"GONE BABY GONE" (2007)

CREDIT SEQUENCE

Morning.

Clouds moving through the sky.

We see various shots of the city, exterior storefronts, people going about their lives and some wider shots of the city.

As they continue, the hour gets progressively later in the day until the final sequence which takes place at night.

Over this we hear our guy, PATRICK (30).

A playground at night, completely empty. One of the swings drifts back and forth...

The back door to a home is open. A piece of light cuts across the porch from inside...

Up the back stairwell another door is open, leading into an apartment...

Down the hall, a third door opens to reveal a small, sparse bedroom. A small mattress on the floor holds a dirty-faced little girl asleep under her blanket...

Footsteps heard, quietly moving through the house...

A three foot gate hangs open. A car starts and pulls away.

We begin to hear the voice of Jack Doyle.

JACK DOYLE (60s) speaks at a press conference on a small, PORTABLE TELEVISION with a 3x4 inch screen resting on the dashboard of a car and plugged into the lighter outlet.

Patrick Kenzie and Angela Gennaro sit in the car watching idly.

TV: A clip from an interview with Amanda's mother, HELENE MCCREADY (29-39). She looks haggard and in desperate need of sleep, if not a stint in detox. Standing beside her is her brother LIONEL and sister-in-law BEATRICE, both of whom we will come to know later.

A press conference with JACK DOYLE (68) comes on. Beneath his image is written "JACK DOYLE, CRIMES AGAINST CHILDREN."

They are parked on a street in Dorchester lined with residential apartments and storefronts.

A KNOCK on the windowsill startles them both. It's A NEIGHBORHOOD GUY, BOBBY.

Bobby moves on down the street. She looks at Patrick.

Over Patrick and through the windshield we see A MAN AND A WOMAN emerge from a MINT GREEN 3-DECKER.

They kiss before parting ways. The MAN hops into a GREEN LINCOLN while the WOMAN heads down the block, on foot.

Angie jumps out and starts following the woman. Patrick pulls slowly from the curb and trails the Lincoln.

Patrick turns a corner on a residential street. Then another one, keeping about a block between himself and the Lincoln.

Suddenly, A TEN YEAR OLD KID darts in front of Patrick atop a BMX bicycle. Patrick has to stop.

Patrick waits for the kid to move. As he drives by he reaches out to CUFF the kid, who eludes him.

Patrick pulls out onto Dot Ave. He looks around, doesn't see the Lincoln. He goes left.

Patrick drives a few cars behind the Lincoln. He can't cathc up.

A car STOPS in front of Patrick. He tries to go around, traffic is oncoming.

The car moves. The Lincoln is long gone.

He pulls the car over.

He sees an ITALIAN MAN IN HIS SIXTIES looking at him from the sidewalk (GERRY SPECA). The man sits in front of a VFW. They trade looks.

Patrick dials his phone and puts it to his ear.

Patrick reaches into the glove compartment and produces a small device. He turns it on and sets it on the dash. By the SCRATCHY VOICES and STACCATO CODE we realize it's a POLICE SCANNER.

He waits. Cars roll by. Wipe. Shot outside car.

OMIT

OMIT

OMIT

Patrick is in the car. Listening.

His phone rings. He answers it.

And he pulls out.

On the side of the road, several OFFICERS administer a FIELD SOBRIETY TEST to the MAN.

The Man is upset. He gestures at the Police.

Patrick pulls up across the street, watching.

They let the man go.

Patrick eases out after him. He WAVES to the cops, who stare back, not knowing him or why he is waving.

From Patrick's car, we see the Father get out of his car and head in the door, holding his bad.

Patrick watches from across the street, in his car.

He sees all the sweet-faced little kids, all dressed up in the best clothes their parents could afford, running and shrieking and playing kick-ball in a tiny play lot inside a giant, ramshackle housing project.

The father emerges, BAGLESS.

As Patrick walks past we dolly low alongside him and onto the playground. He approaches the door the father came out of and enters

Patrick comes in. There are a bunch of the ubiquitous MISSING CHILDREN FLIERS on the ground. A door to a unit is ajar.

Patrick eases the door open a bit. Patrick goes to his haunches so as to stay out of sight at the opening. Through the crack we see a man and a woman arguing.

A woman MAUREEN, Irish (34) is making breakfast. She calls out to the next room.

TOMMY MEADE rolls into frame, bitching about his condition.

She indicates.

Patrick looks at the floor, the BAG the Father was carrying has CLOTHES in it.

The KID comes to the opening in the door. He looks at Patrick. Patrick holds a finger to his lips: shhh.

Patrick parks and walks by various families.

Patrick looks at a paper. It's their ad.

Patrick takes his gun out, wallet, puts them on the table.

Long, intimate improvised scene in their bedroom.

Patrick walks down the hallway toward the kitchen.

Makes cereal. Walks out.

Patrick walks by the door. He pushes on it. She BUMPS it shut. He stands there for a minute, thinks of an explanation.

Patrick comes into the living room, the television is on. He puts the cereal down and starts eating.

JACK DOYLE (60s) speaks at a press conference.

Patrick watches.

TV: A clip from an interview with Amanda's mother, HELENE MCCREADY (29-39).

Angie enters.

She sits down to watch.

A press conference with JACK DOYLE (68) comes on. Beneath his image is written "JACK DOYLE, CRIMES AGAINST CHILDREN."

TV: A STILL PHOTO OF AMANDA MCCREADY (4) occupies a corner of the frame. She has dirty blonde hair and a shy smile.

On TV the camera goes to BEA and LIONEL. Bea Speaks.

Bell rings.

BEA MCCREADY'S FACE

Patrick is standing in the doorway, looking at Beatrice and Lionel McCready, not entirely sure what to say.

