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A highrise in downtown L.A., framed tall against theA highrise in downtown L.A., framed tall against the mountains.mountains. People stream out of the front door, leavingPeople stream out of the front door, leaving work.work.
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In the near darkness of basement, a security guard makesIn the near darkness of basement, a security guard makes his way into an inner cellar.his way into an inner cellar. His flashlight finds a manHis flashlight finds a man in work clothes bent over a panel, his back to the light.in work clothes bent over a panel, his back to the light.
The man doesn't look around.The man doesn't look around. We can just almost see hisWe can just almost see his face as he talks.face as he talks.
CLOSEUP ON HIS HAND
reaches into his toolbox.
He rises, turning, and A KNIFE IS SHOVED THROUGH HIS EAR.He rises, turning, and A KNIFE IS SHOVED THROUGH HIS EAR. It is pulled back out with calm efficiency.It is pulled back out with calm efficiency. The man turns,The man turns, wide-eyed, hand to his ear.wide-eyed, hand to his ear. Mouth open in silent protest.Mouth open in silent protest. Out of his hand drops the work order.Out of his hand drops the work order. He slumps over.He slumps over. Dies.Dies.
HOWARD FISK takes off the guard's hat.HOWARD FISK takes off the guard's hat. Dripping knifeDripping knife aside, he is an ordinary-looking man.aside, he is an ordinary-looking man. His face is deadHis face is dead calm, only his eyes betraying the sea of hate behind it.calm, only his eyes betraying the sea of hate behind it.
He drags the body into a dark corner, grabbing a duffle bagHe drags the body into a dark corner, grabbing a duffle bag from out of the shadows.from out of the shadows. Then checking his watch, he goesThen checking his watch, he goes to the panel and begins making adjustments of his own.to the panel and begins making adjustments of his own. WEWE PAN over to the door of the panel.PAN over to the door of the panel. It reads: ELEVATORS.It reads: ELEVATORS.
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2.2.
It's the end of the day and people are waiting for theIt's the end of the day and people are waiting for the elevator.elevator. The doors open, it's already crowded inside.The doors open, it's already crowded inside. People groan, shuttle on.People groan, shuttle on. A YOUNG EXEC moos.A YOUNG EXEC moos. A few peopleA few people laugh.laugh.
The young exec's FRIEND presses the LOBBY button, evenThe young exec's FRIEND presses the LOBBY button, even though it's already lit.though it's already lit. The young exec nods.The young exec nods.
A SWEATY MAN, 50s, overweight, presses tighter into theA SWEATY MAN, 50s, overweight, presses tighter into the corner beside his SECRETARY.corner beside his SECRETARY. Pats at his brow with aPats at his brow with a hankie.hankie.
The elevator descends quickly.
...Blackout.
The elevator drops fast.The elevator drops fast. The voices yell.The voices yell.
(CONTINUED)
3.3.
CONTINUED:
SMASH CUT TO:
A car comes SCREECHING to a halt near the front of theA car comes SCREECHING to a halt near the front of the building, a red and blue light flashing on top.building, a red and blue light flashing on top. The doorThe door is thrown open and SWAT officer JACK TRAVEN steps out fromis thrown open and SWAT officer JACK TRAVEN steps out from behind the wheel almost before the car has stopped.behind the wheel almost before the car has stopped. JackJack heads straight for the entrance as HARRY TEMPLE, his olderheads straight for the entrance as HARRY TEMPLE, his older partner gets out the other side and follows, tossing Jackpartner gets out the other side and follows, tossing Jack his flak jacket.his flak jacket. Jack puts it on without ever taking hisJack puts it on without ever taking his eyes off the entrance as they make their way through policeeyes off the entrance as they make their way through police cars, fire trucks and various uniforms.cars, fire trucks and various uniforms. WE SEE these twoWE SEE these two are a team, and that when they move, Jack takes the lead.are a team, and that when they move, Jack takes the lead.
We are still TRACKING with Jack and Harry as WE SEE twoWe are still TRACKING with Jack and Harry as WE SEE two more SWAT guys emerge from another car, fall into step.more SWAT guys emerge from another car, fall into step. Another team joins them as they enter the:Another team joins them as they enter the:
Just as another pair burst in through another set of doorsJust as another pair burst in through another set of doors finally eight SWAT members all wordlessly sync, walkingfinally eight SWAT members all wordlessly sync, walking with Jack and Harry until the whole unit stands in front of:with Jack and Harry until the whole unit stands in front of:
CAPTAIN HERB MCMAHON, 40s, on the PHONE...NORWOOD, hisCAPTAIN HERB MCMAHON, 40s, on the PHONE...NORWOOD, his technical assistant, looks at BLUEPRINTS with BAGWELL, atechnical assistant, looks at BLUEPRINTS with BAGWELL, a middle-aged guy with "building maintenance supervisor" onmiddle-aged guy with "building maintenance supervisor" on his worksuit.his worksuit.
Then McMahon hangs up the phone, addresses the group.
(CONTINUED)
4.4.
CONTINUED:
(CONTINUED)
5.5.
CONTINUED: (2)
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COMBAT BOOTS thunder up a metal staircase.COMBAT BOOTS thunder up a metal staircase. Jack and HarryJack and Harry sprint up the stairs.sprint up the stairs.
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Blackness.Blackness. Sounds of a power drill, muffled, through aSounds of a power drill, muffled, through a wall.wall. A three-by-three foot metal access panel is liftedA three-by-three foot metal access panel is lifted away; light enters the shaft.away; light enters the shaft.
(CONTINUED)
6.6.
CONTINUED:
Jack and Harry crawl through and stand on top of theJack and Harry crawl through and stand on top of the elevator, Jack addressing the passengers while Harry checkselevator, Jack addressing the passengers while Harry checks out the bomb.out the bomb. Jack has to raise his voice to be heard.Jack has to raise his voice to be heard.
Harry stands, gives Jack a significant look.
(CONTINUED)
7.7.
CONTINUED: (2)
Jack looks at his watch.
But Jack is getting real fidgety now.But Jack is getting real fidgety now. He looks at hisHe looks at his watch.watch.
(CONTINUED)
8.8.
CONTINUED: (3)
Jack is looking at the access panel.Jack is looking at the access panel. There is a momentThere is a moment before he comes back to Harry's train of thought:before he comes back to Harry's train of thought: Then:Then:
(CONTINUED)
9.9.
CONTINUED: (4)
Jack starts out of the shaft.Jack starts out of the shaft. Harry follows.Harry follows.
Jack bursts out of a roof access door and starts lookingJack bursts out of a roof access door and starts looking for something.for something. Harry follows him.Harry follows him. Jack runs over to theJack runs over to the edge of the roof where there is a WINCH used by window-edge of the roof where there is a WINCH used by window- washers.washers. Large, heavy-duty.Large, heavy-duty.
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The passengers, white with terror, fidget.
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Jack and Harry lug cable from the winch into the elevatorJack and Harry lug cable from the winch into the elevator housing on the roof.housing on the roof.
Harry looks at his watch.
(CONTINUED)
10.10.
CONTINUED:
Captain McMahon paces with his walkie talkie, talking toCaptain McMahon paces with his walkie talkie, talking to the brass at city hall.the brass at city hall.
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Fisk has a radio set-up, is listening in on the variousFisk has a radio set-up, is listening in on the various police exchanges.police exchanges. He suddenly hears sounds of Harry andHe suddenly hears sounds of Harry and Jack echoing down the elevator shaft.Jack echoing down the elevator shaft.
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Jack is being lowered headfirst on a rope down the centerJack is being lowered headfirst on a rope down the center of the shaft.of the shaft. He holds the window-washing cable with aHe holds the window-washing cable with a hook on its end.hook on its end. He and Harry are speaking through theirHe and Harry are speaking through their microphones.microphones.
He continues down.He continues down. The elevator approaches.The elevator approaches. Jack comes toJack comes to the elevator car...He signals and Harry stops.the elevator car...He signals and Harry stops.
(CONTINUED)
11.11.
CONTINUED:
Jack looks leery at the C4 by his feet.Jack looks leery at the C4 by his feet. Quietly securesQuietly secures the hook to part of the elevator's frame.the hook to part of the elevator's frame.
Harry runs over to the window washing winch.Harry runs over to the window washing winch. He flips aHe flips a switch and the winch starts pulling in the cable.switch and the winch starts pulling in the cable.
Jack watches as the extra cable starts unspooling, pulledJack watches as the extra cable starts unspooling, pulled up.up. He starts climbing for the access panel.He starts climbing for the access panel.
The winch spools in cable.
Harry looks down at the elevator.
(CONTINUED)
12.12.
CONTINUED:
The hand starts moving more agitatedly.The hand starts moving more agitatedly. Fisk's faceFisk's face registers growing concern.registers growing concern. Two minutes fifty-three seconds.Two minutes fifty-three seconds.
With sudden violence, he jabs the button.
Jack takes one final look down.Jack takes one final look down. There is still a bunch ofThere is still a bunch of slack cable lying on the elevator.slack cable lying on the elevator. On the bomb, a tiny redOn the bomb, a tiny red light comes one.light comes one.
Without hesitation Jack HURLS himself through the accessWithout hesitation Jack HURLS himself through the access panel as the bomb BLOWS.panel as the bomb BLOWS.
The passengers SCREAM as the elevator shakes, begins toThe passengers SCREAM as the elevator shakes, begins to drop.drop.
The cable snaps tight --
-- nearly slicing Harry in two.-- nearly slicing Harry in two. He dives to the floor.He dives to the floor.
Everyone listening to the TWANGING of the cable echo downEveryone listening to the TWANGING of the cable echo down the shaft.the shaft.
Harry bursts in from the stairs.
(CONTINUED)
13.13.
CONTINUED:
The weight on the cable is starting to pull it from itsThe weight on the cable is starting to pull it from its foundation.foundation. It groans and starts to crack -- can't bearIt groans and starts to crack -- can't bear this weight for long.this weight for long. The wheels start to come off theThe wheels start to come off the track.track. Then with a loud bang, the winch breaks free, fliesThen with a loud bang, the winch breaks free, flies across the roof and comes to a stop at the door to theacross the roof and comes to a stop at the door to the elevator machine room.elevator machine room.
Jack and Harry look at each other.Jack and Harry look at each other. And BOLT.And BOLT.
ANOTHER FLOOR - JACK AND HARRY
Emerge from the stairs, race over to the elevator accessEmerge from the stairs, race over to the elevator access panel...panel...
THE WINDOW WASHING WINCH
Gives a bit more under the strain of the cable...
JACK AND HARRY
Get the last screw out of another access panel.Get the last screw out of another access panel. They canThey can see the bottom two feet of the elevator doors.see the bottom two feet of the elevator doors. With aWith a grunt they pry open the doors.grunt they pry open the doors. People's feet and thePeople's feet and the sounds of panic.sounds of panic.
A WOMAN lies down.A WOMAN lies down. Jack and Harry grab her hands, pull herJack and Harry grab her hands, pull her out.out. Then another.Then another. They pull out the CEO.They pull out the CEO.
(CONTINUED)
14.14.
CONTINUED:
Two more SWAT guys arrive and help pull.
JACK AND HARRY
...Pull out two more people...
THE WINDOW WASHING WINCH
...Rips through the door frame, wedges against an ENGINE...
JACK AND HARRY
Now pull people up to get them out.Now pull people up to get them out. They see the elevatorThey see the elevator sinking, the opening closing.sinking, the opening closing. Two and a half feet.Two and a half feet. TwoTwo feet.feet. They have one woman to pull out.They have one woman to pull out. She's halfway...She's halfway... her legs still in...her legs still in...
JACK AND HARRY
Pull the woman as hard as they can as the huge metal boxPull the woman as hard as they can as the huge metal box flies down, shooting out sparks --flies down, shooting out sparks --
(CONTINUED)
15.15.
