"GONE BABY GONE" (2007)

GONE BABY GONE

Ben Affleck & Aaron Stockard

CREDIT SEQUENCE

Morning.

Clouds movingthrough thesky.

We see variousshots of thecity, exteriorstorefronts, people going about theirlives andsome widershots of the city.

As they continue, the hourgets progressivelylater in the day until thefinal sequence whichtakes placeat night.

Over this wehear our guy,PATRICK (30).

A playground at night, completely empty. Oneof theswings drifts backand forth. . .

The back door to a home is open. Apieceoflight cuts across the porch from inside. . .

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

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

Footsteps heard,quietly movingthrough the house. . .

A three foot gate hangs open. Acar startsand pullsaway.

We begin to hearthe voiceof JackDoyle.

Patrick Kenzieand AngelaGennarosit in the car watching idly.

TV: A clipfrom an interview with Amanda'smother,HELENE MCCREADY (29-39). She looks haggardandin desperate needof sleep, if nota stint in detox.Standing beside heris her brother LIONEL andsister-in-law BEATRICE,bothof whom we will come to know later.

A press conferencewithJACK DOYLE (68) comeson. Beneathhis image is written"JACKDOYLE, CRIMES AGAINSTCHILDREN."

They are parkedon a street in Dorchester lined with residentialapartmentsand storefronts.

A KNOCKon the windowsillstartlesthem both. It'sA NEIGHBORHOODGUY, BOBBY.

Bobby moveson down thestreet. Shelooks at Patrick.

Over Patrickand through thewindshield wesee AMAN AND A WOMAN emergefrom a MINTGREEN 3-DECKER.

They kiss beforeparting ways.The MANhops into aGREEN LINCOLN whilethe WOMANheads downthe block, onfoot.

Angie jumpsout and startsfollowing the woman.Patrick pulls slowly from thecurb and trails the Lincoln.

Patrick turns acorner on aresidential street. Then another one, keeping about a block between himselfandthe Lincoln.

Suddenly, ATEN YEAR OLD KID darts in front ofPatrick atop a BMX bicycle.Patrick has to stop.

Patrick waitsfor the kid to move. As hedrives byhereaches out to CUFF thekid, whoeludes him.

Patrick pullsout onto Dot Ave. He looksaround, doesn'tsee the Lincoln. Hegoes left.

Patrick drivesa few cars behindthe Lincoln. Hecan'tcathc UP-

A car STOPS infront ofPatrick. He tries to go around, traffic is oncoming.

The car moves.The Lincoln is long gone.

He pulls thecar over.

He sees anITALIAN MAN IN HISSIXTIES lookingat himfrom the sidewalk (GERRY SPECA). The mansits infront of a VFW. They trade looks.

Patrick dialshis phoneand puts it to hisear.

Patrick reachesinto the glovecompartment andproducesa small device.He turns it on andsets it on the dash. Bythe SCRATCHY VOICESand STACCATO CODE werealizeit'sa POLICE SCANNER.

He waits.Cars roll by. Wipe.Shot outsidecar.

OMIT

OMIT

Patrick is in thecar. Listening.

His phonerings. He answersit.

A N G I E Nguyen' sn a i ls a l o n .

A N G I E Yup.I ' mg e t t i n g myn a i l sd o n e .You s t i l l w i t ht h ef a t h e r ?

A N G I E Youd i d ?

And he p u l l so u t .

On t h es i d eoft h er o a d ,s e v e r a lOFFICERS a d m i n i s t e raFIELD SOBRIETY TEST t ot h eMAN.

The Man i su p s e t .Heg e s t u r e sa tt h eP o l i c e .

P a t r i c kp u l l supa c r o s st h es t r e e t ,w a t c h i n g .

They l e tt h emango.

P a t r i c ke a s e so u ta f t e rhim.HeWAVESt ot h ec o p s ,whos t a r e back, n o tknowinghimo rwhyh e i s waving.

From P a t r i c k ' sc a r ,wes e et h eF a t h e rg e to u tofh i sc a rand head i nt h ed o o r ,h o l d i n gh i sb a d .

P a t r i c kw a t c h e sfrom a c r o s st h es t r e e t ,i nh i sc a r .

He sees all thesweet-facedlittlekids, all dressedup in the bestclothes their parentscould afford,runningand shrieking and playingkick-ballin atiny playlot inside a giant, ramshackle housingproject.

The father emerges, BAGLESS.

As Patrick walks pastwedolly low alongsidehim andonto the playground. Heapproachesthe doorthe father came outof and enters

Patrick comesin. Thereare a bunchof the ubiquitous MISSING CHILDRENFLIERS on theground. A door to a unitis ajar.

Patrick easesthe dooropen a bit.Patrick goes to his haunchesso as to stayout of sight at theopening.Through the crack wesee a manand a woman arguing.

A woman MAUREEN,Irish (34) is makingbreakfast.She calls out to the nextroom.

TOMMY MEADErolls intoframe, bitchingabout hiscondition.

She indicates.

Patrick looksat the floor, theBAG theFather wascarrying has CLOTHESin it.

The KID comesto the openingin the door. Helooksat Patrick. Patrick holdsafinger to hislips: shhh.

Patrick parksand walks byvariousfamilies.

Patrick looks at a paper.It'stheir ad.

Patrick takes hisgun out, wallet,putsthem on thetable.

Long, intimateimprovisedscene in their bedroom.

Patrick walks down the hallwaytoward thekitchen.

Makes cereal. Walksout.

Patrick walks bythe door. He pushes on it.She BUMPS it shut. He stands therefor a minute,thinks of an explanation.

Patrick comes into theliving room, thetelevisionis on.He puts the cereal downandstarts eating.

JACK DOYLE(60s) speaks ata pressconference.

Patrick watches.

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

Angle enters.

She sits downto watch.

A press conference withJACKDOYLE (68) comeson. Beneath his image is written"JACKDOYLE, CRIMES AGAINSTCHILDREN."

TV: A STILLPHOTO OF AMANDAMCCREADY (4) occupies acornerof the frame. She has dirty blondehairand a shy smile.

On TV the cameragoes to BEAand LIONEL. Bea Speaks

Bell rings.

BEA MCCREADY' SFACE

Patrick is standing in the doorway, looking at Beatriceand Lionel McCready,not entirely sure whatto say.

Close on a hand pickingclothes upoff thecouchin their 'officer-- whichis basically their livingroom.

Now we get agood look at theirguests, whoarestanding politely.

Her husband, LIONEL(mid 40s)'weremember as well. Lionel is the kindof man who wasonce a hard drinker,afighter and a troublemaker. Now'recovered,' he has beena husband, provider and peacemakerfor almost twentyyears.

Angie is also trying to tidy the detritus of their morning which lie strewnaround theiroffice, including a bra which is behindthe couch.

They all four stand there,notsure whatcomesnext.

No one says anything.

Tiniest oflooks from Patrickto Angie.

Bea looks upat Patrick, confused.

Beatricesnorts. Lionelshoots hera look.

Bea may becoming unglued.

Awkward moment.