Close on a hand picking clothes up off the couch in their 'office'-- which is basically their living room.

Now we get a good look at their guests, who are standing politely.

BEA MCCREADY (mid 50s, matronly) we recognize from the TV clip. She has a kind patience that has been tried by her ordeal.

Her husband, LIONEL (mid 40s), we remember as well. Lionel is the kind of man who was once a hard drinker, a fighter and a troublemaker. Now 'recovered,' he has been a husband, provider and peacemaker for almost twenty years.

Angie is also trying to tidy the detritus of their morning which lie strewn around their office, including a bra which is behind the couch.

They all four stand there, not sure what comes next.

No one says anything.

Tiniest of looks from Patrick to Angie.

Bea looks up at Patrick, confused.

Beatrice snorts. Lionel shoots her a look.

Bea may be coming unglued.

Awkward moment.

She looks at them expectantly.

He throws Angie another small look.

Angie gives her a smile.

Patrick and Angie are in their car. They pull to a stop, looking at something off-camera right.

We might recognize it from the nighttime abduction sequence except that now it's swarming with:

CAMERA TRUCKS, MEDIA TYPES and LOOKEY-LOOS.

This is a big shot full of REPORTERS, LOCALS, KIDS, A GUY WITH A GRILL, AN ICE-CREAM TRUCK.

People mill around and converse. KIDS wave behind REPORTERS heads, trying to get on camera.

We carry Patrick and Angie through with a Steadi-Cam as they react to the circus.

A FIELD REPORTER does a stand-up, dressed formally to the waist in a sports coat and tie but wears shorts below. He has heavy pancake make-up on.

They reach the front porch.

One, OFFICER REILLY (from TV) stops Patrick as he comes in.

Patrick rolls his eyes.

Lionel is out on the porch.

Patrick heads down the hall toward the kitchen but turns back when he sees Angie going into the living room.

Patrick and Angie enter the small two bedroom apartment. It is crowded and crawling with police.

HELENE MCCREADY (in rough shape) sits wearing a "born to shop" T-Shirt. Her best friend DOTTIE sits next to her. They are engrossed in a DAY-TIME TALK SHOW. Dottie wears a "Dot Rat" T-shirt.

The two women on the couch look over.

Angie looks blank.

Angie offers a fake smile, half-recognition, polite.

Lionel marches over toward Dottie. She scoots in a hurry.

Dottie storms from the room. Patrick and Angie stand uncomfortably in the hall.

Helene ignores her.

Bea stands at the far end of the hallway, distraught. She holds a FRAMED PHOTOGRAPH in her hand.

What Bea says belies her matronly kindness.

Bea hands Patrick the photograph of Amanda.

Angie looks to Patrick.

SAME - LATER (KITCHEN)

The sink is FULL OF SHIT. Lionel tries getting out a cup for coffee.

Patrick, Lionel, and Bea sit around the kitchen.

Angie makes her way around the kitchen, looking over the environment. Shots of the mess that is Helene's apartment (and a nod to our extraordinary set decorator.)

Bea looks to Lionel to answer this sort of thing.

There is a short beat before:

Patrick and Angie stand just inside the door to Amanda's drab little bedroom. The only furniture a TWIN-SIZED MATTRESS and a CHEST OF DRAWERS. It's all third hand.

Patrick looks over the dirtied walls, faded glowing stars, stickers, a sad sight.

Patrick and Angie turn to the voice. Standing in the doorway is JACK DOYLE, the police officer from the TV report.

He extends his hand.

He looks them over.

The Fillmore Lounge is a dreary looking bar up an alley off Dorchester Avenue.

Degenerate drinkers are now forced to go outside and smoke under the noon day sun and the place's faux, stacked stone facade.

And it's no more welcoming inside. Men come here to nurse their drug habits, their alcoholism and their hate.

While you wouldn't think there were many clamoring to get into their club, they don't look kindly on potential applicants.

At one end of the bar, LENNY (mid 40's) sips a whiskey and studies the Keno results. In the rear, 4 ALCOHOLICS sit around muttering to one another. And at one of the tables a CAULIFLOWER FACED MAN drinks alone.

In addition there is a SMATTERING OF ROUGH LOOKING FACES.

The bartender BIG DAVE (hence the name) has a newspaper spread out before him on the bar.

Patrick puts his hands up.

Dave regards them for a beat, then moves off.

Patrick turns to find STEVE TSAFONIAS (30s), staring back at him -- a dim, goofy smile across his face.

Patrick subtly looks to Angie.

We come off the face of a interesting man to see:

Patrick, Angie, and Steve sitting around a table sharing a pitcher of beer.

Steve looks up. Lenny (Keno Guy) is out of his stool.

Lenny starts towards their table.

Lenny moves to them.

Angie's comment stops Lenny.

AN ALCOHOLIC calls out to Lenny.

The door outside is ajar. LENNY'S PAL pushes it CLOSED.

The alcoholic men are laughing, egging one another on.

Patrick reaches into his waistband and puts his hand on a SMALL HOLSTER, revealing a 9mm Kahr handgun.

Big Dave laughs. A hint of fear betrays Lenny.

Lenny smiles, saving face while backing down.

Mike sees the gun. He SNAPS open the door.

Patrick and Angie have to make their way past Lenny to get to the door.

Patrick CRACKS Lenny in the face with the gun, taking him off guard. Lenny falls to the floor awkwardly. Before the rest of them make a move toward him, they see his gun out.

Lenny opts not to keep talking. Patrick points the gun at Big Dave.

They move to the door.

Patrick and Angie emerge. They look to one another. Sounds of laughter return inside. The guys appear to have gone right back to their day.

Patrick tucks his gun away and looks to Angie.