CONTINUED: (2)
McMahon and the other SWAT and bomb guys are almost knockedMcMahon and the other SWAT and bomb guys are almost knocked off their feet by the impact reverberating throughout theoff their feet by the impact reverberating throughout the building.building.
The woman, terrified, looks down at her legs.The woman, terrified, looks down at her legs. The elevatorThe elevator just clipped off her high heel.just clipped off her high heel. Jack and Harry exchange aJack and Harry exchange a look.look.
The other SWAT guys usher the rescued passengers to theThe other SWAT guys usher the rescued passengers to the stairwell as Jack and Harry lean against the wall, a littlestairwell as Jack and Harry lean against the wall, a little out of breath.out of breath.
(CONTINUED)
16.16.
CONTINUED:
Jack does not reply, and Harry sees he's convinced.Jack does not reply, and Harry sees he's convinced. So heSo he thinks.thinks.
They get to the freight elevator doors, pry them open.They get to the freight elevator doors, pry them open. They look down.They look down.
The freight elevator is stopped five floors below them.The freight elevator is stopped five floors below them. They can hear movement in the elevator.They can hear movement in the elevator.
jack slides down the elevator cable.
(CONTINUED)
17.17.
CONTINUED:
But he's gone.But he's gone. After a moment's hesitation, Harry follows,After a moment's hesitation, Harry follows, climbing down rungs.climbing down rungs.
Jack and Harry move down the shaft.
THE FREIGHT CAR
...as Jack arrives....as Jack arrives. Pulls his 9mm Glock and steps from thePulls his 9mm Glock and steps from the rungs lightly onto the car.rungs lightly onto the car. HARRY right behind him.HARRY right behind him. TheThe car sinks slightly from their weight.car sinks slightly from their weight.
Jack points at the hatch cover on the elevator roof.Jack points at the hatch cover on the elevator roof. HarryHarry nods and pulls his Glock.nods and pulls his Glock. He and Jack kneel by the hatchHe and Jack kneel by the hatch cover.cover. Jack grabs the handle.Jack grabs the handle. Harry makes the countdownHarry makes the countdown hand signals.hand signals. Three, two --Three, two --
A shotgun BLAST nearly takes their heads off, splinteringA shotgun BLAST nearly takes their heads off, splintering part of the hatch cover.part of the hatch cover. Both men jump back.Both men jump back. A secondA second shot right by Harry's foot sends him jumping away, he stepsshot right by Harry's foot sends him jumping away, he steps on the hatch cover and it gives away.on the hatch cover and it gives away. He falls into theHe falls into the elevator, hitting his head badly.elevator, hitting his head badly.
We HEAR Harry being knocked out by the butt end of a rifle.
Fisk's finger pushes a button on a control panel.
Jack wants to return fire, but hears Harry yelling in painJack wants to return fire, but hears Harry yelling in pain and doesn't know where to shoot.and doesn't know where to shoot. Another blast right nextAnother blast right next to him keeps him prone in the corner.to him keeps him prone in the corner. He senses somethingHe senses something and looks up.and looks up.
(CONTINUED)
18.18.
CONTINUED:
Jack comes crashing down into the elevator, lands hard.Jack comes crashing down into the elevator, lands hard. The air is thick with shotgun smoke.The air is thick with shotgun smoke. The few lights notThe few lights not shot out flicker.shot out flicker. Jack looks up and is transfixed.Jack looks up and is transfixed. He'sHe's looking into...looking into...
THE BARREL OF A SHOTGUN
He hears a voice out of the smoke.
Fisk chuckles.Fisk chuckles. Then a loud, dull click.Then a loud, dull click. Another click.Another click. The shotgun is empty.The shotgun is empty.
The gun drops.The gun drops. Through smoke and flickering light, JackThrough smoke and flickering light, Jack gets a good look at Howard Fisk.gets a good look at Howard Fisk. Fisk is calm, his armFisk is calm, his arm around the still groggy Harry.around the still groggy Harry. In his hand is a deadman'sIn his hand is a deadman's stick.stick. His coat opens enough for us to see he has sticksHis coat opens enough for us to see he has sticks of dynamite roped around his chest.of dynamite roped around his chest.
McMahon screams into his walkie talkie.
(CONTINUED)
19.19.
CONTINUED:
McMahon looks at him, puzzled.
Jack keeps steady aim at Fisk.
Fisk opens the elevator control panel.Fisk opens the elevator control panel. Wires feed into aWires feed into a small box Fisk has hooked up.small box Fisk has hooked up. Fisk hits a couple ofFisk hits a couple of buttons.buttons.
The elevator indicator light stops at the third floor.
The SWAT cops run.
Ding!Ding! The elevator reaches P1.The elevator reaches P1.
(CONTINUED)
20.20.
CONTINUED:
True hatred flashes in Fisk's eyes.
Fisk starts to back up, dragging Harry with him.
ANGLE ON HARRY
The Deadman's stick right before his eyes.
(CONTINUED)
21.21.
CONTINUED: (2)
Fisk drags Harry out.Fisk drags Harry out. Jack doesn't know what to do.Jack doesn't know what to do.
Harry looks at Jack.Harry looks at Jack. He barely mouthes the words.He barely mouthes the words.
Jack can't move.Jack can't move. Fisk and Harry head toward swinging doorsFisk and Harry head toward swinging doors that lead to the garage.that lead to the garage. Jack watches, gun trained on Fisk.Jack watches, gun trained on Fisk.
He shifts aim and BLASTS Harry in the leg.He shifts aim and BLASTS Harry in the leg. Harry goes downHarry goes down and Fisk can't take him anywhere.and Fisk can't take him anywhere. Almost laughing withAlmost laughing with disbelief, Fisk lets go, starts running.disbelief, Fisk lets go, starts running.
Jack starts shooting through the pipes and crates.Jack starts shooting through the pipes and crates. One ofOne of the shots grazes Fisk in the neck, spins him back to facethe shots grazes Fisk in the neck, spins him back to face Jack.Jack. Even then, Fisk has this strange grin on his face.Even then, Fisk has this strange grin on his face.
A HUGE EXPLOSION
Blasts out from the garage.Blasts out from the garage. Rips the doors from theirRips the doors from their hinges.hinges. Lights go out.Lights go out. Plaster and cement flies.Plaster and cement flies.
FADE TO BLACK
22.22.
The elevator hostages and cops in attendance.The elevator hostages and cops in attendance. Jack andJack and Harry stand to one side of the podium in full dress uniformHarry stand to one side of the podium in full dress uniform as the Mayor gives a droning speech.as the Mayor gives a droning speech. Harry has a cane.Harry has a cane.
ANGLE ON JACK AND HARRY
Eyes front.Eyes front. Harry quietly fumes.Harry quietly fumes.
The Commissioner pins on Harry's medal.The Commissioner pins on Harry's medal. There is applause.There is applause. The Commissioner moves to pin on Jack's medal and we:The Commissioner moves to pin on Jack's medal and we:
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WE SEE the ceremony on TV, a close-up of Jack's face as theWE SEE the ceremony on TV, a close-up of Jack's face as the audience applauds again, somewhat louder.audience applauds again, somewhat louder. PULL OUT TOPULL OUT TO REVEAL a bank of four TVs, all showing the same shot ofREVEAL a bank of four TVs, all showing the same shot of Jack.Jack. The TVs are all fairly old, not fancy.The TVs are all fairly old, not fancy.
Fisk sits before the screens, stone faced.Fisk sits before the screens, stone faced. Slowly, loudly,Slowly, loudly, he applauds.he applauds.
CLOSE UP ON HIS HANDS
Again WE SEE it; no left thumb.
23.23.
We hear the clapping as WE SEE his house in the twilight.We hear the clapping as WE SEE his house in the twilight. A completely unremarkable suburban home, flanked by twoA completely unremarkable suburban home, flanked by two more just like it.more just like it.
CUT TO:
The local cop dive.The local cop dive. The cops sit clustered at a fewThe cops sit clustered at a few tables, celebrating.tables, celebrating. McMahon is standing, making a toast.McMahon is standing, making a toast.
Many "Here here"s.
Laughs.Laughs. McMahon quiets them.McMahon quiets them.
Everyone drinks.Everyone drinks. McMahon sits as Jack is called upon toMcMahon sits as Jack is called upon to speak.speak.
He doesn't want to, but he stands.
Many boos.
(CONTINUED)
24.24.
CONTINUED:
"Here Here"s."Here Here"s. Everyone drinks.Everyone drinks.
DISSOLVE TO:
The dregs of the occasion.The dregs of the occasion. The few that are left areThe few that are left are fairly soused.fairly soused. McMahon and Jack are at the bar, talking.McMahon and Jack are at the bar, talking. The bartender, SANDY, pours them each a shot.The bartender, SANDY, pours them each a shot.
Harry sits at the table with a few cops, including ROBIN,Harry sits at the table with a few cops, including ROBIN, a female cop.a female cop. He vaguely paws at her as she stands.He vaguely paws at her as she stands.
She fends off his hands.
(CONTINUED)
25.25.
CONTINUED:
ANGLE ON JACK AND MCMAHON
ANGLE ON HARRY
Is looking at a picture of his wife in his wallet.
He staggers up and over to Jack as McMahon heads for theHe staggers up and over to Jack as McMahon heads for the john.john.
(CONTINUED)
26.26.
CONTINUED: (2)
A moment, as Harry's words sink in.A moment, as Harry's words sink in. Harry's said hisHarry's said his piece: he pulls himself up, swaying.piece: he pulls himself up, swaying. Jack helps him.Jack helps him.
(CONTINUED)
27.27.
CONTINUED: (3)
As they EXIT FRAME we:
CUT TO:
Jack's airy Venice loft apartment.Jack's airy Venice loft apartment. Very clean, slightlyVery clean, slightly industrial in look.industrial in look. A large model of a sailing boatA large model of a sailing boat proudly displayed in one corner, the other corner holds aproudly displayed in one corner, the other corner holds a complete entertainment center.complete entertainment center. Sports equipment isSports equipment is carefully placed along one wall.carefully placed along one wall.
Jack wakes up lying on top of his covers, wearing shortsJack wakes up lying on top of his covers, wearing shorts and a tee shirt.and a tee shirt. He looks much the worse for wear.He looks much the worse for wear. The TVThe TV is on by the bed, the Today show blaring at Jack.is on by the bed, the Today show blaring at Jack. He sitsHe sits slowly up and regards the TV with a bleary eye.slowly up and regards the TV with a bleary eye.
Wincing from a hangover, he pulls on his sneakers.Wincing from a hangover, he pulls on his sneakers. GetsGets up, grabs some aspirin that he chews like candy, going forup, grabs some aspirin that he chews like candy, going for the door and the CAMERA TRACKS ALONG, leading him as hethe door and the CAMERA TRACKS ALONG, leading him as he heads out...heads out...
...the door and starts slowly down the street, jogging,...the door and starts slowly down the street, jogging, picking up speed, the bleariness leaving his face and wepicking up speed, the bleariness leaving his face and we are still leading him along as he starts sprinting, runningare still leading him along as he starts sprinting, running flat out down the sun-baked street.flat out down the sun-baked street.
CUT TO:
Jack stands under a steaming hot shower, face to the water.
CUT TO:
Jack is exiting with a cup off coffee as BOB parks his busJack is exiting with a cup off coffee as BOB parks his bus across the street and runs to the cafe.across the street and runs to the cafe.
(CONTINUED)
28.28.
CONTINUED:
VINCE has Bob's coffee ready; they make the exchange likeVINCE has Bob's coffee ready; they make the exchange like clockwork.clockwork.
Jack heads for his car as Bob crosses back to his bus.
Bob hops in the bus and takes off.Bob hops in the bus and takes off. Jack puts his breakfastJack puts his breakfast on the top of his car as he digs for his keys.on the top of his car as he digs for his keys.