She looks at them expectantly.

He throws Angieanother small look.

Angie givesher a smile.

Patrick and Angieare in theircar. They pullto astop, looking atsomething off-cameraright.

We mightrecognize itfrom the nighttimeabductionsequence exceptthat now it'sswarming with:

CAMERATRUCKS, MEDIATYPES and LOOKEY-LOOS.

This is a bigshot full of REPORTERS,LOCALS,KIDS, AGUY WITH AGRILL, AN ICE-CREAM TRUCK.

People millaroundand converse. KIDS wavebehindREPORTERS heads,trying to geton camera.

We carryPatrick and Angiethrough witha Steadi-Camas they react to thecircus.

A FIELD REPORTERdoesa stand-up, dressedformally to the waist in asports coatand tie but wearsshorts below.He has heavypancake make-upon.

They reach thefront porch.

One, OFFICERREILLY (from TV) stops Patrickas hecomesin.

Patrick rolls hiseyes.

Lionel is out onthe porch.

Patrick headsdown the halltoward thekitchen butturns back when hesees Angiegoing into theliving room.

Patrick and Angieenter thesmall two bedroomapartment.It is crowdedand crawling withpolice.

The two womenon the couchlook over.

Angie looks blank.

Angie offersa fake smile, half-recognition,polite.

my kid--

moment now.

Amanda with herown money.You better

show them the Goddamn courtesythey deserve!

Lionel marchesover towardDottie. Shescoots in a hurry.

Dottiestorms from the room.Patrickand Angiestand uncomfortablyin the hall.

Heleneignores her.

Bea standsat the far endof the hallway,distraught. She holdsa FRAMED PHOTOGRAPH in her hand.

What Beasays beliesher matronlykindness.

Bea handsPatrick the photographof Amanda.

Angie looksto Patrick.

SAME -LATER (KITCHEN)

The sink isFULL OF SHIT. Lionel triesgetting out acupfor coffee.

Patrick, Lionel, and Beasit around thekitchen.

Angie makesher wayaround the kitchen, looking over the environment.Shots of the messthatis Helene'sapartment (and a nodto our extraordinaryset decorator.)

Bea looks to Lionelto answer thissort ofthing.

Thereis a short beatbefore:

Patrick and Angiestand justinside the doorto Amanda'sdrab little bedroom.The onlyfurniture a TWIN-SIZEDMATTRESSand a CHESTOF DRAWERS.It's all third hand.

PATRICK

We get a bonusfor finding thefurniture?

Patrick looks over the dirtied walls,faded glowingstars, stickers, asad sight.

ANGIE

Maybe she ran away.

Patrick and Angieturn to the voice.Standingin thedoorway is JACK DOYLE,the policeofficerfrom theTV report.

PATRICK

Almost.

Heextends hishand.

He looks them over.

The Fillmore Loungeis a drearylooking barupan alley off Dorchester Avenue.

Degenerate drinkers are nowforced to go outside andsmoke under the noon daysun andthe place'sfaux, stacked stone facade.

And it'sno more welcominginside. Mencome here to nurse their drug habits,theiralcoholismand their hate.

While you wouldn'tthink there were manyclamoringto get into their club,they don'tlook kindly on potential applicants.

At one endof the bar,LENNY (mid 40' s) sips a whiskeyand studies the Kenoresults.In the rear,4 ALCOHOLICSsit around mutteringto oneanother. Andat one of the tablesa CAULIFLOWERFACED MANdrinks alone.

In addition thereis aSMATTERING OF ROUGHLOOKINGFACES.

The bartenderBIG DAVE (hence the name)hasa newspaper spread out beforehim on thebar.

Patrick putshis hands up.

Dave regardsthem for a beat, then movesoff.

Patrick turns tofind STEVE TSAFONIAS(30s), staring backat him --a dim, goofysmile across hisface.

Patricksubtly looks to Angle.

We come off theface of ainteresting manto see:

Patrick, Angie,andSteve sittingaround a tablesharing a pitcherof beer.

Steve looks up. Lenny(Keno Guy)is outof hisstool.

Lenny startstowards their table.

Lenny movesto them.

Angle'scomment stops Lenny.

AN ALCOHOLIC calls out to Lenny.

ALCOHOLIC#1 Askher if she sucks cock.

The dooroutside is ajar. LENNY'SPAL pushesit CLOSED.

ALCOHOLIC# 3 I liketuna.

ALCOHOLIC# 2 Show meyour tunaaaa!

ALCOHOLIC#4 (mimes throwing his voice) Twat steak!

ALCOHOLIC# 2 He's talking to hisfriends.

The alcoholic menare laughing, egging oneanother on.

Patrick reaches into his waistbandand puts his handon a SMALL HOLSTER, revealing a9mrnKahr handgun.

Big Davel a u g h s .A h i n to ff e a r b e t r a y sLenny.

ALCOHOLIC# 3 ( s i n g i n g ) ' Al i t t l eb i to fMoniceri n myl i f e . "

Lenny s m i l e s ,s a v i n gf a c e w h i l eb a c k i n gdown.

M i k es e e st h egun.HeSNAPS opent h ed o o r .

P a t r i c kand Angiehavet o maket h e i rwayp a s tLennyt og e tt o t h ed o o r .

A N G I E Move.

P a t r i c kCRACKS Lennyi nt h ef a c ew i t ht h egun,t a k i n ghimo f f g u a r d .Lennyf a l l st ot h ef l o o rawkwardly.B e f o r et h e resto f them makea move t o w a r d him,t h e ys e e h i sguno u t .

Lennyo p t sn o tt okeept a l k i n g .P a t r i c kp o i n t st h eguna tBig Dave.

They moveto the door.

Patrick and Angieemerge. Theylook to oneanother. Sounds of laughterreturn inside. Theguys appear to havegoneright backto their day.

Patricktucks hisgun away andlooks to Angie.

He indicates hishand, thereis some blood. Hesmiles. They are alittle rattled.

He smiles.

OMIT

Patrick and Angielook outover theneighborhood.Kids run around. Adultswatchthem.

They lookout over thekids running past.

Without looking at him.

She smilesat him.

She looks up

A big busstation. The placebustleswith activity.Patrick and Anqiewalk through.

Patrick and Angiewalk bya MURAL paintedonthe side of the restaurant, turn the cornerandheadinto the diner.

OMIT

Patrick and Angieenter tosee TWO MENseatedin a booth. REMY BRESSANT,(55) still verytoughand woundvery tight. NICHOLASPOOLE (58) ischubby andaffable --the 'good cop' when they dothe routine.

Patrick and Angieapproachthem.Poole is finishing ajoke.

Slightly confusedlooks exchanged.

Bressantsmiles, a little embarrassed. Theyget upand introduce themselves.

Poole stifles asmall, good-naturedlaugh.

THREE MUGSHOTS slide acrossthetable:

CORWINEARLE: 30s; 5'10"and rail thin. Hiseyes bulge

LEON TRETT, 50s; mouse-facedand hostile.

ROBERTATRETT, 50s; afrightening woman:6''330. She hasthe shoulders ofa bank vaultand athin goatee.

