (checks his watch) ...about 7:30 tonight.

CANTRELL Shit. I'll be in front of a room full of lawyers. The A.B.A. dinner. I'm the keynote speaker.

NICK No way. Find a replacement.

DUNNIGAN Until his deadline passes, you're in protective custody. Not negotiable.

Cantrell isn't happy about it -- but nods.

NICK And have them switch the location of that dinner.

CANTRELL That's last minute.

BLUE - 9-19-08 81.

NICK 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.

DUNNIGAN 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:

NICK Hey baby -- no, I'm fine. Really. Honey, calm down...

He listens a beat, calls to the men getting in the other cars:

NICK Our shit just hit the fan in a big way -- we're all over the news... (on phone) Yes, all eight died. Sarah's in surgery right now... (beat) ...they think so, but... (beat) ...okay, I'll meet you there. Love you.

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.

NICK 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.

GARZA 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:

GARZA Keep the press off this floor, understand?

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.

NICK Any word?

KELL She's in surgery now. They're saying she'll be okay.

NICK Thank God. That's good.

KELL 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?

NICK You didn't lose me. You won't. Does the school know we're pulling Emma out of class?

KELL I called, yeah, but -- I'd rather be here for Sarah when she wakes up. Nick -- and for you. I want to do something...

NICK You are. Getting our daughter out of harm's way. And yourself. (calls to Garza) Detective. Will you escort my wife, please? (to Kell) 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:

REPORTER ...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... *

REPORTER ...details are sketchy at this point, and names are being withheld...

People start noticing Nick. Royce comes up, looking dazed.

NICK Sarah's fine. That's the good news.

ROYCE 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.

ROYCE 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.

NICK (pause, thinking) Royce...how much petty cash do we have in the safe?

ROYCE I don't know...four thousand?

NICK Give it to me. And your cell phone. I need to borrow it for a few days.

ROYCE (beat, puzzled) What do you want me to tell the mayor?

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.

ROYCE 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.

EMMA I wanna see Sarah...

NICK Hey, hey...she's fine, don't be scared. That's not allowed. And there's no reason for it.

EMMA This sucks.

NICK I know.

EMMA Why do we have to go?

BLUE - 9-19-08 85.

NICK 'Cause your mom wants to see a few Broadway shows. You gonna begrudge her that?

EMMA 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.

NICK 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?

EMMA Okay.

She detaches from her father. Nick rises to Kell, pulls an envelope, hands it to her...

NICK No credit cards. Too easy to track. Meals, hotel, whatever -- pay cash.

...then takes her cell, swaps it for Royce's...

NICK I'll keep this. It can be traced. Use this one instead. Don't answer unless you see it's me. *

P.A. VOICE FINAL BOARDING CALL FOR NEW YORK CITY DIRECT, FINAL CALL...

KELL Anything else?

NICK I love you.

KELL Emma's right. This sucks.

She embraces him, fears and emotions swirling.

KELL 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 Jesus. *

CANTRELL 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.

DAVIES 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.

DAVIES I'm betting something lethal.

TECH #1 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. *

NICK I'm telling you, Clyde has someone * working with him. Someone on the outside.

CANTRELL Who? Who could he have?

NICK 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...

CANTRELL Him? No--why would Clyde let him come talk to us?

NICK To fuck with our heads? To get us to bring in our ADAs so he could blow them up?

DUNNIGAN * It would be a Clyde move. But it's * not proof. (to Cantrell) * Could he have planted this stuff in * your house before he was arrested?

CANTRELL I--I don't know...

NICK Jonas, think -- last few days, have * you used any ice? Any salt?

CANTRELL (confused, grappling) I don't use salt--my cholesterol. Ice? Yeah--not long ago.

NICK Before or after he was arrested?

CANTRELL I don't remember! You track your * use of ice, Nick? You keep a daily * log?

TECH #2 calls from the kitchen:

BLUE - 9-19-08 88.

TECH #2 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.

NICK * 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.

NICK Holy shit.

CANTRELL Nice?

DAVIES 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: *

DUNNIGAN It's the presidential suite. Last person who stayed here was actually a president. Of a country. Security here is amazing.

NICK * It's not bad, Jonas. I think you can muddle through.

DAVIES 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.

NICK 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. *

DUNNIGAN I'll try to wrangle additional * manpower. Big job. *

DAVIES (pages the report) * No shit. This is quite a list. Over * forty locations?

NICK 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.

CANTRELL * Fellas... I'm grateful for all your efforts. I just wanted to say it.

NICK Save it for tonight. Hope you're in the mood for Chinese takeout.

CANTRELL Where are you going?

NICK 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.

CLYDE Interesting location you've chosen.

NICK I thought we'd have some privacy.

CLYDE For what? A talk? Or... (gazes around) 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.