As Jack stares in shock, we notice a PHONE RINGING, gettingAs Jack stares in shock, we notice a PHONE RINGING, getting louder as it filters into Jack's consciousness.louder as it filters into Jack's consciousness. SuddenlySuddenly it dawns on him and he turns, dreamlike, and walks to theit dawns on him and he turns, dreamlike, and walks to the phone.phone. Picks up the receiver.Picks up the receiver.
(CONTINUED)
29.29.
CONTINUED: (2)
INTERCUT WITH:
A big old American car.A big old American car. He has it parked a block or twoHe has it parked a block or two away.away. He speaks on a cellular.He speaks on a cellular.
(CONTINUED)
30.30.
CONTINUED:
Jack is still lost.
Jack pauses, accepting the challenge.
Jack looks at his watch.Jack looks at his watch. It's 8:05It's 8:05
(CONTINUED)
31.31.
CONTINUED: (2)
ANGLE ON FISK
ANGLE ON THE PHONE
Swinging on the line.Swinging on the line. Jack's already gone.Jack's already gone.
SMASH CUT TO:
CUT TO:
The bus is pulling away.The bus is pulling away. ANNIE, an attractiveANNIE, an attractive twentysomething in an Arizona tee shirt and casual clothes,twentysomething in an Arizona tee shirt and casual clothes, bolts after it.bolts after it. It is a good half block away by the timeIt is a good half block away by the time she reaches it.she reaches it. She runs alongside, yelling at the driver,She runs alongside, yelling at the driver, mimes begging, smiling, praying.mimes begging, smiling, praying.
SAM, the driver, finally relents.SAM, the driver, finally relents. He stops and opens theHe stops and opens the door.door.
(CONTINUED)
32.32.
CONTINUED:
She smiles at him, chewing on a wad of gum.She smiles at him, chewing on a wad of gum. He starts upHe starts up again as she digs in her pockets for fare.again as she digs in her pockets for fare. She comes upShe comes up with bills.with bills.
He rolls his eyes as:
ANGLE ON THE BUS
It pulls onto the freeway.
Annie is exchanging money with MRS. KAMINO, an Asian officeAnnie is exchanging money with MRS. KAMINO, an Asian office worker.worker.
She deposits the change and makes her way to the middle ofShe deposits the change and makes her way to the middle of the bus.the bus. She waves to ORTIZ, a large repairman.She waves to ORTIZ, a large repairman.
She plops herself down in front of DOUG STEPHENS, anShe plops herself down in front of DOUG STEPHENS, an obvious tourist.obvious tourist.
(CONTINUED)
33.33.
CONTINUED:
While he is saying it, Annie quickly sticks her gum on herWhile he is saying it, Annie quickly sticks her gum on her seat.seat.
She stands, points.
Thus excused, she makes her way back to the front.Thus excused, she makes her way back to the front. SheShe sits by HELEN, a middle-aged secretary.sits by HELEN, a middle-aged secretary. Smiles vaguely atSmiles vaguely at her.her.
(CONTINUED)
34.34.
CONTINUED: (2)
Frustrated, Jack weaves in and out of traffic, honking,Frustrated, Jack weaves in and out of traffic, honking, yelling...Turns onto Lincoln in a controlled four-wheelyelling...Turns onto Lincoln in a controlled four-wheel skid.skid.
The bus is picking up speed.
Jack speeds up the on-ramp almost sideswiping a new BlackJack speeds up the on-ramp almost sideswiping a new Black XJ-12 Jaguar convertible.XJ-12 Jaguar convertible. The DRIVER screams at Jack.The DRIVER screams at Jack.
The bus in traffic, picking up speed.The bus in traffic, picking up speed. The speedometerThe speedometer reads 45 and climbing.reads 45 and climbing.
A few passengers are talking; others are reading -- a dayA few passengers are talking; others are reading -- a day like any other day.like any other day. Annie looks at her watch, addressesAnnie looks at her watch, addresses Helen.Helen.
(CONTINUED)
35.35.
CONTINUED:
Helen nods understandingly.
Jack is frantic, weaving in and out of traffic.
INSERT - BUS SPEEDOMETER
almost touches 50... then eases off.
There's a traffic jam ahead and the bus slows down.
Passengers groan.
Jack grins.Jack grins. It's going to be okay.It's going to be okay.
A half-mile ahead, there's an accident blocking the threeA half-mile ahead, there's an accident blocking the three right lanes.right lanes. There are flames on the road and a POLICEMANThere are flames on the road and a POLICEMAN is trying to direct traffic.is trying to direct traffic.
(CONTINUED)
36.36.
CONTINUED:
Traffic is backed-up a hundred yards from the accident andTraffic is backed-up a hundred yards from the accident and is tunneling through the one open lane -- the far left lane.is tunneling through the one open lane -- the far left lane.
Jack sees the bus.Jack sees the bus. It is mired in the jam as well.It is mired in the jam as well. ButBut it's all the way over to the left, fifty yards from Jack.it's all the way over to the left, fifty yards from Jack.
Jack pulls his car over onto the right shoulder, stops andJack pulls his car over onto the right shoulder, stops and gets out.gets out. He hurries for the bus.He hurries for the bus. It's a race againstIt's a race against time, as the bus is heading for the choke point, buildingtime, as the bus is heading for the choke point, building speed as the cars funnel through ahead of it.speed as the cars funnel through ahead of it.
Jack gets to the bus, just as it's about to go past theJack gets to the bus, just as it's about to go past the accident.accident. He runs along beside it, knocking on the busHe runs along beside it, knocking on the bus door.door.
But he is barely audible from inside.But he is barely audible from inside. He pulls his badgeHe pulls his badge out of his back pocket, but is bumped by a passing car inout of his back pocket, but is bumped by a passing car in the right lane, and drops it.the right lane, and drops it.
Annie gives a concerned look.
Sam speeds up to get away from Jack as Jack retrieves theSam speeds up to get away from Jack as Jack retrieves the badge.badge.
A young Hispanic, RAY, watches Jack chasing the bus.A young Hispanic, RAY, watches Jack chasing the bus. HeHe looks around at everyone nervously.looks around at everyone nervously. Says nothing.Says nothing.
(CONTINUED)
37.37.
CONTINUED: (2)
Jack tries to get in front of the bus, but Sam doesn't slowJack tries to get in front of the bus, but Sam doesn't slow down, so Jack has to get out of the way.down, so Jack has to get out of the way.
The bus is getting away.The bus is getting away. He's running as fast as he can.He's running as fast as he can. He tries to pull the rear doors.He tries to pull the rear doors. No go.No go. The doors slipThe doors slip from his grasp.from his grasp. He pounds futilely on the last plasticHe pounds futilely on the last plastic side panel, and the bus is gone.side panel, and the bus is gone.
Jack staggers, doubles over, exhausted.
Cars honk at him, swerve around him.
Jack looks back.Jack looks back. His car is a half mile back, still inHis car is a half mile back, still in thick traffic, not an issue.thick traffic, not an issue. Jack stops out in front ofJack stops out in front of the oncoming cars.the oncoming cars.
We hear brakes screeching and a man yelling.
THE JAGUAR OWNER, late 20s, curses Jack from behind theTHE JAGUAR OWNER, late 20s, curses Jack from behind the wheel of his brand new XJ-12 CONVERTIBLE.wheel of his brand new XJ-12 CONVERTIBLE. Jack flashes aJack flashes a badge.badge.
Jack pulls his gun.
Jack opens the door.
(CONTINUED)
38.38.
CONTINUED: (3)
The man hesitates a second, then gets up and climbs overThe man hesitates a second, then gets up and climbs over the center console into the passenger seat.the center console into the passenger seat. Jack holstersJack holsters his gun, jumps in and steps on it.his gun, jumps in and steps on it.
Sam accelerates.Sam accelerates. We hear the automatic transmissionWe hear the automatic transmission downshift.downshift.
INSERT - SPEEDOMETER
45 and climbing...
INSERT - BUS SPEEDOMETER
46, 47...
Ray watches the car with growing unease.Ray watches the car with growing unease. He gets up andHe gets up and goes to the rear of the bus, slumps way down.goes to the rear of the bus, slumps way down.
(CONTINUED)
39.39.
CONTINUED:
Sam's eyes narrow.Sam's eyes narrow. He opens the window.He opens the window.
Jack flashes his badge.
Sam shakes his head -- he can't hear Jack.
Jack looks around.Jack looks around. Sees sheet music on the back seat.Sees sheet music on the back seat.
The Jaguar Owner hesitates a beat, then grabs the sheetThe Jaguar Owner hesitates a beat, then grabs the sheet music.music.
The Jaguar Owner starts to write.The Jaguar Owner starts to write. Jack acceleratesJack accelerates sharply, snapping the Jaguar Owner's head back.sharply, snapping the Jaguar Owner's head back. The JaguarThe Jaguar pulls in front of the bus...pulls in front of the bus...
(CONTINUED)
40.40.
CONTINUED: (2)
ON THE BUS
Sam and the passengers are looking out at Jack, wonderingSam and the passengers are looking out at Jack, wondering what the hell is going on.what the hell is going on.
INSERT - SPEEDOMETER
48, 49...
INSERT - SPEEDOMETER
48, 49, 50.
UNDER THE BUS
A mass of slabs of white putty wired to a black box.A mass of slabs of white putty wired to a black box. A redA red light comes on, blinks.light comes on, blinks. The explosives are armed.The explosives are armed.
TWO OTHER SMALLER BOMBS
Also under the bus, are armed.Also under the bus, are armed. We don't see exactly whereWe don't see exactly where they are.they are. They are just one cake of C-4 apiece.They are just one cake of C-4 apiece.
Sam's eyes go wide.
(CONTINUED)
41.41.
CONTINUED:
Sam looks at Jack, the bus continuing to slow.Sam looks at Jack, the bus continuing to slow. JackJack motions for him to speed up.motions for him to speed up.
Sam hears him.Sam hears him. He looks at Jack -- does he mean what heHe looks at Jack -- does he mean what he thinks he mean?thinks he mean? Jack nods.Jack nods. Sam trembles a little.Sam trembles a little.
He listens a moment, then hands the phone to Jack.
(CONTINUED)
42.42.
CONTINUED: (2)
INTERCUT WITH:
Harry at his desk; a sleepy morning.Harry at his desk; a sleepy morning. Robin and SWAT Cop #1Robin and SWAT Cop #1 are working in the b.g.are working in the b.g.
McMahon and Norwood burst in, in mid-conversation.
Is driving like a maniac.Is driving like a maniac. The Jaguar fishtails on theThe Jaguar fishtails on the shoulder, car horns blaring at him.shoulder, car horns blaring at him. Jack gets backJack gets back alongside the bus -- now on the bus's right, by the door.alongside the bus -- now on the bus's right, by the door. He's worried.He's worried. The traffic is already thickening.The traffic is already thickening.
(CONTINUED)
43.43.
CONTINUED:
ON THE BUS
Sam hears a honk and looks out the passenger door.
Jack has pulled the Jag around to that side.Jack has pulled the Jag around to that side. He's drivingHe's driving on the shoulder, yelling at him.on the shoulder, yelling at him. He can't make him out.He can't make him out.
Sam flips the door control.
But Jack is already slamming on the brakes.
THE JAGUAR'S WHEELS
Smoke.
(CONTINUED)
44.44.
CONTINUED: (2)
ON THE BUS
Everyone looks in amazement as the Jaguar, minus the door,Everyone looks in amazement as the Jaguar, minus the door, slows beside the bus.slows beside the bus.
He stands on the edge of the seat as the owner scrambles toHe stands on the edge of the seat as the owner scrambles to get into it.get into it. Jack prepares to jump.Jack prepares to jump. He's just about to.He's just about to. But...But...
The driver, unhurt, cranes to see if Jack made it okay.
45.45.