A pause.

They gauge oneanother.

Poole and Bressantare genuinelysurprised bythis.

They go for their coats.Patricktakesthe MUGSHOTS.

As theystand, gettingtheir things, Angieturns to Remy.

Patrickshakes hishead.

He takes the photos.

TRETTPHOTOS - ROBERTA'SFACE

RevealBUBBA ROGOWSKI. Heis around30 andhard. He hasa calm opacity which belieshisstrength. Hisloftis spare and industrial.

Bubba SLAPS his handover one eye. Angiesmiles.Patrickis on hisway out.

Patrick comes down thestairs with Angiebehind.Heis on the cell phone,walking pastthe auto bodyshop.

Bressantand Poole question Helenewhosits atthe kitchen table.Patrick, Angie,Bea andLionel stand by.

Bea looks toPatrick, whoshakes his headat Bressant.

Lionel'sFIST hitsthe table.

LIONEL

You listen to me.You don'tinsult my wife! Andyou don'tmake racial remarks

in my kitchen. Whois this man?

POOLE

He's a drugdealer, a pimp,a pornographer--

LIONEL

You associate witha pimp?

BEATRICE

A pornographer,Helene. . .

Bea canftfathom whatshefs hearing.

She sighs.

Helene gets upand gets a beer.It's10:15 am.

The conversation has movedto the living room. Thesame participants, butthe collection of EMPTYBEERCANS surrounding Helenesuggest she'sloosened upsome.

Patrick peersout the WINDOWto see the CIRCUS below(POV)

Hampshirerun. You didn'thear that, did

you?

Angleon Patrick and Angie.

Nothing. AngleonPatrick.

A beat.

BRESSANT

You want Amanda backor not?

Silence in the room.

Another beat.

POOLE

We know you took the money.How muchdid you take?

How much?

She takes a pullon her beer.Looks around.Fuck it.

HELENE

Ninety five.

The room goes quiet.

BEATRICE

Nintey five thousand dollars?!

HELENE

Yeas, Bea!

BRESSANT

Howrd you do it.

She exhales along thread ofsmoke.

HELENE

Two weeksago me andRay did a run up Nashua to dropfour keys onsome bikers. When wewas walkingback throughthe motel withthe money,all these cops

swooped in andwent for the bikers.

Amanda was withus so we pretendedto be

like a familyand they wentright past

us. So wejust-- gotin the car andtook off.

BEATRICE

You took Amandawithyou?

HELENE

What am I gonna do? Leave herin thecar, Bea?

You are an abomination.Godas my witness.

You know what,Bea? It'shard bein'a mother. It'shard raisinf children.

(beat, pointedly)

And if God madeyou barren then you can' tjudge me.'Cause you wouldnrt

fuckin' know.

ByBears silence, andthe narrowingof hereyes, we presume this to bea low blowand that Beacan'thave children.

Helene takes a pullfrom herbeer.

Reactions to thisrealization.

POOLE

Where's the moneynow, Helene?

She looks at him.

BRESSANT

You want tofind your daughter?

HELENE

Of course.

POOLE

Then you needto tell us. Whereis it?

HELENE

With Ray.

BRESSANT

And where'sRay?

HELENE

Chelsea.

BEATRICE

Three days, Helene?You'veknown this? And she could bealive?

Patrick drives. Angieridesshotgun. AndHeleneslumps in the backseat.

They drive withoutsaying anything.Helenelooks upat Patrick.

Beat.

She laughs.

She smiles,

Patrick and Angielook backand forth.

Patrick says nothing.

A beat.

She rolls hereyes.

All, save Helene,stare atsomethingjust off camera. Angie's hand to herface. Theyregister a beatof stunnedsilence broken by:

ANGLE ON:RAY LIKANSKI'SDEAD BODY.

He has beentied to a chairin hiskitchen. Gunshotsare what killed him andthe conditionof hiscorpse suggests death came as a relief.

There are FIFTEEN CATS wanderingaround the house, meowing.

Bressant chuckles.

She sees Rayand holds her handto her mouth.It'sunclear whethershe is about to cryor vomit.Whicheverit is, she runs outinto the backyardto doit.

Patrickgoes after her.

Helene'smake-up is a mess.Patrickstands nextto her.

Poole and Bressant emergefrom the house.

CLOSE ON: ABAG IN AFRESHLY DUG HOLEIN THE DIRT.

He pullsa DUFFEL BAGfrom the ground. Heopensit to reveal NINETY FIVE THOUSAND IN CASH.

He turns toPatrick and Angie.

They react to this woman'sfeeble griponreality.

They moveto go.

Angie waitsin an idling car whilePatrick walksHeleneto the doorof her apartment.

We d o l l y w i t hthem a st h e yg e to u toft h ec a randc r o s st h e s t r e e t .A swed os o wepushi n .When wea r et i g h tenough,we r e v e a lHeleneh a ss t a r t e dt oc r y .

P a t r i c kl o o k sa th e r .

An i n t r e p i dFIELD REPORTERr e a l i z e sHelene i st h e r eand t h r u s t saMICROPHONEi nh e rf a c e .

Helene i ss c r a m b l e d ,s h e makesh e rwayupt h es t e p s .The r e p o r t e rf o l l o w s .P a t r i c kp u t sh i shandsonhim.

E X T .ROXBURYMEN'SCLUB ROOF-SUNSETTING TO NIGHT

Widea n g l el e n se s t a b l i s h i n gs h o t .Timel a p s e .

Patrick and Angieroll through Roxbury,enjoyingafew witheringglances directed at two whitepeoplein a late modelAmerican car.

Patrick and Angieemerge from theircar asPooleand Bressant do thesame. Poole lights acigarette.

The look at eachother.

A PIPE BEING SMOKED. MARIJUANABURNS

CHEESE JEAN BAPTISTEsits inframe. Heis a wiry,intense man who looks over Patrick and Angiesuspiciously.

Along withCheese,there are a MAN (CHRIS MULLEN,30) anda WOMAN (Cheese'sGirlfriend,22, from Laos).

There areflat screen plasmaTVs, pilesof clothesand nearly sixty boxesof sneakers againstone wall.

Patrick and Angiesit opposite Cheese.

Cheeseexhales. Hegestures to hisgirlfriend.

She starts to go. Chris remains.

He looks them over. Heislanguid butextremelyintimidating.

Small laugh.

Patrick and Anqieexchangelooks. Hegoes.

He looks at Chris,theysmile. Angie leans forward.

Cheese seems confused.

Cheese, verycasually, takes a HANDGUNfrom out of his waistband. Heexamines it.

Something occurs to Cheese.

Cheese indicatesPatrick'sshirt with hispistol.

A little taken aback,Patricklifts hisshirt up.

From behind,we see herlift hershirt, exposing herbra. Cheeseseems satisfied.

He takes another whackat thepipe.

He goes backfor the pipe,seems to lose hisconcentration. Patrick unsnapshis holster,subtly.

Cheese'seyes narrow, his pupilslike blackpinpricksin his irises.