He indicates his hand, there is some blood. He smiles. They are a little rattled.

He smiles.

OMIT

Patrick and Angie look out over the neighborhood. Kids run around. Adults watch them.

They look out over the kids running past.

Without looking at him.

She smiles at him.

She looks up

A big bus station. The place bustles with activity. Patrick and Angie walk through.

Patrick and Angie walk by a MURAL painted on the side of the restaurant, turn the corner and head into the diner.

OMIT

Patrick and Angie enter to see TWO MEN seated in a booth. REMY BRESSANT, (55) still very tough and wound very tight. NICHOLAS POOLE (58) is chubby and affable -- the 'good cop' when they do the routine.

Patrick and Angie approach them. Poole is finishing a joke.

Slightly confused looks exchanged.

Bressant smiles, a little embarrassed. They get up and introduce themselves.

Poole stifles a small, good-natured laugh.

THREE MUG SHOTS slide across the table:

CORWIN EARLE: 30s; 5'10" and rail thin. His eyes bulge.

LEON TRETT, 50s; mouse-faced and hostile.

ROBERTA TRETT, 50s; a frightening woman: 6', 330. She has the shoulders of a bank vault and a thin goatee.

A pause.

They gauge one another.

Poole and Bressant are genuinely surprised by this.

They go for their coats. Patrick takes the MUG SHOTS.

As they stand, getting their things, Angie turns to Remy.

Patrick shakes his head.

He takes the photos.

TRETT PHOTOS - ROBERTA'S FACE

Reveal BUBBA ROGOWSKI. He is around 30 and hard. He has a calm opacity which belies his strength. His loft is spare and industrial.

Bubba SLAPS his hand over one eye. Angie smiles. Patrick is on his way out.

Patrick comes down the stairs with Angie behind. He is on the cell phone, walking past the auto body shop.

Bressant and Poole question Helene who sits at the kitchen table. Patrick, Angie, Bea and Lionel stand by.

Bea looks to Patrick, who shakes his head at Bressant.

Lionel's FIST hits the table.

Bea can't fathom what she's hearing.

She sighs.

Helene gets up and gets a beer. It's 10:15 am.

The conversation has moved to the living room. The same participants, but the collection of EMPTY BEER CANS surrounding Helene suggest she's loosened up some.

Patrick peers out the WINDOW to see the CIRCUS below (POV)

Angle on Patrick and Angie.

Nothing. Angle on Patrick.

A beat.

Silence in the room.

Another beat.

She takes a pull on her beer. Looks around. Fuck it.

The room goes quiet.

She exhales a long thread of smoke.

By Bea's silence, and the narrowing of her eyes, we presume this to be a low blow and that Bea can't have children.

Helene takes a pull from her beer.

Reactions to this realization.

She looks at him.

Patrick drives. Angie rides shotgun. And Helene slumps in the backseat.

They drive without saying anything. Helene looks up at Patrick.

Beat.

She laughs.

She smiles.

Patrick and Angie look back and forth.

Patrick says nothing.

A beat.

She rolls her eyes.

All, save Helene, stare at something just off camera. Angie's hand to her face. They register a beat of stunned silence broken by:

ANGLE ON: RAY LIKANSKI'S DEAD BODY.

He has been tied to a chair in his kitchen. Gunshots are what killed him and the condition of his corpse suggests death came as a relief.

There are FIFTEEN CATS wandering around the house, meowing.

Bressant chuckles.

She sees Ray and holds her hand to her mouth. It's unclear whether she is about to cry or vomit. Whichever it is, she runs out into the backyard to do it.

Patrick goes after her.

Helene's make-up is a mess. Patrick stands next to her.

Poole and Bressant emerge from the house.

CLOSE ON: A BAG IN A FRESHLY DUG HOLE IN THE DIRT.

He pulls a DUFFEL BAG from the ground. He opens it to reveal NINETY FIVE THOUSAND IN CASH.

He turns to Patrick and Angie.

They react to this woman's feeble grip on reality.

They move to go.

Angie waits in an idling car while Patrick walks Helene to the door of her apartment.

We dolly with them as they get out of the car and cross the street. As we do so we push in. When we are tight enough, we reveal Helene has started to cry.

Patrick looks at her.

An intrepid FIELD REPORTER realizes Helene is there and thrusts a MICROPHONE in her face.

Helene is scrambled, she makes her way up the steps. The reporter follows. Patrick puts his hands on him.

Wide angle lens establishing shot. Time lapse.

Patrick and Angie roll through Roxbury, enjoying a few withering glances directed at two white people in a late model American car.

Patrick and Angie emerge from their car as Poole and Bressant do the same. Poole lights a cigarette.

The look at each other.

A PIPE BEING SMOKED. MARIJUANA BURNS

CHEESE JEAN BAPTISTE sits in frame. He is a wiry, intense man who looks over Patrick and Angie suspiciously.

Along with Cheese, there are a MAN (CHRIS MULLEN, 30) and a WOMAN (Cheese's Girlfriend, 22, from Laos).

There are flat screen plasma TVs, piles of clothes and nearly sixty boxes of sneakers against one wall.

Patrick and Angie sit opposite Cheese.

Cheese exhales. He gestures to his girlfriend.

She starts to go. Chris remains.

He looks them over. He is languid but extremely intimidating.

Small laugh.

Patrick and Angie exchange looks. He goes.

He looks at Chris, they smile. Angie leans forward.

Cheese seems confused.

Cheese, very casually, takes a HANDGUN from out of his waistband. He examines it.

Something occurs to Cheese.

Cheese indicates Patrick's shirt with his pistol.

A little taken aback, Patrick lifts his shirt up.

From behind, we see her lift her shirt, exposing her bra. Cheese seems satisfied.