Jack catches his breath, looks up.Jack catches his breath, looks up. Dusts himself off.Dusts himself off. Everyone on the bus is staring at him.Everyone on the bus is staring at him. Jack holds up hisJack holds up his badge.badge. Ray looks around him, concerned.Ray looks around him, concerned.
Annie rises from her seat.
His tone is so stern she sits right down.His tone is so stern she sits right down. Jack makes hisJack makes his way down the bus, looking at everyone.way down the bus, looking at everyone.
In the back, Ray starts sweating as Jack approaches.
His hands reach for something under his coat.
Ray suddenly leaps out of his seat.
He levels a gun at Jack.He levels a gun at Jack. Instinctively Jack whips his ownInstinctively Jack whips his own out, and the two are at close range stand-off.out, and the two are at close range stand-off. Ray looksRay looks more scared than anything.more scared than anything. There are a few screams.There are a few screams.
(CONTINUED)
46.46.
CONTINUED:
He moves forward.He moves forward. Jack backs up, slowly.Jack backs up, slowly.
Sam looks around, unsure what to do.
Despite the fumbling manner of Jack's speech, his tone doesDespite the fumbling manner of Jack's speech, his tone does have a hypnotic lull.have a hypnotic lull. Ray looks like he might lower theRay looks like he might lower the gun.gun.
Ortiz jumps him.
(CONTINUED)
47.47.
CONTINUED: (2)
He rushes forward as Ortiz and Ray struggle.He rushes forward as Ortiz and Ray struggle. A SHOT goesA SHOT goes off, everyone ducking and screaming.off, everyone ducking and screaming. A second shot.A second shot.
The driver's partition SHATTERS.The driver's partition SHATTERS. Sam lurches to one side,Sam lurches to one side, hit in the back.hit in the back.
The bus swerves sickeningly as Sam slumps over.The bus swerves sickeningly as Sam slumps over. AnnieAnnie dives for the wheel, Helen to help Sam.dives for the wheel, Helen to help Sam.
Jack moves in and with two crunching blows disarms andJack moves in and with two crunching blows disarms and subdues Ray.subdues Ray. Simultaneously:Simultaneously:
Jack spins around.
Silence.Silence. Annie looks briefly back at Jack, sees he's notAnnie looks briefly back at Jack, sees he's not kidding.kidding. She looks back at the speedometer, which isShe looks back at the speedometer, which is almost under 51.almost under 51. Pushes her foot on the accelerator.Pushes her foot on the accelerator. JackJack addresses everyone as he handcuffs Ray to a pole.addresses everyone as he handcuffs Ray to a pole.
(CONTINUED)
48.48.
CONTINUED: (3)
A moment.A moment. Terry backs down.Terry backs down.
Mrs. Kamino pulls off her sweater, going over and wrappingMrs. Kamino pulls off her sweater, going over and wrapping it around Sam's shoulder.it around Sam's shoulder.
Terry moves to help lay Sam out more comfortably.Terry moves to help lay Sam out more comfortably. JackJack goes over to Annie.goes over to Annie. She is staring straight ahead, deathShe is staring straight ahead, death grip on the wheel: she's terrified.grip on the wheel: she's terrified.
(CONTINUED)
49.49.
CONTINUED: (4)
She takes a breath.She takes a breath. Calms herself.Calms herself. He dials.He dials.
He allows himself a grin as he dials.
Norwood and McMahon board a police chopper.Norwood and McMahon board a police chopper. It lifts off.It lifts off.
The bus races along.The bus races along. High above it we see the local newsHigh above it we see the local news helicopters, cameras trained on it.helicopters, cameras trained on it.
50.50.
All four TVs are on, playing all the different newscasts.All four TVs are on, playing all the different newscasts. Fisk sits, watching the various helicopter shots of the bus.Fisk sits, watching the various helicopter shots of the bus.
We focus in on channel 7, the newscaster's voice risingWe focus in on channel 7, the newscaster's voice rising from the general cacophony.from the general cacophony.
CHANNEL 7 ANCHORCHANNEL 7 ANCHOR Apparently a member of theApparently a member of the L.A.P.D. SWAT team boarded the busL.A.P.D. SWAT team boarded the bus just minutes ago...just minutes ago...
CUT TO:
Jack on the phone.
INTERCUT WITH:
Harry at his desk.Harry at his desk. Robin and SWAT Cop #1.Robin and SWAT Cop #1.
Jack checks.
(CONTINUED)
51.51.
CONTINUED:
Sam makes a grunting sound in Jack's direction.
She beckons to Jack, who kneels by Sam.
He points to the center of the bus.
He goes over and unscrews the panel, pulls it aside.He goes over and unscrews the panel, pulls it aside. Pavement rushes beneath him.Pavement rushes beneath him. He hands the phone toHe hands the phone to Stephens.Stephens.
Stephens takes the phone nervously as Jack sticks his headStephens takes the phone nervously as Jack sticks his head down through the hole.down through the hole. It is dark and cramped down there.It is dark and cramped down there.
(CONTINUED)
52.52.
CONTINUED: (2)
It's hard to see very far with tanks and pipes.It's hard to see very far with tanks and pipes. JackJack lowers his head even further down.lowers his head even further down. From his P.O.V., theFrom his P.O.V., the undercarriage closer to the front comes into view.undercarriage closer to the front comes into view.
There is an obscene mass of plastique stuck to the front.There is an obscene mass of plastique stuck to the front. Detonators, wires, a jerry-rigged timer built around aDetonators, wires, a jerry-rigged timer built around a gutted gold wristwatch.gutted gold wristwatch. A lot of the gold plating hasA lot of the gold plating has flaked off, dull grey beneath.flaked off, dull grey beneath.
Jack pulls himself out of the hole, grabs the phone.
Something about that bothers Harry.
(CONTINUED)
53.53.
CONTINUED: (3)
Jack races to the front, looks out the window with Annie.
Annie nods, veers onto the right shoulder, blasting pastAnnie nods, veers onto the right shoulder, blasting past the slowing traffic.the slowing traffic. But then they see...But then they see...
Annie tries to squeeze the bus between the tow truck andAnnie tries to squeeze the bus between the tow truck and the slow lane.the slow lane. She hits the car on back, sends it FLYINGShe hits the car on back, sends it FLYING over the front of the truck.over the front of the truck. She keeps going, sideswipingShe keeps going, sideswiping several cars.several cars.
Annie steers off the freeway at the last second, onto theAnnie steers off the freeway at the last second, onto the exit ramp.exit ramp.
54.54.
Roars down the off-ramp, slamming into the water barrels.Roars down the off-ramp, slamming into the water barrels. Far ahead, cars are stopped at the light.Far ahead, cars are stopped at the light. The ramp is aThe ramp is a single lane.single lane. The bus jumps the curb, taking out roadwayThe bus jumps the curb, taking out roadway signs, reflectors and car mirrors.signs, reflectors and car mirrors.
For the next few minutes, whenever she doesn't need to useFor the next few minutes, whenever she doesn't need to use both hands to drive, her hand is on the horn.both hands to drive, her hand is on the horn.
Annie's hands and feet are in constant motion.
The passengers are knocked about, yelling.
Jack and Annie's faces -- uh-oh.Jack and Annie's faces -- uh-oh. They see...They see...
A RED LIGHT
At the bottom of the ramp.At the bottom of the ramp. Cross traffic.Cross traffic.
Sam winces.Sam winces. Helen holds his hand.Helen holds his hand.
Jack and Annie stare at...
INSERT - SPEEDOMETER
It dips close to 50, rises...
(CONTINUED)
55.55.
CONTINUED:
JACK AND ANNIE
Share a look of relief, look ahead.
The street is clear for a half-mile.
Unbeknownst to them, a WOMAN, 30s, pushes a BABY CARRIAGEUnbeknownst to them, a WOMAN, 30s, pushes a BABY CARRIAGE along the sidewalk.along the sidewalk. She is talking to another woman.She is talking to another woman.
A moment's respite.A moment's respite. The cellular rings.The cellular rings.
INTERCUT WITH:
McMahon is looking out the window.McMahon is looking out the window. He has a map of theHe has a map of the city on his lap.city on his lap.
ANGLE ON MCMAHON'S P.O.V.
The bus charges through the maze of streets.
He consults the map closely, trying to pinpoint the bus'sHe consults the map closely, trying to pinpoint the bus's location.location.
56.56.
As Fisk watches, eating a baloney sandwich on white breadAs Fisk watches, eating a baloney sandwich on white bread and a glass of milk.and a glass of milk. WE SEE that three of the TV's haveWE SEE that three of the TV's have the bus on them, but the fourth one is turned to a footballthe bus on them, but the fourth one is turned to a football game.game.
Harry looks at the things on his desk; evidence from Fisk'sHarry looks at the things on his desk; evidence from Fisk's last job, lined up and tagged.last job, lined up and tagged. Robin is standing nearbyRobin is standing nearby with SWAT Cop #1.with SWAT Cop #1.
57.57.
Cars cruising to an intersection are overtaken by aCars cruising to an intersection are overtaken by a screaming black & white.screaming black & white. It reaches the intersection andIt reaches the intersection and turns, screeching, halting in front of traffic and blockingturns, screeching, halting in front of traffic and blocking the intersection.the intersection.
The cars slam on their brakes, nearly hitting the patrolThe cars slam on their brakes, nearly hitting the patrol car.car. The passengers barely have time to curse before theThe passengers barely have time to curse before the enormous bus ROARS by, going the other way.enormous bus ROARS by, going the other way.
The passengers watch the city streets fly by, panic volumeThe passengers watch the city streets fly by, panic volume turned high.turned high.
The two women wave goodbye.The two women wave goodbye. Woman #1 pushes the babyWoman #1 pushes the baby carriage toward the curb.carriage toward the curb.
Mac still looks at his map.
58.58.
Continues on.
THE WOMAN AND THE BABY CARRIAGE
Steps out from behind a van right in front of the bus.
ANNIE AND JACK
Horror.Horror. It's too late.It's too late. Annie shuts her eyes.Annie shuts her eyes.
JACK AND ANNIE
Her eyes are shut.Her eyes are shut. She screams.She screams. Jack can't help but look.Jack can't help but look.
THE BABY CARRIAGE
Hits the pavement.Hits the pavement. But then... a hundred empty soda andBut then... a hundred empty soda and beer cans explode out of it.beer cans explode out of it.
Jack smiles.
Annie opens her eyes, looks in the sideview mirror.
(CONTINUED)
59.59.
CONTINUED:
Annie sighs with relief.
Everyone watches the streets.Everyone watches the streets. After a few blocks...After a few blocks...
THE PATROL CARS
Come to the on-ramp.Come to the on-ramp. The bus follows when...The bus follows when...
A GROUP OF SCHOOL KIDS
Walk blithely in front of it -- Annie is forced to SWERVEWalk blithely in front of it -- Annie is forced to SWERVE and continue on the street parallel to the freeway.and continue on the street parallel to the freeway.
He consults the map.
Patrol cars pull in front of it again, leading it.
60.60.
Jack listens a moment more on the phone.
Annie looks out the window.Annie looks out the window. The construction site is farThe construction site is far away but visible.away but visible. Annie can't even see the road to turn on.Annie can't even see the road to turn on.
There is a turn.There is a turn. Way ahead, the first patrol car takesWay ahead, the first patrol car takes it -- and nearly wipes out.it -- and nearly wipes out. Another follows, with allAnother follows, with all attendant screeching.attendant screeching.
(CONTINUED)
61.61.
CONTINUED:
A beat.
The passengers hesitate.
The passengers all scramble, squeeze in by each other.The passengers all scramble, squeeze in by each other. They look at each other, scared.They look at each other, scared. Ray strains to get over,Ray strains to get over, cuffed.cuffed.
Annie eases the accelerator off as far as it is safe.Annie eases the accelerator off as far as it is safe. TheThe turn is fifty yards away.turn is fifty yards away.
He turns back to Annie.
Annie arcs out to flatten the turn as much as possible.