He laughs.

They get up.

He indicatesPoole andBressant whocan be see throughthe window,smoking on asmall patchof dirt outsidethe apartment.

Patrick and AnqieapproachPooleand Bressant.Patrick shakes his head.

Patrick and Angiein theirbedroom.It's late andthey can't sleep. ALOCAL NEWSREPEAT runs on thetelevisionwoven into their dialogue.In effect,it will playlike background.

This gets Angle'sattention. She looks at him.

Patrick drinkshis beer.

She gives hima look: 'oh,really?'

A beat.

She lookssympathetic.

Patrick is asleep. Angleis on thefar side ofthe bed.

The phonerings.

They walkout the front door and,sure enough, thereis an ENVELOPEin the mailbox.But whatgets their attentionis that jammedinto the box,along withthe letter is AMANDA'S BLANKET.

Patrick takesit out, handsit to Angie.Theyreact.

Patrick and Angiefollow Devin down the hall.

Devin smiles.

They walkthrough an area withcells in it thatlooks medieval.They movethrough another doorinto asmall control room.

Then they walkinto alobby.

He comes to astop at Doyle'sSECRETARY'SDESK.

His SECRETARY,RENE ( 3 0 ,attractive)seems toknow Devin.

She nods.

She doesn'tanswer. Devinturns to Patrickand Angie.

He starts back. Theyturn to the doorand ENTER.

Patrick and Angiefail at entering unobtrusively.Pooleand Bressant are beinglectured byCaptain JackDoyle.

Doyle turns hisattention(for thefirst time) to Patrickand Angie.

Doyle picksup a paperTRANSCRIPT and handsit toPatrick.

Patrick reads.

Patrick looks up. Theroom is quite. He continues:

He refers to thetranscript.

A momentof quiet. Doyle gesturestoward Bressant.

He indicates the bagof moneyon hisdesk.

Patrick and Angleoffer a guilty pleabytheirsilence.

me to do?

He gathers hiscomposure.

Patrick producesthe noteandthe blanket.

Remyand Nick stand withPatrick and Angiegoingoverthe RANSOM MAPwhichis tacked to the wall.Next to it area geographicalsurvey of thequarry anda street mapof the surrounding area.

He pointsto diverging pathson the map.

BRESSANT(CONT'D)

The note instructsyou two to waithere

on the south sidefor Amandaand Nickand I to be at theclearing bythe edge with the money. (MORE)

Doyle, having beenobserving,interjects.

Remy is the voiceof reasontoday.

Angie hasa concern.

Doyle stops.

Doyleis opaque.

She shakes her head.

The questionis rhetorical.

Thereare articles on the wall.COP FATHER OFSLAIN CHILD VOWS: NEVER AGAIN.

Silence.

He now gets moreupsetthan he usuallydoes deliveringthis speech.

He relaxesa little.

From thesky, lit bythe last slivers oflightfrom a setting sun, wesee the Quincy quarry.It has become,in essence,a huge lake,set a hundredor so feet into arock quarryand surrounded byacres of dense pine. Aswetravel pastthe quarry, wesee PATRICK'SCAR IN APARKING LOT.

The car idles. Patrick and Angiesit inside.

He looks outthe window.

Angie, Patrick, Bressant,&Poolefollow up asteep incline. Remy hasthe BAG OF MONEY.

More climbing.It starts to getsteep. Somestones comeloose underfootand trickle downhill. Weseethat thequarry rocks are coveredin the graffitileft bypreviousvisitors.

They walkin silence.

They CREST the hill. Thecitylights are behindthem andwe move to revealthe QUARRY WATERbelowand theedge before them.

The pathforks in two, oppositedirections.

Bressantcranes his neck. Anervoustick. Finally:

And withthat, he andPoole turn and headinto the darkness.

PATH -MOMENTS LATER

Patrick& Angie are on asteep incline. The vastopennessof the quarrylooms on theirright.

They climb still higher,finally arrivingat'rooftop.'

Patrick looks around. The viewis breathtaking,butthat isn't it. It doesn'tmakesense.

A SPLASH IN THE WATER breaksthesilence--

GUNFIREand TWO MUZZLESFLASH on the oppositeside.

Staccato voicescome acrossthe radio punctuatedbygunfire.

Patrickand Angie take offrunning towardthe gunfire.

Patrickand Angie come flying down the trail,skittering and falling. Atone pointPatrick comes perilouslyclose to the edge butrights himself. Theirflashlightscomeon, bobbing up anddown frantically asthey maketheir wayback to Poole and Bressantat a full onsprint. Theycan hearPoole and Bressantout loud now, withoutthe walkies.

Moreshots.

Patrickand Angierun down the trailand approach a clearing. POOLE ANDBRESSANTare near its edge,chests heaving,and franticallylooking downinto thequarry.

PatrickTRIPS and goesflying, nearlyLANDINGon CHEESE'S BODY,shot dead.

Patrickgets up andruns to the quarryedge.

Patrickand Angiescour the water withtheirflashlights.

SOMETHINGIN THE WATER. Aflash ofsomething flesh-colored.

The minuteshe sees it, AngieSAILS OUT OVERTHE CLIFF AND INTO THE WATER.

His flashlight finds ANGIESWIMMINGDETERMINEDLYtoward something.He scans andsees whatshe's after: AMANDA'SDOLL FLOATING IN THE WATER.

She DIVES beneath the surface. . .

And finally emerges near theedge of thelake. She grabs hold of an outcropping.In herother handshe holds AMANDA'SDOLL, MIRABELLE.

We move in on Angie,clutchingthenightgown andthe doll -- shiveringin the frigid, blackwater.

DISSOLVE:

Angie is in bedwatching anews report,her leg bandagedfrom being slashedopen on therocks.

Before Patrickenters we movein along lens, near macroshot along Angie,beginningon darkness,then onto her bandaged leg, acrossthe arm withan IV in it, stainedbyiodine and resting on herface.

He sees she is crying.

She bendsover, moreemotional painthan physical. Shecurls her knee upto her chin, holds herabdomen,in obvious pain.

Patrick climbsinto bed withher, wrapsher in hisarms.

We creep backslowly as thenews plays.

They cut backto the Anchordesk.

DISSOLVE

PASSAGE OF TIME SEQUENCE. MUSICOVER.

Patrick getsa beerout of the refrigerator.

Patrick in theliving room. The onlylightis thetelevision.

ON TV: A MUGSHOT OF CHRIS MULLEN.

NEWSCASTER# 2 A Dorchester man wasgunned downtoday. . .

FIELD REPORTER# 7 In thethird Dorchesterslayingin as many days, 29 year oldChris Mullenwas gunned down in an apparentrobbery. The PoliceCommissioner defendedtherising tide of crime asa statisticalabberation tied to growing umemploymentandthe humidity of an unusuallysweltering summer month.

Patricklies on thecouch, heavy. Thecoffeetable is piled high withempty beercans.

Boxesare being piledand a photoof Doyleis among them.

NEWSCASTER# 3 A chief underfire. Thelegendary captain of a unit dedicatedto childrenstepped down today in theaftermathof controversy.