He takes another whack at the pipe.

He goes back for the pipe, seems to lose his concentration. Patrick unsnaps his holster, subtly.

Cheese's eyes narrow, his pupils like black pinpricks in his irises.

He laughs.

They get up.

He indicates Poole and Bressant who can be see through the window, smoking on a small patch of dirt outside the apartment.

Patrick and Angie approach Poole and Bressant. Patrick shakes his head.

Patrick and Angie in their bedroom. It's late and they can't sleep. A LOCAL NEWS REPEAT runs on the television woven into their dialogue. In effect, it will play like background.

This gets Angie's attention. She looks at him.

Patrick drinks his beer.

She gives him a look: 'oh, really?'

A beat.

She looks sympathetic.

Patrick is asleep. Angie is on the far side of the bed.

The phone rings.

They walk out the front door and, sure enough, there is an ENVELOPE in the mailbox. But what gets their attention is that jammed into the box, along with the letter is AMANDA'S BLANKET.

Patrick takes it out, hands it to Angie. They react.

Patrick and Angie follow Devin down the hall.

Devin smiles.

They walk through an area with cells in it that looks medieval. They move through another door into a small control room.

Then they walk into a lobby.

He comes to a stop at Doyle's SECRETARY'S DESK.

His SECRETARY, RENE (30, attractive) seems to know Devin.

She nods.

She doesn't answer. Devin turns to Patrick and Angie.

He starts back. They turn to the door and ENTER.

Patrick and Angie fail at entering unobtrusively. Poole and Bressant are being lectured by Captain Jack Doyle.

Doyle turns his attention (for the first time) to Patrick and Angie.

Doyle picks up a paper TRANSCRIPT and hands it to Patrick.

Patrick reads.

Patrick looks up. The room is quite. He continues:

He refers to the transcript.

A moment of quiet. Doyle gestures toward Bressant.

He indicates the bag of money on his desk.

Patrick and Angie offer a guilty plea by their silence.

He gathers his composure.

Patrick produces the note and the blanket.

Remy and Nick stand with Patrick and Angie going over the RANSOM MAP which is tacked to the wall. Next to it are a geographical survey of the quarry and a street map of the surrounding area.

He points to diverging paths on the map.

Doyle, having been observing, interjects.

Remy is the voice of reason today.

Angie has a concern.

Doyle stops.

Doyle is opaque.

She shakes her head.

The question is rhetorical.

There are articles on the wall. COP FATHER OF SLAIN CHILD VOWS: NEVER AGAIN.

Silence.

He now gets more upset than he usually does delivering this speech.

He relaxes a little.

From the sky, lit by the last slivers of light from a setting sun, we see the Quincy quarry. It has become, in essence, a huge lake, set a hundred or so feet into a rock quarry and surrounded by acres of dense pine. As we travel past the quarry, we see PATRICK'S CAR IN A PARKING LOT.

The car idles. Patrick and Angie sit inside.

He looks out the window.

Angie, Patrick, Bressant, & Poole follow up a steep incline. Remy has the BAG OF MONEY.

More climbing. It starts to get steep. Some stones come loose underfoot and trickle downhill. We see that the quarry rocks are covered in the graffiti left by previous visitors.

They walk in silence.

They CREST the hill. The city lights are behind them and we move to reveal the QUARRY WATER below and the edge before them.

The path forks in two, opposite directions.

Bressant cranes his neck. A nervous tick. Finally:

And with that, he and Poole turn and head into the darkness.

PATH - MOMENTS LATER

Patrick & Angie are on a steep incline. The vast openness of the quarry looms on their right.

They climb still higher, finally arriving at 'rooftop.'

Patrick looks around. The view is breathtaking, but that isn't it. It doesn't make sense.

A SPLASH IN THE WATER breaks the silence--

GUNFIRE and TWO MUZZLES FLASH on the opposite side.

Staccato voices come across the radio punctuated by gunfire.

Patrick and Angie take off running toward the gunfire.

Patrick and Angie come flying down the trail, skittering and falling. At one point Patrick comes perilously close to the edge but rights himself. Their flashlights come on, bobbing up and down frantically as they make their way back to Poole and Bressant at a full on sprint. They can hear Poole and Bressant out loud now, without the walkies.

More shots.

Patrick and Angie run down the trail and approach a clearing. POOLE AND BRESSANT are near its edge, chests heaving, and frantically looking down into the quarry.

Patrick TRIPS and goes flying, nearly LANDING on CHEESE'S BODY, shot dead.

Patrick gets up and runs to the quarry edge.

Patrick and Angie scour the water with their flashlights.

SOMETHING IN THE WATER. A flash of something flesh-colored.

The minute she sees it, Angie SAILS OUT OVER THE CLIFF AND INTO THE WATER.

His flashlight finds ANGIE SWIMMING DETERMINEDLY toward something. He scans and sees what she's after: AMANDA'S DOLL FLOATING IN THE WATER.

She DIVES beneath the surface...

And finally emerges near the edge of the lake. She grabs hold of an outcropping. In her other hand she holds AMANDA'S DOLL, MIRABELLE.

We move in on Angie, clutching the nightgown and the doll -- shivering in the frigid, black water.

Angie is in bed watching a news report, her leg bandaged from being slashed open on the rocks.

Before Patrick enters we move in a long lens, near macro shot along Angie, beginning on darkness, then onto her bandaged leg, across the arm with an IV in it, stained by iodine and resting on her face.

He sees she is crying.

She bends over, more emotional pain than physical. She curls her knee up to her chin, holds her abdomen, in obvious pain.

Patrick climbs into bed with her, wraps her in his arms.

We creep back slowly as the news plays.

They cut back to the Anchor desk.

PASSAGE OF TIME SEQUENCE. MUSIC OVER.