She turns the wheel and dives into the turn.She turns the wheel and dives into the turn. TheThe passengers are thrown.passengers are thrown. Most hold on.Most hold on.
The bus tires screech on the pavement.The bus tires screech on the pavement. One wheel lifts offOne wheel lifts off the ground for a second.the ground for a second.
Some passengers scream, most hold their breath.
Annie strains against the steering wheel to hold it steady.Annie strains against the steering wheel to hold it steady. She's losing it.She's losing it.
Jack grabs the wheel and pulls it with her, holding theJack grabs the wheel and pulls it with her, holding the turn.turn. The bus wheel comes back down onto the pavement.The bus wheel comes back down onto the pavement.
(CONTINUED)
62.62.
CONTINUED: (2)
Annie and Jack bring the bus back into line.Annie and Jack bring the bus back into line. They made it.They made it. Jack turns back to the passengers, smiling.Jack turns back to the passengers, smiling.
As the passengers untangle themselves, Helen looks white asAs the passengers untangle themselves, Helen looks white as a sheet.a sheet.
Reaches the on-ramp, shoots up through the saw-horses andReaches the on-ramp, shoots up through the saw-horses and they're on.they're on.
A moment of respite.
ANGLE ON ANNIE AND JACK
He looks at her.He looks at her. Drops the hostage talk, smiles.Drops the hostage talk, smiles.
(CONTINUED)
63.63.
CONTINUED:
They smile at each other for a moment.They smile at each other for a moment. Annie looks back atAnnie looks back at the road.the road.
Annie looks at Jack.
(CONTINUED)
64.64.
CONTINUED: (2)
CUT TO:
Harry and Robin lean over a computer worked by SWAT Cop #1.Harry and Robin lean over a computer worked by SWAT Cop #1. On the screen, a series of faces flash by.On the screen, a series of faces flash by.
SWAT COP #1SWAT COP #1 We got no match for thatWe got no match for that description.description. No one's lost aNo one's lost a thumb, at least for the last tenthumb, at least for the last ten years.years.
SWAT COP #1SWAT COP #1 I can't access all that --I can't access all that --
She goes.
CUT TO:
65.65.
McMahon pulls up next to it on the back of a flat bed.McMahon pulls up next to it on the back of a flat bed. Jack comes out on the steps to talk to him.Jack comes out on the steps to talk to him.
Mac accepts it, scowling.
Norwood leans out of the cab of the truck.
He steps into the bus, look at Sam.
Her look tells him Sam doesn't have much time.
(CONTINUED)
66.66.
CONTINUED:
Helen blanches.
The phone rings.The phone rings. Jack puts it to his ear.Jack puts it to his ear.
INTERCUT WITH:
(CONTINUED)
67.67.
CONTINUED: (2)
They hang up.They hang up. Jack crosses to the passengers.Jack crosses to the passengers.
(CONTINUED)
68.68.
CONTINUED:
He bends over to grab Sam's feet.
Jack lifts, so does Ortiz at the head.Jack lifts, so does Ortiz at the head. Sam groans withSam groans with pain and Ray rushes in to support his middle.pain and Ray rushes in to support his middle. He and OrtizHe and Ortiz exchange a look.exchange a look. They walk him to the doorway.They walk him to the doorway.
McMahon's truck is right next to them.McMahon's truck is right next to them. Jack stands on theJack stands on the bottom step, yells to the SWAT guy on the truck.bottom step, yells to the SWAT guy on the truck.
The SWAT guy nods.The SWAT guy nods. Jack inches out farther.Jack inches out farther. He holdsHe holds Sam's legs with one hand and the railing with the other,Sam's legs with one hand and the railing with the other, leaning out toward the truck.leaning out toward the truck. The pavement rushes byThe pavement rushes by underneath him.underneath him. The SWAT guy grab Sam and slowly, theThe SWAT guy grab Sam and slowly, the exchange is made.exchange is made.
Jack steps back into the bus, where Mrs. Kamino is wipingJack steps back into the bus, where Mrs. Kamino is wiping up blood.up blood.
(CONTINUED)
69.69.
CONTINUED: (2)
Helen suddenly leaps out of her seat and rushes to theHelen suddenly leaps out of her seat and rushes to the door.door. Her face is etched in panic.Her face is etched in panic. She comes to the lastShe comes to the last step, hesitates.step, hesitates.
He rushes to the front.
Helen stands.Helen stands. The SWAT guy waves for her to jump.The SWAT guy waves for her to jump.
Fisk sees this on TV.Fisk sees this on TV. He punches a button on his cellular.He punches a button on his cellular.
UNDER THE BUS
The small bomb directly below Helen.The small bomb directly below Helen. Red light comes on.Red light comes on.
THE FRONT STEPS
Explode.Explode. SWAT guys are knocked off their feet, Jack isSWAT guys are knocked off their feet, Jack is knocked into Annie and the bus swerves.knocked into Annie and the bus swerves. Helen falls.Helen falls. JackJack grabs at her too late, the bus bumps sickeningly, as Jackgrabs at her too late, the bus bumps sickeningly, as Jack almost falls, grabbed by the lady in Catwoman's glasses.almost falls, grabbed by the lady in Catwoman's glasses.
For a moment, nothing.For a moment, nothing. Jack sits back on the floor of theJack sits back on the floor of the bus at Annie's feet, staring at the hole that was steps.bus at Annie's feet, staring at the hole that was steps. Annie is nearly hyperventilating, her eyes locked on theAnnie is nearly hyperventilating, her eyes locked on the road.road.
(CONTINUED)
70.70.
CONTINUED:
ANGLE ON ORTIZ
Completely shocked.Completely shocked. This guy ain't fuckin' around.This guy ain't fuckin' around.
A woman starts crying, quietly.
Finally:
Ortiz takes his jacket off, puts it around Mrs. Kamino'sOrtiz takes his jacket off, puts it around Mrs. Kamino's shoulders.shoulders.
(CONTINUED)
71.71.
CONTINUED: (2)
And then all at once:
As the din rises:
He looks at Annie.He looks at Annie. She is shaking with the effort not toShe is shaking with the effort not to cry.cry.
She takes a moment.She takes a moment. Jack brushes hair from her face.Jack brushes hair from her face.
(CONTINUED)
72.72.
CONTINUED: (3)
She shakes her head.
This is not an easy thing to say.
She nods, shakily.
(CONTINUED)
73.73.
CONTINUED: (4)
She smiles a little.
Listening on a headset, Norwood's face goes dazzling white.
(CONTINUED)
74.74.
CONTINUED:
He gestures for Jack to come to the door.
The flatbed truck...
Various reactions.Various reactions. Groans, fear, tears.Groans, fear, tears. People look atPeople look at each other, realizing these are the last faces they'reeach other, realizing these are the last faces they're going to see.going to see. No one knows what to say, except maybe Ortiz.No one knows what to say, except maybe Ortiz.
(CONTINUED)
75.75.
CONTINUED:
ANGLE ON JACK AND ANNIE
They're waiting for his answer, which he doesn't have.They're waiting for his answer, which he doesn't have. HeHe thinks.thinks.
She nods.She nods. The bus starts picking up speed.The bus starts picking up speed.
The speedometer climbs above sixty.
Jack starts toward the back of the bus.Jack starts toward the back of the bus. The passengers areThe passengers are silent, terrified.silent, terrified. He looks at their faces as he passes.He looks at their faces as he passes.
Jack looks at him a second.Jack looks at him a second. What do you say?What do you say?
(CONTINUED)
76.76.
CONTINUED: (2)
He comes to Ray, unlocks his cuffs.He comes to Ray, unlocks his cuffs. Ray looks pretty small.Ray looks pretty small.
Which means, for now, apology accepted.Which means, for now, apology accepted. Jack moves back toJack moves back to the front.the front.
Jack looks out the window -- the signs and barriers areJack looks out the window -- the signs and barriers are approaching.approaching.
People grab rails, cling to them, heads in their laps.People grab rails, cling to them, heads in their laps. Ortiz takes a cross from under his shirt, palms it.Ortiz takes a cross from under his shirt, palms it.
THE GAP IN THE FREEWAY
The bus is coming in fast, getting faster.
INSERT - THE BUS SPEEDOMETER
66, 67, 68...
Terry is sitting by Ray.
Terry looks like he's going to throw up.Terry looks like he's going to throw up. Mrs. Kamino isMrs. Kamino is quietly crying.quietly crying. We hear various mumbled prayers.We hear various mumbled prayers.
(CONTINUED)
77.77.
CONTINUED:
Stephens is in a near fetal position, clutching his mapStephens is in a near fetal position, clutching his map like a religious icon.like a religious icon.
INSERT - BUS SPEEDOMETER
...70, 71...
Hits the gap going 73.Hits the gap going 73. It's airborne.It's airborne. The front endThe front end starts to dive.starts to dive. The font wheels hit the concrete edge ofThe font wheels hit the concrete edge of the far side of the gap hard.the far side of the gap hard.
Jack, Annie, the passengers -- all thrown forward.
The tires don't burst.The tires don't burst. The wheels roll up onto the freewayThe wheels roll up onto the freeway surface, keep moving.surface, keep moving. The tail end of the bus is still inThe tail end of the bus is still in mid-air, dropping fast.mid-air, dropping fast. The undercarriage hits theThe undercarriage hits the concrete, scrapes, sheets of sparks and horrible grinding.concrete, scrapes, sheets of sparks and horrible grinding.
INSERT - SPEEDOMETER
60, 59, 58... dropping fast.
(CONTINUED)
78.78.
CONTINUED:
ON THE BUS
Passengers near the back are tossed into the air.Passengers near the back are tossed into the air. WindowsWindows shatter.shatter. A seat is ripped from its mooring.A seat is ripped from its mooring.
MCMAHON AND THE SWAT COPS
All cheering, whooping it up.
Jack stands, addresses the passengers.
They're bruised, dazed, bleeding -- but whole.They're bruised, dazed, bleeding -- but whole. A mutedA muted chorus of "yeahs", followed by some boisterous whoops andchorus of "yeahs", followed by some boisterous whoops and even applause.even applause. People laugh, hug, high five.People laugh, hug, high five. People whoPeople who were crying are now laughing and crying.were crying are now laughing and crying. Terry kisses Mrs.Terry kisses Mrs. Kamino (but only if they're sitting by each other).Kamino (but only if they're sitting by each other).
He high fives (or some such display) the person next to him.
Only Stephens hasn't moved, still in his fetal position.Only Stephens hasn't moved, still in his fetal position. He slowly opens his eyes.He slowly opens his eyes. Smiles wanly as he looks aroundSmiles wanly as he looks around him.him.
(CONTINUED)
79.79.
CONTINUED: (2)
Jack smiles, big.Jack smiles, big. He looks at Annie.He looks at Annie. A trickle of bloodA trickle of blood is running from her forehead.is running from her forehead. He kneels by her, beaming atHe kneels by her, beaming at her with honest admiration.her with honest admiration.
She smiles, too.She smiles, too. Jack sees something ahead.Jack sees something ahead. Gets an idea.Gets an idea. He has to act fast.He has to act fast.
She hesitates a second too long for his liking, so he grabsShe hesitates a second too long for his liking, so he grabs the wheel, pulls it hard right.the wheel, pulls it hard right.
Passengers yell as they are tossed to the side.
TIME CUT TO:
A sign reads "LAX cargo entrance."A sign reads "LAX cargo entrance." Annie drives the busAnnie drives the bus toward the airport gate.toward the airport gate. The helicopters veer off, awayThe helicopters veer off, away from the air traffic.from the air traffic.
(CONTINUED)
80.80.
CONTINUED:
She is, but a patrol car appears, partially blocking theShe is, but a patrol car appears, partially blocking the entrance she's headed for.entrance she's headed for. She swerves to miss it, headsShe swerves to miss it, heads toward an exit with tire shredding spikes.toward an exit with tire shredding spikes.