Doyle's 'summer cottage.'He pullsupin aSuburban andgets out ofthe car. Thefirst time wesee him in plain-clotheshe looks humbled.

Bressant andPoole drink withPatrick

They laugh.

The small room is full of peopleata wakefor Amanda.Helene sits upfront withLionel, Bea,and Dottie.Patrick and Angie stand near therear.

A small mountedphoto of Amandasitsin an emptyand impossibly small casket. Helenestarts to rock backand forth, thenlets it go--a fountain ofgriefand a future of unending pain.

Helene opens her mouthwitha cry, too painfulfor sound.

Patrick comesin, Angieis in the bathtub

Angiedoesn't say anything.

Patrick comes home. Closesthefront door. He movesdown the HALLWAY.

The bathroom dooris closed buta sliverof light anda shadow can beseen in the crack below.

NEWSCASTER# 2 (O.S.) A missing boy,a bicycle,leftroadside. Atire left spinning. Wanda?

The news playson a TV behindthe bar.

Patrick sits atthe bar withBubba.

He gets up,swallows the last og hisbeer.

Beat.

Bubba'sNavigator, full chrome packagecruisesdownthe parkway.

Bubba andPatrick ridesilently. Patrick drinksa BEER.

This usedto be a neighborhoodwherefamilieslived and worked infactories nearby. Thefactoriesarelong gone and the families withthem. Allthatremains are the ghostsof their homes, derelictandnear abandonedfor decades.

They areringed sparsely bythe kind ofindustrialfacilities self-respectingneighborhoods won'tpermit.

The Navigator pulls upoutside a particularlydecrepithouse.

Bubba takesa Berettafrom beneath hisseat. Hechecks the clip. Patrick gives himalook.

T h i s i sag e n u i n eq u e s t i o n .Bubbawento u to fh i swayt oh e l p P a t r i c kandnowf e e l sal i t t l eh u r t .

He l o o k sa tP a t r i c k .P a t r i c ko p e n st h ed o o r .

Bubba andP a t r i c k walkupt h es t e p s .Bubbapoundsh i sf i s ton t h ed o o r .

Two b o l t su n l o c kw i t haSHARP SNAP andt h ed o o rc r a c k so p e n . P e e r i n gt h r o u g ht h enarrowo p e n i n g i sLEONTRETT.

A b e a t .Thed o o rSNAPS o p e n .Theyheadi n .

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

Bubbathrows Leon asmall "taste bag."Leon tosses Bubbaa KNOT OF MONEY.Leon promptlyempties the bagandsnorts it from atop hisclosed fist. Bubbasighs atthe messof money he' s been given.

ROBERTA TRETT, a LARGE and UNATTRACTIVE womanappears.

Leon givesPatrick alook:Women.

Roberta POPS Leon in theface. He holds his hand to hisface

Roberta takesthe bagandsnorts some from her pinky nail.

Bubba starts walkingaround.

Bubba looks into the nextroom.

Robertaand Leon exchange alook.

He walks pastthem andlooks into the back.

Patrick is still counting.

Leon nervouslyfingers alittle martialarts knife.

Bubba keeps going, movingtowardthe backof thehouse.

Bubba i sh e a d i n gtowardt h es t a i r s .

He keepsg o i n gb a c k .

Leon andR o b e r t af o l l o whim b a c kt ot h es t a i r s .Bubbal o o k s up and b e g i n st oa s c e n d when:

T h i s i sad i f f e r e n tt o n e .Hel o o k sup.She i sh o l d i n ga c r a p p yl i t t l eREVOLVER.They haveab e a t .

She t u r n st os e ePATRICK s t a n d i n g b e h i n dh e r ,h o l d i n gh i s gun. Heh a sd r o p p e dt h emoneyont h ef l o o r .

Bubba l o o k sr i g h ti nh e rf a c e .

A b e a t .

She r u n so u to fo p t i o n s .

Bubba h e a r ss o m e t h i n ga tt h et o poft h es t a i r s .

CorwinE a r l eh a sc r e p ti n t ot h eroomand i s p e r c h e da tt h e t o po ft h es t a i r s .HewearsaSILVERC H A I NA N D MEDALLION a r o u n dh i sw r i s t .

He s l i n k so f f .BubbaandP a t r i c kt r a d el o o k s .

Bubba t h i n k s .

Bubba r e a c h e si n t o h i sp o c k e tand p u l l so u tab a g .HeEMPTIES I TON THEHALLWAY FLOOR.

He s t a r t so u t .P a t r i c kmovest of o l l o w .

BOOM.A TRUNK OPENS ASWE CUT TOTHE NEXT SCENE

POOLE andBRESSANT whor i f l et h r o u g ht h e i rt r u n k ,p u t t i n gon v e s t sandr e a d y i n gt h e i rweapons.

Poole cocks theshotgun. Bressantpicksup theradio in his car.

Bressantthrows the radio on hisseat andstartsfor the house. Ashe goes, heturns backto Patrick.

As they reach the sidewalk outfront, Bressantcuts across the yardtoward the side of the house.Poole headsfor the front door.

Bressant doesa ONE ARMCOCK of theshotgun before disappearingfrom Patrick'ssight.

Poole rings the buzzerandsteps back..

SHOTS FIRE THROUGH THEDOOR andclip into Poole. It seems almosttoo clumsy to bereal.He falls over,holding his neck.

A momentof STUNNED SILENCE, then:

Patrick runsfrom the car.Stayinglow, heraces for the cover of theFRONT YARD OF THE HOUSE.

BANG-BANG-BANG-BANG-BANG-BANG

Patrick TRIPS takingcoverandis splayed across the muddy grass,looks over hisshoulder.

Patrick reachesPoole andlies on top of him.He messily checksfor a pulse,gets smeared with blood.

Poole is torn up. Severalrounds hit wherethe vestwasn't, including hisneck. Hegrunts.Patrick fumbles for hiscell phone.

Patrick hearsshots from inside. Heleaves his phonebyPoole and headsinside.

HOWLINGcan be heardfrom within.

The foyer floor is spattered with blood.Hecautiously moves forward.

Into a completely bareroom. He movesto the hallway.

Just inside the halla BODYlies motionlesson itsstomach.

Patrick inchesthrough the door,crouches nextto the body, and cranes his head.It'sLeon Trett:DEAD.

Patrick momentarilypausesto examineLeon.

BOOM

A GUNSHOTexplodes anda SLUG ripsinto the wallabove Patrick'shead, showering him in plaster.

Lookingup, he sees RobertaTrettat the far endof the hall gripping herrevolver.

BOOM BOOM,two moreshots bury into the wall.

She CHARGES.Patrick whipsopen a dooroppositethe one he just camethrough andleaps out ofthe hallway. . .

And TRIPS upa staircase-- SMACKING HISFACE againstthe wood.. .

RobertaFIRES UP AT HIM. Hescrambles up thestairs and crashes his bodyagainst a STEELDOOR at the top.It flies open and hetumbles through.