NICK 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

CLYDE You have some kind of signal worked out? You scratch your nose and blam, I'm a goner?

NICK Something like that.

CLYDE Might solve all your problems. What's stopping you? Afraid of the blowback?

NICK 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.

CLYDE Ah. Nice. Good one.

NICK One can show mercy.

CLYDE Mercy. Right.

NICK 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.

CLYDE 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?

NICK Don't give me that. Death doesn't scare you.

CLYDE (smiles "right") 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.

NICK Until one side admits defeat. What if I did that? What if I said... (beat) ...you were right. I was wrong. What if I say I should have prosecuted both men ten years ago?

CLYDE I'd say you're making progress. You should have, you know. Prosecuted both.

NICK I'd have lost.

CLYDE With your head held high. And without any blame from me.

Nick's CELL RINGS -- he turns away, answers:

NICK Yeah... (beat) 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.

CLYDE But she's okay -- good. Miss Lowell is a fine young woman. (beat) Oh, hey...your wife and little girl get out of town all right?

NICK (beat, staring) You asking that question makes me want to scratch my nose.

Clyde glances around at the snipers with a laugh.

CLYDE Just a guess. It's what I would do. Get 'em out, make sure they're safe. (reproachful) C'mon. Like I'd ever have hurt them anyway.

NICK No?

CLYDE 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.

NICK What kind are you?

CLYDE 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:

CLYDE It hurt to lose them, didn't it? Your family. Even knowing they'd come back.

NICK Yeah.

CLYDE Imagine knowing they wouldn't.

NICK I can't. I can't imagine that. *

BLUE - 9-19-08 93.

CLYDE 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.

NICK 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...

CLYDE Counselor. I have no doubt, as we stand here, that you really believe that. I wish I could. (pause) Are we done? You gonna scratch your nose, or can I go?

Silence now. Nothing left to say. They turn and walk in opposite directions...

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:

SECRETARY Judge's chambers.

VOICE ON PHONE Laura? Laura, that you?

BLUE - 9-19-08 94.

SECRETARY I'm sorry, Judge Burch is gone for the evening.

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:

SARAH ...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 educated guesses...

Sarah looks over, sees Nick step in, gives him a weak smile.

NICK Hey.

SARAH Hey. Nice flowers. Thanks.

He comes to the bed, takes her hand, squeezes it.

NICK How you doing?

SARAH 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.

SARAH They're all dead?

NICK I'm afraid so.

Sarah lets herself cry. Nick waits, then: *

NICK You're alive. That counts for a * lot. * (beat) * I'm sorry I put you in harm's way. *

BLUE - 9-19-08 94A.

She absorbs that, angrily wipes her eyes.

SARAH It wasn't you. It was that son of a bitch. I hear he's threatened Jonas? *

BLUE - 9-19-08 95.

NICK 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.

CANTRELL Who's winning?

FLEMING Laszlo, the cheatin' prick...

LASZLO Yer mama...

GARZA Wanna sit in?

CANTRELL 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.

GARZA Right...sorry.

The other guys toss Garza a look -- what a moron.

CANTRELL People forget. No worries. (turns away) Enjoy your game, fellas.

FLEMING Need help? Want one of us should walk you down?

CANTRELL I'm good. Unfamiliar places take me a little longer. But I get there.

GARZA (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.

M.C. 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:

M.C. ...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:

NICK ...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:

CANTRELL 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.

ANOTHER ANGLE

reveals Nick in deep f.g. looking up the broad avenue -- in the distance stands Cantrell's skyscraper.

NICK 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.

CANTRELL It's okay. It's gonna be okay.

154 INT. BALLROOM - NIGHT 154

Judge Burch at the podium:

JUDGE BURCH ...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.

CANTRELL 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...

FLEMING (gasping on radio) ...we need help up here... *

GARZA 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:

MAYOR 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.

NICK The second explosion. I saw a rocket * fired. * (to Davies and Dunnigan) Clyde does have somebody on the outside.

MAYOR * 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.

DUNNIGAN (mutters) ...not entirely fair...

MAYOR 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.

MAYOR 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. (beat) 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.

CLYDE (V.O.) 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? (beat) Nick? You there? *

NICK * 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?

CLYDE 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...

CLYDE 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.

NICK (can't believe it) It was...inside the dog?

CLYDE You own the vet, you own the dog. Explosive wasn't even that big. Stuff I use, it didn't have to be. (beat) Hidden in plain sight. That's my specialty. Haven't you figured that out yet?

Nick sighs, rubs his eyes, can barely even speak.

CLYDE What's next for you? Mulling career options? I suppose law is out.

NICK I'm trying to get over my friend being dead. Aside from that, fuck you.

CLYDE Fair enough. (beat) I'll miss you Nick. It was a good dance.

NICK 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?

CLYDE Just warming up. This is Clausewitz shit, my friend. Total war.