ONE OUTSIDE REAR TIRE
Nicks the last of the spikes, but doesn't burst.
The bus turns onto a taxiway adjacent to a runway as a 747The bus turns onto a taxiway adjacent to a runway as a 747 thunders overhead.thunders overhead.
On the freeway.
(CONTINUED)
81.81.
CONTINUED:
The GMC Suburban pulls out.The GMC Suburban pulls out. Norwood points out the airportNorwood points out the airport on the map.on the map. Mac looks.Mac looks.
Stephens looks out the window.
Mac's van follows where the bus went.
ANGLE ON CHOPPERS
Hovering near the airport, they give up and fly away.
The phone rings.The phone rings. Jack picks it up.Jack picks it up.
(CONTINUED)
82.82.
CONTINUED:
INTERCUT WITH:
(CONTINUED)
83.83.
CONTINUED: (2)
Jack hangs up.Jack hangs up. Annie has heard the bulk of theAnnie has heard the bulk of the conversation.conversation. A GMC Suburban pulls up next to the bus,A GMC Suburban pulls up next to the bus, McMahon, Norwood and SWAT Driver ride alongside.McMahon, Norwood and SWAT Driver ride alongside.
Some conversation.
(CONTINUED)
84.84.
CONTINUED: (3)
Annie looks at him.Annie looks at him. She knows she may not see him again,She knows she may not see him again, but she's gonna be brave.but she's gonna be brave.
They look at each other for a moment.They look at each other for a moment. Jack tenderlyJack tenderly brushes her hair from her face.brushes her hair from her face. He's never gonna forgetHe's never gonna forget her.her.
Jack turns to the doorway.Jack turns to the doorway. He motions for the truck toHe motions for the truck to come in close.come in close.
He jumps.He jumps. For a moment everyone is silent on the bus.For a moment everyone is silent on the bus. TheThe host has left the party.host has left the party.
JACK AND MCMAHON
talk as the GMC Suburban veers off the road and the bustalk as the GMC Suburban veers off the road and the bus charges off in the distance behind them.charges off in the distance behind them. They pass a newsThey pass a news van, cops keeping the news people from filming.van, cops keeping the news people from filming.
(CONTINUED)
85.85.
CONTINUED: (4)
They sit near the back.
(CONTINUED)
86.86.
CONTINUED:
Ray looks sidelong at Terry.Ray looks sidelong at Terry. He's either being defensiveHe's either being defensive or lying.or lying.
ANGLE ON THE FRONT
Ortiz and Stephens are standing at the front with Annie.
They all look out at something pulling in front of them.They all look out at something pulling in front of them. Their eyes go wide.Their eyes go wide.
ANGLE ON THEIR P.O.V.
A truck has pulled in front of them.A truck has pulled in front of them. Attached to the backAttached to the back is a low wooden dolly.is a low wooden dolly. Jack is standing on it in his SWATJack is standing on it in his SWAT gear, with a headset and a bunch of tools.gear, with a headset and a bunch of tools.
ON THE TRUCK
McMahon is on the back of the truck.McMahon is on the back of the truck. He has a headset asHe has a headset as well.well.
(CONTINUED)
87.87.
CONTINUED: (2)
Barely a moment between them, and then Jack is lying downBarely a moment between them, and then Jack is lying down on the dolly.on the dolly.
ANGLE ON ANNIE
Watching the dolly inch closer.
Jack smiles at Annie, gives her the thumbs up.
The truck slows a bit and the dolly inches closer to theThe truck slows a bit and the dolly inches closer to the bus.bus. Jack lies completely flat as the bus approaches.Jack lies completely flat as the bus approaches.
(CONTINUED)
88.88.
CONTINUED: (3)
He starts to disappear under the bus.He starts to disappear under the bus. Annie squints withAnnie squints with concentration.concentration. McMahon looks on, concerned. Jack looksMcMahon looks on, concerned. Jack looks straight up, keeping as calm as possible as the bus coversstraight up, keeping as calm as possible as the bus covers his head.his head.
UNDER THE BUS
Jack inches under the bomb.Jack inches under the bomb. He speaks (always into theHe speaks (always into the headset, until stated otherwise) to McMahon.headset, until stated otherwise) to McMahon.
He looks up at the bomb.He looks up at the bomb. From his P.O.V. the bomb is soFrom his P.O.V. the bomb is so close it fills our line of vision.close it fills our line of vision. There are wires runningThere are wires running from the timer to various detonators.from the timer to various detonators. Also a few coveredAlso a few covered wires of different colors sticking in one end of the timerwires of different colors sticking in one end of the timer and out the other.and out the other.
(CONTINUED)
89.89.
CONTINUED:
He has to work slowly.He has to work slowly. He's so close to the bus he can'tHe's so close to the bus he can't look at his tools; he feels for them and brings them up tolook at his tools; he feels for them and brings them up to his chest.his chest.
He palms an exacto and carefully starts scraping away atHe palms an exacto and carefully starts scraping away at the green plastic covering.the green plastic covering.
The bus hits a tiny...
He scrapes some more at the sheath, revealing a silverishHe scrapes some more at the sheath, revealing a silverish wire: not copper.wire: not copper.
He palms the battery, clips one end to the silver wire withHe palms the battery, clips one end to the silver wire with the alligator clip.the alligator clip. He searches out the lead wire.He searches out the lead wire. HeHe finds it, a cloud crossing his expression.finds it, a cloud crossing his expression.
(CONTINUED)
90.90.
CONTINUED: (2)
Harry is thinking when Robin enters, moves toward him withHarry is thinking when Robin enters, moves toward him with a printout, speaking.a printout, speaking.
And on that last word she reaches Harry, turning theAnd on that last word she reaches Harry, turning the printout for him to see and Fisk's picture stares us in theprintout for him to see and Fisk's picture stares us in the face.face.
Harry jumps up and they move out.
(CONTINUED)
91.91.
CONTINUED: (3)
ANGLE ON THE TIRE
That was scraped by the claw...a piece of outer rubberThat was scraped by the claw...a piece of outer rubber peels off and flies into the:peels off and flies into the:
JACK AND THE DOLLY
Are snapped toward the wheel.
Annie and Ortiz look at each other.Annie and Ortiz look at each other. They're dragging him.They're dragging him.
Ortiz RACES for the center panel, starts unscrewing it.
(CONTINUED)
92.92.
CONTINUED:
MCMAHON'S AIRPORT VEHICLE
moves alongside the bus.moves alongside the bus. McMahon tries to see what'sMcMahon tries to see what's happening to Jack.happening to Jack. He looks pretty concerned.He looks pretty concerned.
UNDER THE BUS
Jack tries to get a grip on the undercarriage, but hisJack tries to get a grip on the undercarriage, but his fingers can't find purchase.fingers can't find purchase. So he grabs the screwdriverSo he grabs the screwdriver and stabs it up into the undercarriage.and stabs it up into the undercarriage. It digs in.It digs in. HeHe stops, and the dolly is yanked out from under him.stops, and the dolly is yanked out from under him.
Ortiz sticks his head down.
He reaches for Jack, but there's no way.
Terry and Ray grab Ortiz's legs.Terry and Ray grab Ortiz's legs. Stephens and Mrs. KaminoStephens and Mrs. Kamino grab them.grab them.
UNDER THE BUS
Ortiz is halfway through the hole.Ortiz is halfway through the hole. He reaches for Jack.He reaches for Jack.
(CONTINUED)
93.93.
CONTINUED:
He grabs him.He grabs him. Jack lets go the screwdriver, grabs Ortiz'sJack lets go the screwdriver, grabs Ortiz's shoulder.shoulder.
Slowly, painfully, Jack is pulled in.Slowly, painfully, Jack is pulled in. He hunches over, inHe hunches over, in pain.pain.
He nods.
Ortiz dusts him off.Ortiz dusts him off. Oddly enough, he is smiling.Oddly enough, he is smiling.
He goes over to Annie.
(CONTINUED)
94.94.
CONTINUED:
ANGLE ON GAS GAUGE
It starts dropping, barely perceptibly.
Harry's car and another unmarked fire up the street withHarry's car and another unmarked fire up the street with much attendant screeching.much attendant screeching.
Jack and Annie nervously regard the gas gauge.
(CONTINUED)
95.95.
CONTINUED:
CUT TO:
Harry and the others pull up quietly across the street.Harry and the others pull up quietly across the street. HeHe and Robin emerge from his car, two other SWAT guys from theand Robin emerge from his car, two other SWAT guys from the second car.second car. One is SWAT Cop#1.One is SWAT Cop#1. They go to the front ofThey go to the front of the house in standard formation.the house in standard formation. They stop at the windowsThey stop at the windows by the garage.by the garage. The venetian blinds are still down -- can'tThe venetian blinds are still down -- can't see in.see in.
Harry motions for two to go around the back.Harry motions for two to go around the back. He takesHe takes Robin around the side.Robin around the side.
There is a door here.There is a door here. Robin is about to try the knob butRobin is about to try the knob but Harry GRABS her hand, shakes his head.Harry GRABS her hand, shakes his head. He motions for herHe motions for her to go around the back, which she does.to go around the back, which she does.
He tries the window and it gives.He tries the window and it gives. It's clean, no wires.It's clean, no wires. Harry goes in first.Harry goes in first. He climbs slowly, pulling his woundedHe climbs slowly, pulling his wounded leg in.leg in. He gets in.He gets in.
Harry is in the living room, heading for the garage.Harry is in the living room, heading for the garage. WEWE SEE Robin come silently in through a back window, motionSEE Robin come silently in through a back window, motion for the other two to wait outside.for the other two to wait outside. She and Harry bothShe and Harry both start converging on the garage, looking around them, gunsstart converging on the garage, looking around them, guns raised.raised.
Harry looks down at his leg just as it trips an electricHarry looks down at his leg just as it trips an electric eye in the doorway.eye in the doorway.
THE ELECTRIC EYE
is wired to something.is wired to something. A red light goes on.A red light goes on.
Harry and Robin look at each other, knowing it's the lastHarry and Robin look at each other, knowing it's the last thing they will ever see.thing they will ever see.
96.96.
The explosion blasts out the windows, sending the other twoThe explosion blasts out the windows, sending the other two flying, wounded.flying, wounded. The last thing WE SEE are the venetianThe last thing WE SEE are the venetian blinds as they are shredded when that window is also blownblinds as they are shredded when that window is also blown out.out.
CUT TO:
Rings.
There is a pause.There is a pause. And Jack knows.And Jack knows.
INTERCUT WITH:
As he speaks, he opens the venetian blinds.As he speaks, he opens the venetian blinds. We look out onWe look out on Pershing Square: he was never in the house at all.Pershing Square: he was never in the house at all.
(CONTINUED)
97.97.
CONTINUED:
He hangs up.He hangs up. Jack SMASHES the phone against a pole,Jack SMASHES the phone against a pole, furious.furious. Everybody stares at him.Everybody stares at him. He leans against theHe leans against the front window., seething.front window., seething.
He throws the remains of the phone to the floor, unable toHe throws the remains of the phone to the floor, unable to respond.respond.
He whips his head around, stares at her.
(CONTINUED)
98.98.
CONTINUED:
He still stares, but she's drawn the fire out.He still stares, but she's drawn the fire out. EverybodyEverybody is staring at him.is staring at him. He smiles winningly at Annie.He smiles winningly at Annie.
He falls silent again.He falls silent again. His gaze goes from her face to herHis gaze goes from her face to her shirt, the Arizona tee shirt.shirt, the Arizona tee shirt. For a moment he looks almostFor a moment he looks almost puzzled.puzzled.
ANGLE ON THE SHIRT
Beneath the Arizona is a picture of a wildcat.
Jack kneels by her, daubing her brow, speaking softly.
(CONTINUED)
99.99.
CONTINUED: (2)
Jack smiles.