Patrickspins over andkicks the doorclosed.He springs to his feet, throws his bodyagainst the door,andlocksit with the heavyDEAD BOLTon the POLICEDOOR.

WHAM. Robertaslams into theotherside of the door with everythingshe's got. She doesit again,WHAM.And again, WHAM. Butthe door holds.Patrick turns tosurvey his surroundings.

Patrick movesto ANOTHER ROOMoutfittedwitha COFFEE TABLE piledhigh with empty beercans,a frayed COUCH, asmall TV.

The room connects to asmall BEDROOM.Patricksteps toward.

A SOILED, BARE MATTRESSliesin onecorner.

Patricksteps in, his gun raised. . .

And finds himselfstaring directlyinto theface of:

CORWINEARLE.

Crouchedon the floor, nakedfrom the waistdownand wearing a half-shirt.His stare is bug-eyed&frightened.

Corwin stares atPatrick, scared.

He looks upat Patrick like a whippeddog, eyes shifting nervously to the door.

Patrick cautiously pushesopen the door to the bathroom.

He looks in thesink. Thereare bloodychildren'sunderwear soaking.

Then Patrick looks in the BATHTUB.

And sees, curledin thefetal position, SAMUEL PIETRO, gagged, boundand suffocated. His bluishface frozen in a scream.

The bloodrushes from Patrick'shead. Heretches violently.

Close on Corwin,really scared. Reallysorry.

He stands over Corwin Earleand pulls backon the trigger.It takes longer andrequires morestrength than hethought it would tofire.

BANG

Patrick FIRES AROUND into Corwin Earle'shead.

Patrick stands in the threshold of the police doorstaring at the mammothcorpse of Roberta Trett, whichlies at the bottom of the stairwell. Bressant stands over her. Helooks upat Patrick.

Patrick stands withofficers who take hisstatement.

A tiny BLACK BODY BAG is wheeled pastPatrick on a gurney.

Patrick walksa BRIGHT& SHADOW-LESS CORRIDOR.

Patrick approaches the room wherePoole is buriedin tubes and surrounded byfamily. His wifeand two daughters look up at Patrick.

Patrick stands, looking out a window into black.Wehold his face andit's reflection in the glass: a two shot.

In the reflection, wesee Anglecome up behindPatrick and put herarms around him. Wedolly over to makethem a2-shot.

She puts her hand up to hisface, the side of hishead.

He looks out through the glass.

She looks at him.Feels him.

A N G I E Ih e a r d .How i sh e ?

P A T R I C K He'si n w i t hh i sf a m i l y .

A N G I E You found t h eboy?

P a t r i c kl o o k sa th e r ,s u r p r i s e d byt h i s .

A N G I E(CONT'D) T h a tmank i l l e dac h i l d .Hehadnor i g h t t ol i v e .

P a t r i c kt u r n sa r o u n dt of a c eh e r .

P A T R I C K Yeah. ( b e a t ) Iwant t obeh e r enow.

He nods,l o o k i n gbacko f fi nt h ed i r e c t i o no ft h ewindow.

Patrick exitsthe front door of the Hospitaland walkstoward Remy, drinkingfrom a bottlein a paperbag,who looks upat Patrick.

Bressant handsPatrick the bottle.Patricksits down next to him. Thereis a beat. Hedrinks.

Bressant sees Patrick isstruggling.

I went backout and putan ounce of heroin on theliving room floor.Sent the father on a ride.Seven to nine.

They share asmall laugh,

He l a u g h s .Takesad r i n k .

Remy g i v e sP a t r i c kas m i l e .

P a t r i c kmoveso f fi n t ot h en i g h t .

I N TPATRICK&ANGIErS APT,LIVINGROOM - NIGHT

P a t r i c kcomesi n .Angie i ss i t t i n g ont h ecouch,i nt h ed a r k . P a t r i c ks t o p swhenher e a l i z e ss h e i st h e r e .

A N G I E H i ,l o v e .

P a t r i c kt a k e sas e c o n d .

P A T R I C K Hel i e dt o me.

Patrick is upnow, mindgoing.

She looks at him.

She turns andgoes into the bedroom.

Patrick slept out on thecouch. Angiewakeshim, whispering.

Patrick &Angie areamong the crowd of MOURNERS.Thereare a number of WHITEGLOVEDPOLICE OFFICERS--indicatingthis is Poolersfuneral.

Everyoneis headingUPHILL toward thegrave site. AnOLDER OFFICER approachesPatrickand Angie. Heextends hishand to Patrick.

Separated bya small POND,Patrick andBressantexchange looks. Patrickis with Angieand Remy withhis YOUNGERWIFE.

As the roads meet,Patrickcomes up behindBressant.

A c a r e f u lb e a t .P a t r i c kl o o k shimi nt h ee y e s .

POOLE'S FAMILY h u d d l e sn e a rt h ec a s k e t - -t h e i rg r i e fs t i l l heavy. B r e s s a n t i samongthem.

The BOSTON POLICEBAG PIPERS p l a yt h e i re l e g i a cr e q u i e m .

The body h a sb e e ni n t e r r e dandt h emournersa r eh e a d i n gback t ot h e i rc a r s .

They s e eDevinb r e a k i n go f ffrom a n o t h e rg r o u pofc o p s .

P a t r i c ka p p r o a c h e sDevin.

D E V I N No,come on now.I s t i l l worku n d e r c o v e r . I c a n ' tbes e e nw i t hyouwhereas u b j e c t m i g h twalki n .

D E V I N Soundsr i g h t .

P a t r i c kr o l l sh i se y e s .

D E V I N J u s tb r i n gy o u rl a d y .

P a t r i c kandDevina r ea tabackt a b l e .T h e i rf o o d h a sm o s t l y been e a t e n .Devinf i n i s h e sas t e a k .

D E V I N I twasa tt h ep o i n twheresomeguysowned y a c h t s.

P a t r i c ks m i l e s .

D E V I N Theyc a l l itD C U .Yeah.

Devin looks upat him,now unsure whatthis is about.

P A T R I C K I knowhe p l a n t e de v i d e n c eonce--

Devin l o o k sa thim,aneyebrowr a i s e d .

D E V I N Oh,you do?

He l a u g h sal i t t l e .

D E V I N(CONT'D ) ( s m i l e s ) Look.CSI i sk i l l i n gu s .Nowa l lt h e s e j u r i e swantt oknow i swheret h e microfibersa r e .C e r t a i n p e o p l ea r e w o r k e r s .They d o n ' twantt o p l a n tn o t h i n ' b u t . ..

D E V I N ( s m i l e s ) I fn e e db e ?Nah,t h e yd o n ' tmind it.

D E V I N Some p e o p l ed i db u tRemyg o ts h i tdone, made a r r e s t s .

He s t u d i e sP a t r i c k .

D E V I N(CONT'D ) What d o you wantt of u c k w i t hhimf o r ?

He l o o k sa thim.Makesad e c i s i o n .

He sighs.

Devin stands with hiscoffee,laughs alittle.

He smiles.

He downs hiscoffee andgoes.