Patrick gets a beer out of the refrigerator.

Patrick in the living room. The only light is the television.

ON TV: A MUG SHOT OF CHRIS MULLEN.

Patrick lies on the couch, heavy. The coffee table is piled high with empty beer cans.

Boxes are being piled and a photo of Doyle is among them.

Doyle's 'summer cottage.' He pulls up in a Suburban and gets out of the car. The first time we see him in plain-clothes he looks humbled.

Bressant and Poole drink with Patrick.

They laugh.

The small room is full of people at a wake for Amanda. Helene sits up front with Lionel, Bea, and Dottie. Patrick and Angie stand near the rear.

A small mounted photo of Amanda sits in an empty and impossibly small casket. Helene starts to rock back and forth, then lets it go-- a fountain of grief and a future of unending pain.

Helene opens her mouth with a cry, too painful for sound.

Patrick comes in, Angie is in the bathtub.

Angie doesn't say anything.

Patrick comes home. Closes the front door. He moves down the HALLWAY.

The bathroom door is closed but a sliver of light and a shadow can be seen in the crack below.

The news plays on a TV behind the bar.

Patrick sits at the bar with Bubba.

He gets up, swallows the last og his beer.

Beat.

Bubba's Navigator, full chrome package cruises down the parkway.

Bubba and Patrick ride silently. Patrick drinks a BEER.

This used to be a neighborhood where families lived and worked in factories nearby. The factories are long gone and the families with them. All that remains are the ghosts of their homes, derelict and near abandoned for decades.

They are ringed sparsely by the kind of industrial facilities self-respecting neighborhoods won't permit.

The Navigator pulls up outside a particularly decrepit house.

Bubba takes a Beretta from beneath his seat. He checks the clip. Patrick gives him a look.

This is a genuine question. Bubba went out of his way to help Patrick and now feels a little hurt.

He looks at Patrick. Patrick opens the door.

Bubba and Patrick walk up the steps. Bubba pounds his fist on the door.

Two bolts unlock with a SHARP SNAP and the door cracks open. Peering through the narrow opening is LEON TRETT.

A beat. The door SNAPS open. They head in.

Bubba and Patrick step inside. It's a dirty, grim place. They follow Leon down a hallway and through several rooms. Music comes from upstairs.

Bubba throws Leon a small "taste bag." Leon tosses Bubba a KNOT OF MONEY. Leon promptly empties the bag and snorts it from atop his closed fist. Bubba sighs at the mess of money he's been given.

ROBERTA TRETT, a LARGE and UNATTRACTIVE woman appears.

Leon gives Patrick a look: Women.

Roberta POPS Leon in the face. He holds his hand to his face

Roberta takes the bag and snorts some from her pinky nail.

Bubba starts walking around.

Bubba looks into the next room.

Roberta and Leon exchange a look.

He walks past them and looks into the back.

Patrick is still counting.

Leon nervously fingers a little martial arts knife.

Bubba keeps going, moving toward the back of the house.

Bubba is heading toward the stairs.

He keeps going back.

Leon and Roberta follow him back to the stairs. Bubba looks up and begins to ascend when:

This is a different tone. He looks up. She is holding a crappy little REVOLVER. They have a beat.

She turns to see PATRICK standing behind her, holding his gun. He has dropped the money on the floor.

Bubba looks right in her face.

A beat.

She runs out of options.

Bubba hears something at the top of the stairs.

Corwin Earle has crept into the room and is perched at the top of the stairs. He wears a SILVER CHAIN AND MEDALLION around his wrist.

He slinks off. Bubba and Patrick trade looks.

Bubba thinks.

Bubba reaches into his pocket and pulls out a bag. He EMPTIES IT ON THE HALLWAY FLOOR.

He starts out. Patrick moves to follow.

BOOM. A TRUNK OPENS AS WE CUT TO THE NEXT SCENE

POOLE and BRESSANT who rifle through their trunk, putting on vests and readying their weapons.

Poole cocks the shotgun. Bressant picks up the radio in his car.

Bressant throws the radio on his seat and starts for the house. As he goes, he turns back to Patrick.

As they reach the sidewalk out front, Bressant cuts across the yard toward the side of the house. Poole heads for the front door.

Bressant does a ONE ARM COCK of the shotgun before disappearing from Patrick's sight.

Poole rings the buzzer and steps back...

SHOTS FIRE THROUGH THE DOOR and clip into Poole. It seems almost too clumsy to be real. He falls over, holding his neck.

A moment of STUNNED SILENCE, then:

Patrick runs from the car. Staying low, he races for the cover of the FRONT YARD OF THE HOUSE.

BANG-BANG-BANG-BANG-BANG-BANG

Patrick TRIPS taking cover and is splayed across the muddy grass, looks over his shoulder.

Patrick reaches Poole and lies on top of him. He messily checks for a pulse, gets smeared with blood.

Poole is torn up. Several rounds hit where the vest wasn't, including his neck. He grunts. Patrick fumbles for his cell phone.

Patrick hears shots from inside. He leaves his phone by Poole and heads inside.

HOWLING can be heard from within.

The foyer floor is spattered with blood. He cautiously moves forward.

Into a completely bare room. He moves to the hallway.

Just inside the hall a BODY lies motionless on its stomach.

Patrick inches through the door, crouches next to the body, and cranes his head. It's Leon Trett: DEAD.

Patrick momentarily pauses to examine Leon.

BOOM

A GUNSHOT explodes and a SLUG rips into the wall above Patrick's head, showering him in plaster.

Looking up, he sees Roberta Trett at the far end of the hall gripping her revolver.

BOOM BOOM, two more shots bury into the wall.