She starts to ask but he shushes her, standing and leaningShe starts to ask but he shushes her, standing and leaning again on the windshield.again on the windshield. Slowly he looks around at theSlowly he looks around at the front of the bus.front of the bus. His P.O.V. searches for it, and there itHis P.O.V. searches for it, and there it is, behind the big convex mirror with a view of the wholeis, behind the big convex mirror with a view of the whole bus.bus. The thin wires, the red light.The thin wires, the red light. A camera.A camera. We push inWe push in on it --on it --
...and pull out, looking at the camera's P.O.V. on a small...and pull out, looking at the camera's P.O.V. on a small black and white screen next to Fisk's other TVs.black and white screen next to Fisk's other TVs. We pullWe pull out further to see Fisk as his eyes flit from screen toout further to see Fisk as his eyes flit from screen to screen, resting on the black and white image.screen, resting on the black and white image.
On the screen, Jack kneels once again by Annie.
(CONTINUED)
100.
CONTINUED:
Jack strides to the back of the bus, talking into hisJack strides to the back of the bus, talking into his throat mike.throat mike.
He holds up a finger to shush her as McMahon gets on theHe holds up a finger to shush her as McMahon gets on the line.line.
McMahon arrives at the base camp.
CUT TO:
McMahon and a few other cops rush to the van.
(CONTINUED)
101.
CONTINUED:
The crew guy starts turning dials.The crew guy starts turning dials. After some snow, theAfter some snow, the shot of the bus appears on one of his screens.shot of the bus appears on one of his screens.
The crew guy sticks in a tape, hits "record."The crew guy sticks in a tape, hits "record." An angryAn angry reporter steps in.reporter steps in.
Jack is sitting near the front.Jack is sitting near the front. Everyone is sitting,Everyone is sitting, looking tense.looking tense.
And WE PAN along the bus, picking up everyone's face asAnd WE PAN along the bus, picking up everyone's face as they try to appear casually despondent.they try to appear casually despondent. We pass Jack andWe pass Jack and Annie and close in on the fuel gauge -- is it picking upAnnie and close in on the fuel gauge -- is it picking up speed?speed?
UNDER THE BUS
WE SEE as the screwdriver is jolted looser and looser, andWE SEE as the screwdriver is jolted looser and looser, and the leak grows.the leak grows.
THE NEWS VAN
McMahon and the others watch the bus on screen.
102.
Annie notices the fuel gauge as it drops below a quarterAnnie notices the fuel gauge as it drops below a quarter tank.tank.
Slowly, Jack brings the walkie talkie to his face.
Mrs. Kamino drops her purse, nervous.Mrs. Kamino drops her purse, nervous. She doesn't know ifShe doesn't know if she should pick it up.she should pick it up. Sits nervously.Sits nervously.
He starts pressing buttons and --
The image plays on the TV.The image plays on the TV. Sounds of Fisk FLUSHING inside.Sounds of Fisk FLUSHING inside. A slight JUMP in the image just before Fisk sits down,A slight JUMP in the image just before Fisk sits down, watches.watches. The tape is now playing.The tape is now playing.
103.
Jack looks back and forth between his watch and the gasJack looks back and forth between his watch and the gas gauge.gauge.
Then he looks over and sees...
AN AIRPORT TRUCK
Pulls alongside the bus.Pulls alongside the bus. McMahon and SWAT cops...McMahon and SWAT cops...
THE LEFT REAR WHEEL OF THE BUS
The outside wheel.The outside wheel. More rubber is peeling off: it's gonnaMore rubber is peeling off: it's gonna pop any second.pop any second.
Jack strides to the back doors.
Annie flips a switch.Annie flips a switch. The back emergency door opens.The back emergency door opens. McMahon tosses a length of 2-by-4 and some rope to Jack.McMahon tosses a length of 2-by-4 and some rope to Jack.
INSERT - FISK'S TV
The taped image of the inside of the bus.The taped image of the inside of the bus. Quiet and calm.Quiet and calm.
Intense activity as the passengers line up to get off.
THE LEFT REAR TIRE
Rubber is peeling off, flapping on the pavement.
104.
Jack stands on the back steps.Jack stands on the back steps. The first passenger to getThe first passenger to get off is Mrs. Kamino.off is Mrs. Kamino. Jack ushers her off into the arms ofJack ushers her off into the arms of Norwood.Norwood. Annie is steering and trying to tie off the wheel.Annie is steering and trying to tie off the wheel.
BUS AND TRUCK
More women get off the buss, followed by Terry and Ortiz.
THE LEFT REAR TIRE
Big strips are peeling off.Big strips are peeling off. Seconds from a blowout.Seconds from a blowout.
INSERT - FISK'S TV MONITOR
Shows the bus as calm, quiet.
Jack helps Terry off.Jack helps Terry off. Stephens is about to step across...Stephens is about to step across...
THE LEFT REAR TIRE
The tread peels off completely.
Jack grabs for him, misses.
(CONTINUED)
105.
CONTINUED:
BUS AND TRUCK
Stephens' upper body reaches the truck.Stephens' upper body reaches the truck. He swings under,He swings under, is slipping.is slipping.
STEPHENS AND ORTIZ
A look between them.A look between them. Stephens grins with relief.Stephens grins with relief.
They just pull him up in time.They just pull him up in time. They smile at their victoryThey smile at their victory all except Stephens himself, who looks like he has vomit onall except Stephens himself, who looks like he has vomit on his mind.his mind.
ON THE BUS
Annie fights to regain control of the steering.
ON THE BUS
Annie and Jack look ahead.
(CONTINUED)
106.
CONTINUED: (2)
ON THE TRUCK
The passengers watch in horror as the bus angles off.
Jack goes back and picks up the 3x5 floor panel he took outJack goes back and picks up the 3x5 floor panel he took out of the floor.of the floor.
ON THE BUS
Jack maneuvers the floor panel down onto the hole, lettingJack maneuvers the floor panel down onto the hole, letting it out on a length of rope.it out on a length of rope. The other end of the rope isThe other end of the rope is tied to a seat support.tied to a seat support.
UNDER THE BUS
The edge of the panel touches the speeding pavement,The edge of the panel touches the speeding pavement, bounces and splinters.bounces and splinters.
Annie finishes tying off the steering wheel and wedgingAnnie finishes tying off the steering wheel and wedging down the gas pedal.down the gas pedal.
They hear an eerie choking sound.They hear an eerie choking sound. Then silence.Then silence. Out ofOut of gas.gas.
INSERT - SPEEDOMETER
Is dropping.Is dropping. 58... 57...58... 57...
(CONTINUED)
107.
CONTINUED:
Annie gets out of the driver's seat, hurries to Jack.Annie gets out of the driver's seat, hurries to Jack. HeHe helps her down into the hole.helps her down into the hole.
UNDER THE BUS
The wood panel is skidding over the pavement, sparks areThe wood panel is skidding over the pavement, sparks are flying off.flying off. Annie gets down onto it.Annie gets down onto it.
The rope and 2x4 are holding.The rope and 2x4 are holding. Jack takes one last lookJack takes one last look ahead.ahead.
UNDER THE BUS
and crouches on the sled, he and Annie holding onto eachand crouches on the sled, he and Annie holding onto each other and...other and...
BACK ON THE BUS
...Jack and Annie blast out from underneath the bus in a...Jack and Annie blast out from underneath the bus in a shower of sparks.shower of sparks.
The rope starts to loosen on the steering wheel.
starts to veer off toward an airplane hangar and... Jackstarts to veer off toward an airplane hangar and... Jack and Annie slide to a stop against a large blinking runwayand Annie slide to a stop against a large blinking runway sign.sign. They look up.They look up.
(CONTINUED)
108.
CONTINUED:
The bus toward the huge open door of the AIRPLANE HANGARThe bus toward the huge open door of the AIRPLANE HANGAR and disappears inside.and disappears inside.
The bus rolls under the wings of a parked 747, betweenThe bus rolls under the wings of a parked 747, between other jumbos and...careens out the other side of the hangar.other jumbos and...careens out the other side of the hangar.
AN EMPTY DC10 CARGO PLANE
Is towed along the runway by a tow truck...
INSERT - SPEEDOMETER
Plunges to 50.
The bus EXPLODES...
...while still rolling at a healthy 49 miles an hour....while still rolling at a healthy 49 miles an hour. Whatever part of it can still roll PLOWS into the DC10...Whatever part of it can still roll PLOWS into the DC10... which explodes... A huge fireball and a shower of metal...which explodes... A huge fireball and a shower of metal...
JACK AND ANNIE
Cover their heads as debris rains down.Cover their heads as debris rains down. He is on top ofHe is on top of her.her. It finally stops.It finally stops.
Annie looks at the flaming carcass.Annie looks at the flaming carcass. Jack looks at Annie.Jack looks at Annie. After a moment, she looks back at him.After a moment, she looks back at him.
Another moment.Another moment. He still hasn't gotten off her.He still hasn't gotten off her. TheThe moment between them is intimate, Annie is about to burstmoment between them is intimate, Annie is about to burst into tears.into tears.
(CONTINUED)
109.
CONTINUED:
He gets off her and they stand.He gets off her and they stand. For a moment she fallsFor a moment she falls against him, but she rights herself.against him, but she rights herself. They head for theThey head for the ambulance.ambulance.
CUT TO:
ANGLE ON AMBULANCE
as it races up to Jack and Annie.as it races up to Jack and Annie. Medics pop out, startMedics pop out, start patching them up.patching them up. Annie is still talking to Jack.Annie is still talking to Jack.
McMahon comes up to them.
Jack and Annie look at each other, almost laughing.Jack and Annie look at each other, almost laughing. TheyThey look back at Mac as if to say, "Eh."look back at Mac as if to say, "Eh."
(CONTINUED)
110.
CONTINUED: (2)
It's a slight awkward moment -- feels like introducing yourIt's a slight awkward moment -- feels like introducing your girlfriend to your dad.girlfriend to your dad.
Norwood runs up to Mac with a phone.
Realization blooms in Jack's face.Realization blooms in Jack's face. He puts his hand overHe puts his hand over Mac's.Mac's.
McMahon pauses, stonefaced.McMahon pauses, stonefaced. He brings the phone to his ear.He brings the phone to his ear.
CUT TO:
The cops finalize their preparations.The cops finalize their preparations. UNDERCOVER COPS moveUNDERCOVER COPS move here and there, signal to each other...here and there, signal to each other...
...Snipers take position.
The ambulance pulls up, no lights or sirens.The ambulance pulls up, no lights or sirens. Jack getsJack gets out.out. Other undercover police cars are nearby and cops rushOther undercover police cars are nearby and cops rush quietly to and fro.quietly to and fro.
McMahon is setting up his command post in a barbershop.
111.
Annie is just finished being patched up.Annie is just finished being patched up. She steps out ofShe steps out of the ambulance to watch Jack's receding figure, her facethe ambulance to watch Jack's receding figure, her face etched with concern.etched with concern.
He looks down on Pershing Square.
Fisk looks more carefully around the square.Fisk looks more carefully around the square. Again fromAgain from his P.O.V., WE CAN SEE:his P.O.V., WE CAN SEE:
A cop running behind a doorway a block away.
A sniper crouching low on a roof.
Fisk smiles, heads for the door.Fisk smiles, heads for the door. He stops at the TV thatHe stops at the TV that shows Jack and the others on the still circling bus.shows Jack and the others on the still circling bus.
On the screen, Mrs. Kamino drops her purse.
There is a glitch.There is a glitch. The purse is in her hands.The purse is in her hands.
Fisk stares at the TV, eyes wide.Fisk stares at the TV, eyes wide. A scream rises in hisA scream rises in his throat but before it comes out we:throat but before it comes out we:
CUT TO:
Jack, McMahon and Norwood look out from a storefront.
Annie is standing by the ambulance, still looking in Jack'sAnnie is standing by the ambulance, still looking in Jack's general direction.general direction. Cops run to and fro, some keepingCops run to and fro, some keeping pedestrians back.pedestrians back.