CAMERA PUSHING IN on Nick, listening, as:

CLYDE 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. (beat) 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:

REPORTER ...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.

MAYOR 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.

SARAH We got the latest batch of background in. Hansen and the other guy did some good work here--

NICK Sarah. Give it a rest. It's over. We're done. (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.

SARAH 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:

NICK "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?

SARAH (tight, pissed) 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

DUNNIGAN (weary) Dunnigan.

INTERCUT WITH STREET (INDUSTRIAL AREA):

NICK (on cell) Do we finish this tonight?

DUNNIGAN Nick? Jesus... (nervous glance around) Look. No hard feelings, but there is no "we." You're radioactive. I * can't even be seen talking to you...

NICK I know who he's got on the outside. (that stops Dunnigan) I'll ask again. Do we finish this tonight?

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.

DUNNIGAN (O.S.) All units. Subject vehicle is on the move.

ANGLE WIDENS to reveal we're in an UNMARKED CAR -- Dunnigan * at the wheel, Nick beside him. Dunnigan's on the radio:

DUNNIGAN 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...

DUNNIGAN (clicks hand-mic) 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

DUNNIGAN 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."

NICK 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.

NICK 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.

SECURITY GUARD Mr. Nomos! Ain't seen you around.

CLYDE Ted...had to get that vacation in. Visited my sister in the Keys...

SECURITY GUARD Nice. Good for you.

CLYDE Hey, what's all that hoopla at the main entrance?

SECURITY GUARD Mayor's got a big fuckin' thing. Thousand dollar a plate whatever. They say the Governor might come.

CLYDE (moving on) I'll stay out of their way.

SECURITY GUARD (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, CAMERAS FLASHING...

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:

DUNNIGAN What floor?

SECURITY GUARD I told him to avoid six... (checking monitors) There...

On a monitor: Clyde rolls his cart from the courtroom...

SECURITY GUARD That's the main courtroom on five. *

NICK 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:

TAC LEADER (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:

NICK 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.

DUNNIGAN I hope you know what the fuck you're doing. (clicks mic) 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.

NICK There.

They race to the judge's dais -- the steel case.

DAVIES Don't touch it! Could be motion sensitive!

Davies shoves his way to the front, grabs a small hand-held drill from one of his guys' tactical vests:

DAVIES 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...

DAVIES * Crap. * (glances up) * Explosives. Nasty ones. *

DUNNIGAN What? C-4? *

Davies takes his eye from the eyepiece, looks at them.

DAVIES C-4 is for girl scouts. This is malglinite. Take out the whole floor above us...maybe this entire corner of the building...

NICK Can you open it? Disarm it?

DAVIES (back to eyepiece) No, we got tripwires. We open this lid, instant karma's gonna get us. (keeps scanning) 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.

DUNNIGAN (to his men) Alert the mayor's security team. * Evacuate those people upstairs -- * clear that ballroom, go!

NICK No!

Dunnigan turns on him, instant shouting match:

DUNNIGAN No? What the fuck are you talking about, this could go off any second!

WHITE - 9-7-8 112.

NICK 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!

DUNNIGAN I will not take that risk!

NICK You have to!

Beat. Nick, no longer shouting, but intense and fast:

NICK 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.

DAVIES I'm open.

DUNNIGAN 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:

NICK I came to talk. Guess who wasn't in his cell? Imagine my surprise.

BLUE - 9-19-08 114.

CLYDE Imagine mine.

NICK 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. (faint smile) I thought I was such a bad-ass putting you down here. Turns out I was doing what you wanted.

CLYDE That's how you play. Make the other guy think it's his idea. (beat) You came to talk, so talk.

NICK Been thinking. If I'd done things differently -- made different decisions from the start -- we wouldn't have gotten to this point.

CLYDE But it happened. And here we are.

NICK Here we are. (beat) Your decisions put us here too. This mess is on both of us. *

CLYDE You want to hold hands? What's your point?

NICK We can't change decisions we've made. We can only account for decisions we make from here. I know what mine will be. (beat) What about you? You gonna finish dialing that number, or what?

Clyde hesitating, thumb hovering over the number pad.

CLYDE If I don't? What are you offering?

NICK You looking to deal?

BLUE - 9-19-08 115.

CLYDE I'm willing to listen.

NICK 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.

NICK 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. *

CLYDE I'm sorry.

NICK Me too...

Nick pushes the barred door shut...

NICK ...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.

NICK Check mate.

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:

Nick gone.

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 staircase...

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.

CLYDE Well played.

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:

IGER Jesus. * (beat) * Thank God that wing was empty. *

A car arriving behind them: Dunnigan getting out, approaching. *

IGER How do I explain this to the city?

DUNNIGAN I think the Mayor will have your back.

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 the station...

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

FADE OUT

<<<

/ Law-Abiding Citizen.
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