Patrick getsout of hiscar. He walksdown the street. Onthe way he passesand wavesto several residentsof several neighboring3-Deckers.

He holds hislook as wetravel with him.

Patrick is talking to Angie.

She looks dubious.

Lionelsits is hiseasy chair.It's still. Weplay the conversation overhim sitting there.

Thereis a pause.Something in Patrick'stonestops Lionel.

Colin Hay' s"The WaterSong" plays.

The dayhas died. Mutedyellow lightsappear in windows.The coming dark promisesa deepeningchill.Children have disappearedfrom the street to wash upfor dinner.Liquor stores andnail salons are halfemptyand listless.Horns honk sporadically andastorefrontgate rattlesas it drops. In the faces of peopleon thestreet you cansee the weight of the morning'sunfulfilled promisein thenumbsag of their faces.

From a highangle, wesee the bar.

From thecar we see Patrick and Angiewaitin their car outside Murphy'sLaw. Theysee Lionelapproach and headinto the bar.

2 TEAMSTERS share a bottleof whiskeyat the bar while3 SECRETARIESchat nearby. ABARTENDERworks witha WAITRESS. Near the backdoor, TWO MENthrow darts.

Patrick, Angieand Lionelsit arounda tablein the middleof the bar.Lionel stares at hishands.

Beat.

PATRICK ALTERNATIVELINE:

Lionel putsup his hands.

Angie starts to believeLionel mightbelying.

PATRICK ALTERNATIVELINE:

A N G I E Youh a t eyours i s t e r .

A N G I E L i o n e l ,t e l lmewhathappened.

L i o n e l i sg o i n gt o b r e a k .

A WAITRESS g e t st h e r e .

She s t a r e sa thim.

L i o n e lt a k e sal o n g b e a t ,t h e na s k sf o r :

These w i l lb eL i o n e l ' sf i r s td r i n k si nt w e n t yt h r e ey e a r s .

The w a i t r e s sg o e st og e tt h ed r i n k s .L i o n e ls i m p l yl o o k sa t them, t h i n k i n go v e rh i ss e c r e t s ,wonderinga b o u tt h el i f e h e ' sa b o u tt ol e tgoo f .

The w a i t r e s sr e t u r n sw i t ht h ed r i n k sandl i n e sthem upi n f r o n tofL i o n e l .Her e g a r d st h ed r i n k sb e f o r ehimf o ral o n g b e a t .. .

Lionel downsone. He feels theliquor flame throughhis bloodstream.

Lionel poursanothershot down histhroat, gathers himself.

OVER THEPREVIOUS DIALOGUE WEPLAYFLASHES:

He listensskeptically.

Long exhale.

108 A COMMOTIONdraws their attentionto thefront door. AMAN 108 WEARING APOPEYE MASKstands just insidethe door brandishing a shotgun.

The bartenderdoes as he'stold --sliding open a door beneath the barto reveal asafe.

A womanstarts to panic.

Popeye CRACKSthe teamster in thejaw withthe buttof his shotgun.

The bartender placesa STACK OF BILLS onthe bar--2 or 3 grand. Popeye throws aDUFFLE BAGat him and hefills it.

He turns to Lionel.

Nobodysaid anything.

The baris silent.

Even thoughLionel hassaid nothing,every witnessat the bar would remember it this way.That Lionel had beentalkingand he hadbeen killed.

Popeye SNAPS THE ROUNDINTO THE CHAMBER WITHONE HAND.

HE CRANESHIS NECK

On Patrick, thisrings a bell.From theTretts.. .

Popeye is Bressant.Bressantlevels theshotgun at Lionel.

Bressantlooks at him, thensticks theshotgun between Lionel' s eyes.

Ill.

His heartisn't in it. He beginsto lowerhis gun

BANG! BANG!

TWO SHOTS HIT Bressant. Hetakes a beattoregister this, standingstock-still.

The Bartenderis standing there withasmoking gun, in shock.

Patrick leapsout of hischair and drives hisheadinto Bressant'sstomach. Wrappinghis arms around hiswaist, he plows hisspine straight backinto the bar.

Bressantcracks the shotgunstock down onto the backof Patrick'sneck, bucklinghis knees andcrashing him to the floor. HeSCRAMBLES OUT thefront door.

Patrick getsto his feet andlooksaround. Angieis okay.

Patrick turnsand RACES outthe front doorafter Bressant. Angie goesto Lionel'sside.

Patrick looks upand downthe street, butBressantis nowhere to be seen. Hesees a BLOODYPOPEYE MASKon the ground. A TRAIL OF BLOODruns awayfrom it whichPatrick follows across the street.

The thickeningtrail leadsPatrickalong the side ofa LARGE 3-STORY FACTORY(in the processof beingconvertedto lofts) and to a DOOR near the back.Bloodissmeared on the doorand a small red puddlehasformed on theground.

Leading withhis gun,Patrick stepsinto a brightSTAIRWELL. Blood tracks upthe stairs andPatrickascends cautiously.

He climbsone flight.

And then another-- pausingon thelanding. Abovehim, light comes throughan OPENDOOR. He startsfor it.

Patrick continuesup thelast few steps. Hereaches thetop and peersout onto:

Patrickscans the roof for Remy.Hesees nothing on hisright and turns aroundto his left,circling thestairwell. Behind him we see a magnificent viewof theneighborhood.Heturns anothercorner to see:

Bressantsits against an aluminum vent--hishead leaned back and hiseyes half closed. AROSE OF BLOODspreads out against Bressant'sshirt. Hisflesh is beginningto grey.

Patrick holdshis gun on him andcallsout.

Remy has hisgun on his lap. Helets itfall to hisside.

Patrick kicksaway the gun.

Patrick looksat Remy.

Bressant wagshis heada little

Bressantjust smiles at him.

Remy gives hima long, strange look. Then:

Bressant isfading. Patrick stands over him. Oddly peaceful, Bressant givesPatrick a kindsmile.

Patrick looks at him.

Patrick stands there. Bressantlooks out at Boston, rising steel and glassin the setting Augustsun. Autumnis almost at hand andthe crispness of the air makesthe view all the more sad.

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

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

CRANE starts on Remy, uptoPatrick, then pullsfar above both them and thecity.

DISSOLVE OVER THE ROOFTOP IN THE SETTING SUN(CRANE)

Patrick sits in a chair. Present are the NEWCAPTAIN(57) and a BEEFY OFFICER(50) with acrew cut.

They sit arounda desk,informally. Patrick is not charged with anything butrather is being questioned routinely (hence, nolawyer).

The Captain stands.

Beat. Thiscauses Patrick to register something.

The Police look at him.

He gets up.

Patrick comes into the office/livingroom. Angieis there.

She smiles.

The car speeds along the empty highway,carvingthroughthick forests of pinetrees.

Inside thecar it'squiet. Patrick'sstare isfixed to the road-- the rhythm of the whitelines that pulseby.Angie rests herhead against the passengerwindow,the BLURof the tree-linereflected in hereyes.

A 2-LANE ROAD windsthem throughrolling hillsand pasta SIGN welcomingthem to:'WEST BECKETT, MA.Pop. 974'--a Rockwell paintingin the heartof the BerkshireMountains.