A SWAT cop comes up to Annie.
(CONTINUED)
112.
CONTINUED:
Relenting, she turns to the cop.Relenting, she turns to the cop. It's Howard Fisk.It's Howard Fisk. SheShe smiles as he leads her away.smiles as he leads her away.
The can stands alone on the northeast corner.
Jack is becoming increasingly agitated.
Jack looks at his watch.Jack looks at his watch. 11:02.11:02.
(CONTINUED)
113.
CONTINUED:
Norwood does, looks down.
ANGLE ON THE HOMING DEVICE
The bags are moving.
Jack bolts for the can.
CUT TO:
Jack DASHES across the street.Jack DASHES across the street. He runs to the garbageHe runs to the garbage cans,cans, pushes them over.pushes them over. Below where the garbage canBelow where the garbage can stood, there's a jagged hole in the concrete, opening upstood, there's a jagged hole in the concrete, opening up into a utility access tunnel.into a utility access tunnel.
Jack hang-drops down into the tunnel.Jack hang-drops down into the tunnel. He hears the soundHe hears the sound of hurrying footsteps down the tunnel.of hurrying footsteps down the tunnel. Jack pulls the gunJack pulls the gun from his waistband and takes off after the sound.from his waistband and takes off after the sound.
FARTHER DOWN THE TUNNEL...
...SOMEONE runs, holding the bags of money....SOMEONE runs, holding the bags of money. Jack pulls outJack pulls out his Glock, draws a bead...his Glock, draws a bead...
The person stops.
(CONTINUED)
114.
CONTINUED:
The person turns, face coming into the light.The person turns, face coming into the light. It's...It's...
An EMERGENCY DOOR on the side of the tunnel opens.
He has a bag, which he drops at Annie's feet.
(CONTINUED)
115.
CONTINUED: (2)
Annie finishes filling the bag.Annie finishes filling the bag. Fisk takes it.Fisk takes it.
Fisk looks at Jack, almost fondly.Fisk looks at Jack, almost fondly. Then he bolts throughThen he bolts through a door with Annie, slamming it shut behind him.a door with Annie, slamming it shut behind him.
Jack runs up to the door.
Jack tries the door.Jack tries the door. It's locked.It's locked. he aims his gun andhe aims his gun and blows the door handle to pieces.blows the door handle to pieces. He tugs the door open andHe tugs the door open and light floods in.light floods in.
(CONTINUED)
116.
CONTINUED:
Jack steps through the door and is very surprised to findJack steps through the door and is very surprised to find himself in...himself in...
He's on the upper level.He's on the upper level. Not many people around.Not many people around. SomeoneSomeone runs up the stairs, looking frightened.runs up the stairs, looking frightened. jack down thejack down the stairs.stairs.
People are shying away from Fisk and Annie as they makePeople are shying away from Fisk and Annie as they make their way along the platform.their way along the platform. He has his gun out and she'sHe has his gun out and she's wearing bombs.wearing bombs. People start getting off the subway,People start getting off the subway, heading for the stairs.heading for the stairs. Fisk pulls Annie onto the firstFisk pulls Annie onto the first car.car.
Three people, sitting.Three people, sitting. Smiles at one of them.Smiles at one of them.
Everyone clears off.Everyone clears off. All the cars are empty now as theAll the cars are empty now as the doors close and the train starts moving.doors close and the train starts moving.
Jack runs down the stairs, yelling.Jack runs down the stairs, yelling. Sprints along theSprints along the platform as the train starts pulling out of the station.platform as the train starts pulling out of the station. He jumps, just grabs the end of the fourth car.He jumps, just grabs the end of the fourth car.
Fisk handcuffs Annie to a vertical handpole.Fisk handcuffs Annie to a vertical handpole. He hands herHe hands her the deadman stick.the deadman stick.
He moves to the front of the car as the driver starts outHe moves to the front of the car as the driver starts out of the compartment.of the compartment.
(CONTINUED)
117.
CONTINUED:
Fisk SHOOTS four times at point blank, sends him flyingFisk SHOOTS four times at point blank, sends him flying back into the compartment.back into the compartment. Two of the shots blast theTwo of the shots blast the control panel.control panel. Annie cries out.Annie cries out.
Crouching, Jack is making his way to the first car, leavingCrouching, Jack is making his way to the first car, leaving the connecting doors open as he goes.the connecting doors open as he goes. He peers into theHe peers into the first car as Fisk finishes shooting, just in time to seefirst car as Fisk finishes shooting, just in time to see him retrieve the deadman's stick.him retrieve the deadman's stick.
He heads for the back and almost sees Jack.He heads for the back and almost sees Jack. With nowhereWith nowhere to go, Jack climbs on the top of the car.to go, Jack climbs on the top of the car. Fisk looks outFisk looks out at the other cars.at the other cars.
He speaks to her softly.
He brushes hair from her face.
(CONTINUED)
118.
CONTINUED:
ON TOP OF TRAIN
Pipes and concrete ceiling whips by Jack's head.Pipes and concrete ceiling whips by Jack's head. He checksHe checks his gun and a red conduit pipe RIPS it from his fingers.his gun and a red conduit pipe RIPS it from his fingers.
Fisk and Annie HEAR the gun bouncing off the top of theFisk and Annie HEAR the gun bouncing off the top of the car.car. Fisk looks up, smiles a little wildly.Fisk looks up, smiles a little wildly.
He grabs the bag of money, opens it.He grabs the bag of money, opens it. Looks up again.Looks up again.
Inside the bag, a dye pack explodes.
Fisk looks down at his now useless money, some of the dyeFisk looks down at his now useless money, some of the dye dripping like blue shadows on his face.dripping like blue shadows on his face. He SCREAMS.He SCREAMS.
Still roaring, Fisk whips out his gun and pumps a roundStill roaring, Fisk whips out his gun and pumps a round into the ceiling.into the ceiling.
TOP OF THE TRAIN
Fisk's bullets come up all around Jack, the last oneFisk's bullets come up all around Jack, the last one ripping into his arm.ripping into his arm. He clutches it, in agony.He clutches it, in agony.
IN THE TRAIN
Fisk keeps firing until the gun clicks repeatedly.Fisk keeps firing until the gun clicks repeatedly. EvenEven then, it's hard for him to stop.then, it's hard for him to stop.
(CONTINUED)
119.
CONTINUED:
ON TOP OF THE TRAIN
No more shots -- Fisk must be out of bullets.No more shots -- Fisk must be out of bullets. Jack startsJack starts inching for the back of the car.inching for the back of the car.
Fisk is right behind him.
Unchecked fury mars his face more than the eerie dye.Unchecked fury mars his face more than the eerie dye. AllAll semblance of control is gone.semblance of control is gone. Roaring, he SLAMS his fistRoaring, he SLAMS his fist into Jack's face.into Jack's face.
He practically foaming at the mouth, hitting Jack with theHe practically foaming at the mouth, hitting Jack with the hand that holds the deadman's stick.hand that holds the deadman's stick. Jack is helpless;Jack is helpless; he's wounded and Fisk has the stick.he's wounded and Fisk has the stick. He feebly tries toHe feebly tries to defend himself.defend himself.
Fisk is on his knees over Jack.Fisk is on his knees over Jack. He starts hitting Jack inHe starts hitting Jack in his arm wound.his arm wound. Jack nearly blacks out from pain.Jack nearly blacks out from pain.
Jack suddenly pulls back his leg and SLAMS it into Fisk'sJack suddenly pulls back his leg and SLAMS it into Fisk's solar plexus.solar plexus. Fisk flies back, standing straight up on hisFisk flies back, standing straight up on his knees and:knees and:
A RED CONDUIT PIPE
meets his face.
(CONTINUED)
120.
CONTINUED: (2)
...and Jack GRABS the hand at the last second, closing it,...and Jack GRABS the hand at the last second, closing it, taking the stick before Fisk's body even hits the top oftaking the stick before Fisk's body even hits the top of the train.the train. Jack holds the stick, out of breath.Jack holds the stick, out of breath.
Annie turns warily at the sound of a door sliding open.Annie turns warily at the sound of a door sliding open. Relief.Relief. It's Jack.It's Jack.
By way of reply, he holds the deadman's stick up, almostBy way of reply, he holds the deadman's stick up, almost smiling.smiling. Annie looks very relieved.Annie looks very relieved.
He takes off her vest and defuses the C-4 and neutralizesHe takes off her vest and defuses the C-4 and neutralizes the deadman stick.the deadman stick. Goes to the driver's compartment.Goes to the driver's compartment.
Sparks.Sparks. The equipment was shot to shit.The equipment was shot to shit. Jack sees theJack sees the braking controls, flips the switches.braking controls, flips the switches. Nothing.Nothing. Grabs theGrabs the speed dial/lever and tries to pull it back toward the left,speed dial/lever and tries to pull it back toward the left, but it won't budge.but it won't budge. It's jammed up.It's jammed up. Pushes it forward --Pushes it forward -- the train goes FASTER.the train goes FASTER. Tries the radio mike -- DEAD.Tries the radio mike -- DEAD.
She shows him her handcuffs.
(CONTINUED)
121.
CONTINUED:
He pulls at the hand cuffs, pulls at her wrists, tries toHe pulls at the hand cuffs, pulls at her wrists, tries to unscrew the pole with a knife -- nothing.unscrew the pole with a knife -- nothing.
He stops.He stops. Her eyes are wet.Her eyes are wet.
No way.No way. He looks up at the map.He looks up at the map. There's a big curve, thenThere's a big curve, then dead end.dead end.
He looks at her.
Going to the driver's compartment.
122.
Turns the knob hard right, comes back out...
He says nothing.He says nothing. Comes up to the pole she's at, holds on.Comes up to the pole she's at, holds on. Braces himself.Braces himself. She falls silent as well.She falls silent as well. Drops her cuffsDrops her cuffs around him.around him. Holds him tight.Holds him tight. They wait.They wait.
The train ROARS along the track...
Still under construction.Still under construction. At the end of the station theAt the end of the station the track dead-ends into a ROCKFACE.track dead-ends into a ROCKFACE.
JACK AND ANNIE
brace themselves...
Barreling through the station... it's going way too fast,Barreling through the station... it's going way too fast, but it's holding the tracks.but it's holding the tracks.
JACK AND ANNIE
Jarred by the rough ride.Jarred by the rough ride. The lights flicker on and off.The lights flicker on and off. Smoke from overheated engines rises into the car.Smoke from overheated engines rises into the car.
The construction crews are fleeing.The construction crews are fleeing. A truck speeds off upA truck speeds off up the ramp, hauling dirt out.the ramp, hauling dirt out.
JACK AND ANNIE
Eyes shut, holding tight.
(CONTINUED)
123.
CONTINUED:
...appears....appears. Above ground, like a breaching whale, skiddingAbove ground, like a breaching whale, skidding and crashing and finally resting on its side in front ofand crashing and finally resting on its side in front of the Chinese Theater, to the amazement of dazzled onlookers.the Chinese Theater, to the amazement of dazzled onlookers. Jack and Annie visible through the now-open back of the car.Jack and Annie visible through the now-open back of the car.
CUT TO:
Jack and Annie sit up, find they are all right.Jack and Annie sit up, find they are all right. The poleThe pole has been wrenched from the ceiling and Jack pulls Annie'shas been wrenched from the ceiling and Jack pulls Annie's hands free.hands free. They suddenly kiss, desperately alive.They suddenly kiss, desperately alive.
(CONTINUED)
124.
CONTINUED:
She takes his hand, quickly and gentle clicks the otherShe takes his hand, quickly and gentle clicks the other cuff on him, joining them.cuff on him, joining them.
And they sit awhile.
TOURISTS WITH CAMERAS
arrive on the scene.arrive on the scene. Train their cameras on the kissingTrain their cameras on the kissing pair.pair.