She CHARGES. Patrick whips open a door opposite the one he just came through and leaps out of the hallway...

And TRIPS up a staircase -- SMACKING HIS FACE against the wood...

Roberta FIRES UP AT HIM. He scrambles up the stairs and crashes his body against a STEEL DOOR at the top. It flies open and he tumbles through.

Patrick spins over and kicks the door closed. He springs to his feet, throws his body against the door, and locks it with the heavy DEAD BOLT on the POLICE DOOR.

WHAM. Roberta slams into the other side of the door with everything she's got. She does it again, WHAM. And again, WHAM. But the door holds. Patrick turns to survey his surroundings.

Patrick moves to ANOTHER ROOM outfitted with a COFFEE TABLE piled high with empty beer cans, a frayed COUCH, a small TV.

The room connects to a small BEDROOM. Patrick steps toward.

A SOILED, BARE MATTRESS lies in one corner.

Patrick steps in, his gun raised...

And finds himself staring directly into the face of:

CORWIN EARLE.

Crouched on the floor, naked from the waist down and wearing a half-shirt. His stare is bug-eyed & frightened.

Corwin stares at Patrick, scared.

He looks up at Patrick like a whipped dog, eyes shifting nervously to the door.

Patrick cautiously pushes open the door to the bathroom.

He looks in the sink. There are bloody children's underwear soaking.

Then Patrick looks in the BATHTUB.

BLACK.

And sees, curled in the fetal position, SAMUEL PIETRO, gagged, bound and suffocated. His bluish face frozen in a scream.

BLACK.

The blood rushes from Patrick's head. He retches violently.

BLACK

Close on Corwin, really scared. Really sorry.

BLACK.

He stands over Corwin Earle and pulls back on the trigger. It takes longer and requires more strength than he thought it would to fire.

BANG

Patrick FIRES A ROUND into Corwin Earle's head.

BLACK.

Patrick stands in the threshold of the police door staring at the mammoth corpse of Roberta Trett, which lies at the bottom of the stairwell. Bressant stands over her. He looks up at Patrick.

BLACK.

Patrick stands with officers who take his statement.

BLACK.

A tiny BLACK BODY BAG is wheeled past Patrick on a gurney.

BLACK.

Patrick walks a BRIGHT & SHADOW-LESS CORRIDOR.

Patrick approaches the room where Poole is buried in tubes and surrounded by family. His wife and two daughters look up at Patrick.

BLACK.

Patrick stands, looking out a window into black. We hold his face and it's reflection in the glass: a two shot.

In the reflection, we see Angie come up behind Patrick and put her arms around him. We dolly over to make them a 2-shot.

She puts her hand up to his face, the side of his head.

He looks out through the glass.

She looks at him. Feels him.

Patrick looks at her, surprised by this.

Patrick turns around to face her.

He nods, looking back off in the direction of the window.

Patrick exits the front door of the Hospital and walks toward Remy, drinking from a bottle in a paper bag, who looks up at Patrick.

Bressant hands Patrick the bottle. Patrick sits down next to him. There is a beat. He drinks.

Bressant sees Patrick is struggling.

They share a small laugh.

He laughs. Takes a drink.

Remy gives Patrick a smile.

Patrick moves off into the night.

Patrick comes in. Angie is sitting on the couch, in the dark. Patrick stops when he realizes she is there.

Patrick takes a second.

Patrick is up now, mind going.

She looks at him.

She turns and goes into the bedroom.

Patrick slept out on the couch. Angie wakes him, whispering.

Patrick & Angie are among the crowd of MOURNERS. There are a number of WHITE GLOVED POLICE OFFICERS-- indicating this is Poole's funeral.

Everyone is heading UPHILL toward the grave site. An OLDER OFFICER approaches Patrick and Angie. He extends his hand to Patrick.

Separated by a small POND, Patrick and Bressant exchange looks. Patrick is with Angie and Remy with his YOUNGER WIFE.

As the roads meet, Patrick comes up behind Bressant.

A careful beat. Patrick looks him in the eyes.

POOLE'S FAMILY huddles near the casket-- their grief still heavy. Bressant is among them.

The BOSTON POLICE BAG PIPERS play their elegiac requiem.

The body has been interred and the mourners are heading back to their cars.

They see Devin breaking off from another group of cops.

Patrick approaches Devin.

Patrick rolls his eyes.

Patrick and Devin are at a back table. Their food has mostly been eaten. Devin finishes a steak.

Patrick smiles.

Devin looks up at him, now unsure what this is about.

Devin looks at him, an eyebrow raised.

He laughs a little.

He studies Patrick.

He looks at him. Makes a decision.

He sighs.

Devin stands with his coffee, laughs a little.

He smiles.

He downs his coffee and goes.

Patrick gets out of his car. He walks down the street. On the way he passes and waves to several residents of several neighboring 3-Deckers.

He holds his look as we travel with him.

Patrick is talking to Angie.

She looks dubious.

Lionel sits is his easy chair. It's still. We play the conversation over him sitting there.

There is a pause. Something in Patrick's tone stops Lionel.

Colin Hay's "The Water Song" plays.

The day has died. Muted yellow lights appear in windows. The coming dark promises a deepening chill. Children have disappeared from the street to wash up for dinner. Liquor stores and nail salons are half empty and listless. Horns honk sporadically and a storefront gate rattles as it drops. In the faces of people on the street you can see the weight of the morning's unfulfilled promise in the numb sag of their faces.

From a high angle, we see the bar.

From the car we see Patrick and Angie wait in their car outside Murphy's Law. They see Lionel approach and head into the bar.

2 TEAMSTERS share a bottle of whiskey at the bar while 3 SECRETARIES chat nearby. A BARTENDER works with a WAITRESS. Near the back door, TWO MEN throw darts.