The carrolls down a quietroad wheresmall COTTAGESnestle in clumps of birchand pinetrees.Patrick parksoppositea long driveway. A MAILBOXatits mouthreads: DOYLE

Patrick and Angiesit in thecar. They look down a driveway.

She takes a beat.

He just looks at her.

And he goes down the road.

They start downthe drivewaytowardsa small, red cottageset a hundredyards or so off theroad. Butafteronly a few steps, theystop.

PATRICK &ANGIE'S POV: Throughthe trees,Doyle emergesfrom the cottage. Hecarries 2FULL SUITCASES to aSUBURBAN and loads themin the back. His wife,FRANCINE,follows.

Patrick &Angie take a beatbeforeresuming down the drive. Only to FREEZEIN THEIR TRACKS at thesight of:

AMANDAMCCREADY CHARGING ONTO THEPORCH, clutchingaBACK- PACK, and wearinga look of utterdetermination.

Doyle lifts Amandaoff the porchandcarries herto the Suburban. Hedips down, allowing Amandato placeher back- pack inside.

Patrick and Angiehave duckedinto the woods.Theyare both in shock.

SERIES OFFLASHBACKS SHOWING WHAT ACTUALLYHAPPENEDIN EXTREMELYQUICK SUCCESSION. -1 - -

Patrick walksdown Doyle'sdrivewaytoward thecar. Angieis sitting, leaned up againstthe hood,hehead tiltedforward. As Patrick draws near,she lifts her headupto himand we see she has beencrying.

This isn'twhat Patrick expectedandhe is taken abackfor a beat, long enoughfor Angieto say:

Angle grows moreimpassioned.

She makesa plea.

She walksaway, leaving him alone bytheside of theroad.

We pushin, approaching Doyle whoturnsto see Patrick.

Doyle watchesPatrick. Heoffers a measuredgreeting.

He holdsDoyle's look.

Withthat, AMANDAwalks out the door,runningto Jack and clingingto his leg. Jack holdsPatrick'slook.

Doyle smiles, givingaway nothingof histension with Patrick.

Francinecomes to the door.

Francine hesitates.Doyle is gentle.

Francine takes her backinside.

A beat. Doyle smiles.

It hangsin the air. Silence. . .

Doyle hearsthis. Hashis reaction,something likea sagging, anemptiness,and a resolution.

He turnsand walks inside.

SAME -LATER

Patrick watchesfrom downthe road.Doyle is on the porch.

Jack sits in hisfavorite chair.Amanda is on hislap, facing him,arms around hisshoulders, headtuckedinto his neck. He slowly rocks thechair. He holds Amandalike its the last hugof his life. His eyesare fixed on a point somewherefar off in the distance.

Patrick takesout his phone.

In the distancesirens wailfaintly, getting louder.

Just inside the dooris Amanda'scolorfulkids back-pack,a strange andcute stuffed snake, andFrancine'sbagspilling over withzip-lockedsnacks andchildren's cups-- allthe stuff Francinehad packedto makesure Amandawould have, whereevershe'd go.

Over thisall, beginningfaintly andgrowing increasingly audible, is theinanity ofthe television news.It'sblather like a mercilessblanket ofidiocy oversomething hopelessly sad.

A swarm of WestBeckettPOLICE CRUISERScram thesmall road.

A Deputy knocks on the door.Doyle answers. Heknows the local cops'who are embarrassed to arrest him. He makesit easy for them.

Doyle nodsat the deputy withquiet acceptance and the dignity ofa man at peacewith the choices h e r s made.

The DEPUTY putsa hand-cuffedDoyle into the backof hiscar.

Francine Doylesilently mouthing!"oh myGod'oh my God."

Angie looks outfrom the car'pastthe policef past everything.

They moveto Francine to put herin a policecar.

Amandal beingtaken from Francine'cries andreaches out to her. Shescreams.

Francine is handcuffed.

Patrick triesto holdhis look.

Patrick stands witha GROUP OFSHERIFF'SDEPUTIES.

He looks to Angie. . .

She doesn' tlook back.

The crush of mediahas descended outside theapartment for footage ofthe joyous reunion. Heleneis madeup.She waits on thecurb as the POLICE CAR arrives.

Out gets aFEMALE OFFICERr holding Amandar whois terrified by the rapacious mobof REPORTERS ANDPHOTOGWPHERS.

Amanda's fear of the throngcauses her to cling to Helenel giving the photographers theshot they want.

Patrick watchesfrom hiscar' parkedup the block. Heis alone.

ADDITIONALSTREET MONTAGEIMAGES FEATURING PATRICK

He is in the neighborhood.

Patrick drives. Hesees theITALIAN MAN(Gerry Speca) and they tradelooksl once again'40 fps as hedrives by.

Patrickcomes home. Boxesare packed.The placefeels less warm. Morebare.

A voicefrom the doorway turns him around.It'sAngie.

She looks at himl almostsympathetic.

She smiles'maybe some water poolingatthecorners of her eyes.

Aftera beat' looking at herl hestepsaside.She movespast him andout the door.

Patrick sits at thekitchentable.

On the TVl Heleneis talkingto the press.Pull backto revealPatrick watchingher at hiskitchen table.

Watchingfrom afaras Bressantis buried. In contrast to Mount Auburn'thisis a pitifullittle place.His WIFE (the former prostitute)anda few scant mournersstand by.A PRIEST deliversthe eulogy.It beginsto rain.

END MUSICCUE:

DISSOLVE:

In the LIVING ROOM'Amandais plunkedon thecouch staring blanklyat a SITCOMf sharing noneof thestudio audience's enthusiasm.

Patrick stands just inside thefront door watchingher.

Patrick doesn'tanswer'his gazefixed on Amanda.She finally looks upat him. Patrick SMILES at her.

Amandalooks at him'blankly.

She returns herattention to the TV.

Patrick looksover to Helenestanding in the doorwayf all dolled up-- striking a pose.She wearstoo much makeup.Her clothes reveal too muchof whatshe hasn'tgot.

Patrickforces a smile.

HELENE(CONT'D)

Howrs your girlfriend?

with her sister.

Hope she got betterfamily than I do'

right?

Patrick forces a nod. Shefastens an earring to herlobe.

PATRICK

Howfs Bea?

Whatr I wantto lose heragain? Forget

it. (beat) She sold her unit. Moved out to fancy

pants in Melrose. Good riddance.

Something registers on Amanda'sface when Helene says "fuck.''

Patrick waits.

Patrick looks to Amanda.Shejust sits there. Watches TV.

She goes. Andthen calls outfrom the stairwell.

Patrick sits next to Amandaon the couch. . .Andtogether-- silently-- they watchTV.

Patrick sees that Amandais holding herfamous doll,theone the paperssaid she loved so much,theone Angieplucked from the quarry..

Amanda looks upat him.

He nods.It makes sense. They turn backto thetelevision.

We holdon them for an extended beat.The blatherfrom the television washesover them,the manand the little girl.

The End.