Patrick, Angie and Lionel sit around a table in the middle of the bar. Lionel stares at his hands.

Beat.

PATRICK ALTERNATIVE LINE:

Lionel puts up his hands.

Angie starts to believe Lionel might be lying.

PATRICK ALTERNATIVE LINE:

Lionel is going to break.

A WAITRESS gets there.

She stares at him.

Lionel takes a long beat, then asks for:

These will be Lionel's first drinks in twenty three years.

The waitress goes to get the drinks. Lionel simply looks at them, thinking over his secrets, wondering about the life he's about to let go of.

The waitress returns with the drinks and lines them up in front of Lionel. He regards the drinks before him for a long beat...

Lionel downs one. He feels the liquor flame through his bloodstream.

Lionel pours another shot down his throat, gathers himself.

OVER THE PREVIOUS DIALOGUE WE PLAY FLASHES:

He listens skeptically.

Long exhale.

A COMMOTION draws their attention to the front door. A MAN WEARING A POPEYE MASK stands just inside the door brandishing a shotgun.

The bartender does as he's told -- sliding open a door beneath the bar to reveal a safe.

A woman starts to panic.

Popeye CRACKS the teamster in the jaw with the butt of his shotgun.

The bartender places a STACK OF BILLS on the bar -- 2 or 3 grand. Popeye throws a DUFFLE BAG at him and he fills it.

He turns to Lionel.

Nobody said anything.

The bar is silent.

Even though Lionel has said nothing, every witness at the bar would remember it this way. That Lionel had been talking and he had been killed.

Popeye SNAPS THE ROUND INTO THE CHAMBER WITH ONE HAND.

HE CRANES HIS NECK

On Patrick, this rings a bell. From the Tretts...

Popeye is Bressant. Bressant levels the shotgun at Lionel.

Bressant looks at him, then sticks the shotgun between Lionel's eyes.

His heart isn't in it. He begins to lower his gun.

BANG! BANG!

TWO SHOTS HIT Bressant. He takes a beat to register this, standing stock-still.

The Bartender is standing there with a smoking gun, in shock.

Patrick leaps out of his chair and drives his head into Bressant's stomach. Wrapping his arms around his waist, he plows his spine straight back into the bar.

Bressant cracks the shotgun stock down onto the back of Patrick's neck, buckling his knees and crashing him to the floor. He SCRAMBLES OUT the front door.

Patrick gets to his feet and looks around. Angie is okay.

Patrick turns and RACES out the front door after Bressant. Angie goes to Lionel's side.

Patrick looks up and down the street, but Bressant is nowhere to be seen. He sees a BLOODY POPEYE MASK on the ground. A TRAIL OF BLOOD runs away from it which Patrick follows across the street.

The thickening trail leads Patrick along the side of a LARGE 3-STORY FACTORY (in the process of being converted to lofts) and to a DOOR near the back. Blood is smeared on the door and a small red puddle has formed on the ground.

Leading with his gun, Patrick steps into a bright STAIRWELL. Blood tracks up the stairs and Patrick ascends cautiously.

He climbs one flight.

And then another -- pausing on the landing. Above him, light comes through an OPEN DOOR. He starts for it.

Patrick continues up the last few steps. He reaches the top and peers out onto:

Patrick scans the roof for Remy. He sees nothing on his right and turns around to his left, circling the stairwell. Behind him we see a magnificent view of the neighborhood. He turns another corner to see:

Bressant sits against an aluminum vent -- his head leaned back and his eyes half closed. A ROSE OF BLOOD spreads out against Bressant's shirt. His flesh is beginning to grey.

Patrick holds his gun on him and calls out.

Remy has his gun on his lap. He lets it fall to his side.

Patrick kicks away the gun.

Patrick looks at Remy.

Bressant wags his head a little

Bressant just smiles at him.

Remy gives him a long, strange look. Then:

Bressant is fading. Patrick stands over him. Oddly peaceful, Bressant gives Patrick a kind smile.

Patrick looks at him.

Patrick stands there. Bressant looks out at Boston, rising steel and glass in the setting August sun. Autumn is almost at hand and the crispness of the air makes the view all the more sad.

Bressant makes a guttural sound, appreciating the last thing he'll see.

Patrick looks at him, dying. Not how he expected this to end.

CRANE starts on Remy, up to Patrick, then pulls far above both them and the city.

DISSOLVE OVER THE ROOFTOP IN THE SETTING SUN (CRANE)

Patrick sits in a chair. Present are the NEW CAPTAIN (57) and a BEEFY OFFICER (50) with a crew cut.

They sit around a desk, informally. Patrick is not charged with anything but rather is being questioned routinely (hence, no lawyer).

The Captain stands.

Beat. This causes Patrick to register something.

The Police look at him.

He gets up.

Patrick comes into the office/living room. Angie is there.

She smiles.

The car speeds along the empty highway, carving through thick forests of pine trees.

Inside the car it's quiet. Patrick's stare is fixed to the road -- the rhythm of the white lines that pulse by. Angie rests her head against the passenger window, the BLUR of the tree-line reflected in her eyes.

A 2-LANE ROAD winds them through rolling hills and past a SIGN welcoming them to: 'WEST BECKETT, MA. Pop. 974' -- a Rockwell painting in the heart of the Berkshire Mountains.

The car rolls down a quiet road where small COTTAGES nestle in clumps of birch and pine trees. Patrick parks opposite a long driveway. A MAILBOX at its mouth reads: DOYLE

Patrick and Angie sit in the car. They look down a driveway.

She takes a beat.

He just looks at her.

And he goes down the road.

They start down the driveway towards a small, red cottage set a hundred yards or so off the road. But after only a few steps, they stop.

PATRICK & ANGIE'S POV: Through the trees, Doyle emerges from the cottage. He carries 2 FULL SUITCASES to a SUBURBAN and loads them in the back. His wife, FRANCINE, follows.

Patrick & Angie take a beat before resuming down the drive. Only to FREEZE IN THEIR TRACKS at the sight of:

AMANDA MCCREADY CHARGING ONTO THE PORCH, clutching a BACK- PACK, and wearing a look of utter determination.

Doyle lifts Amanda off the porch and carries her to the Suburban. He dips down, allowing Amanda to place her back- pack inside.

Patrick and Angie have ducked into the woods. They are both in shock.

SERIES OF FLASHBACKS SHOWING WHAT ACTUALLY HAPPENED IN EXTREMELY QUICK SUCCESSION.

Patrick walks down Doyle's driveway toward the car. Angie is sitting, leaned up against the hood, he head tilted forward. As Patrick draws near, she lifts her head up to him and we see she has been crying.

This isn't what Patrick expected and he is taken aback for a beat, long enough for Angie to say:

Angie grows more impassioned.

She makes a plea.

She walks away, leaving him alone by the side of the road.

We push in, approaching Doyle who turns to see Patrick.

Doyle watches Patrick. He offers a measured greeting.

He holds Doyle's look.

With that, AMANDA walks out the door, running to Jack and clinging to his leg. Jack holds Patrick's look.

Doyle smiles, giving away nothing of his tension with Patrick.

Francine comes to the door.

Francine hesitates. Doyle is gentle.

Francine takes her back inside.

A beat. Doyle smiles.

It hangs in the air. Silence...

Doyle hears this. Has his reaction, something like a sagging, an emptiness, and a resolution.

He turns and walks inside.

SAME - LATER

Patrick watches from down the road. Doyle is on the porch.

Jack sits in his favorite chair. Amanda is on his lap, facing him, arms around his shoulders, head tucked into his neck. He slowly rocks the chair. He holds Amanda like its the last hug of his life. His eyes are fixed on a point somewhere far off in the distance.

Patrick takes out his phone.

In the distance sirens wail faintly, getting louder.

Just inside the door is Amanda's colorful kids back-pack, a strange and cute stuffed snake, and Francine's bag spilling over with zip-locked snacks and children's cups-- all the stuff Francine had packed to make sure Amanda would have, whereever she'd go.

Over this all, beginning faintly and growing increasingly audible, is the inanity of the television news. It's blather like a merciless blanket of idiocy over something hopelessly sad.

A swarm of West Beckett POLICE CRUISERS cram the small road.

A Deputy knocks on the door. Doyle answers. He knows the local cops, who are embarrassed to arrest him. He makes it easy for them.

Doyle nods at the deputy with quiet acceptance and the dignity of a man at peace with the choices he's made.

The DEPUTY puts a hand-cuffed Doyle into the back of his car.

Francine Doyle silently mouthing, "oh my God, oh my God."

Angie looks out from the car, past the police, past everything.

They move to Francine to put her in a police car.

Amanda, being taken from Francine, cries and reaches out to her. She screams.

Francine is handcuffed.

Patrick tries to hold his look.

Patrick stands with a GROUP OF SHERIFF'S DEPUTIES.

He looks to Angie...

She doesn't look back.

The crush of media has descended outside the apartment for footage of the joyous reunion. Helene is made up. She waits on the curb as the POLICE CAR arrives.

Out gets a FEMALE OFFICER, holding Amanda, who is terrified by the rapacious mob of REPORTERS AND PHOTOGRAPHERS.

Amanda's fear of the throng causes her to cling to Helene, giving the photographers the shot they want.

Patrick watches from his car, parked up the block. He is alone.

ADDITIONAL STREET MONTAGE IMAGES FEATURING PATRICK

He is in the neighborhood.

Patrick drives. He sees the ITALIAN MAN (Gerry Speca) and they trade looks, once again, 40 fps as he drives by.

Patrick comes home. Boxes are packed. The place feels less warm. More bare.

A voice from the doorway turns him around. It's Angie.

She looks at him, almost sympathetic.

She smiles, maybe some water pooling at the corners of her eyes.

After a beat, looking at her, he steps aside. She moves past him and out the door.

Patrick sits at the kitchen table.

On the TV, Helene is talking to the press. Pull back to reveal Patrick watching her at his kitchen table.

Watching from afar as Bressant is buried. In contrast to Mount Auburn, this is a pitiful little place. His WIFE (the former prostitute) and a few scant mourners stand by. A PRIEST delivers the eulogy. It begins to rain.

END MUSIC CUE:

In the LIVING ROOM, Amanda is plunked on the couch staring blankly at a SITCOM, sharing none of the studio audience's enthusiasm.

Patrick stands just inside the front door watching her.

Patrick doesn't answer, his gaze fixed on Amanda. She finally looks up at him. Patrick SMILES at her.

Amanda looks at him, blankly.

She returns her attention to the TV.

Patrick looks over to Helene standing in the doorway, all dolled up -- striking a pose. She wears too much makeup. Her clothes reveal too much of what she hasn't got.

Patrick forces a smile.

Patrick forces a nod. She fastens an earring to her lobe.

Something registers on Amanda's face when Helene says "fuck."

Patrick waits.

Patrick looks to Amanda. She just sits there. Watches TV.

She goes. And then calls out from the stairwell.

Patrick sits next to Amanda on the couch... And together -- silently -- they watch TV.

Patrick sees that Amanda is holding her famous doll, the one the papers said she loved so much, the one Angie plucked from the quarry.

Amanda looks up at him.

He nods. It makes sense. They turn back to the television.

We hold on them for an extended beat. The blather from the television washes over them, the man and the little girl.

The End.