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Excerpt Begins:INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK A Taxi pulls up outside the area for departing flight drop offs. INT. TAXI -- WEE HOURS OF THE MORNING/DARK CAB DRIVER Delta, La Guardia. That'll be thirty five. RAY CRYER Here's an extra twenty. Wait for me. There might be a line. If there's no flight out, I come back out. If there is, I wave and you go. INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK Cryer gets out of the taxi, carrying one small bag. He is an old man in his seventies. He hobbles along from a bad leg injury some years back. He enters the airport terminal. INT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK We follow Cryer moving along with the weight of his years, through a nearly deserted terminal, to the Delta ticket line. There is no one else there at this hour but the TICKET LADY. CRYER I need ticket for airplane. TICKET LADY Ticket to where, sir? CRYER To Alabama, Mobile. EXT. AIRPORT -- WEE HOURS OF THE MORNING/DARK From the taxi's POV: Cryer arranging for his ticket. He turns back to the cab driver, who can see him from here, and waves. The cab driver takes off. INT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK Cryer turns away from the ticket counter looking vacantly at his ticket. He looks up. Cryer's POV: The vast, deserted terminal. Cryer looks at... A clock suspended somewhere in the terminal. The time is 2:34. Cryer looks down at his ticket. We see the time of departure on his ticket is 4:34. He looks down to his left, and sees... A YOUNG MAN (the narrator) asleep on a bench. Back to Cryer, looking at him. On the Young Man, Cryer's POV traces a length of string from the young man's wrist to a bulky metal briefcase. Cryer moves on. INT. AIRPORT/BATHROOM We see Cryer hobble into the bathroom. INT. BATHROOM -- WEE HOURS OF THE MORNING/DARK Cryer is alone in the bathroom. He walks past the wall-length mirror, and stops. He looks at himself, as if looking at a stranger. We hear a toilet FLUSH, our angle on the sinks and mirror, and Cryer comes into sight, going to the sink. He turns on the water and splashes his face. Possible over-the-shoulder shot of him looking at his own reflection. Haggard. Looking very old. INT. AIRPORT/BAR -- WEE HOURS OF THE MORNING Cryer walking toward an all-night watering hole. INT. BAR Cryer takes a seat at the bar. The elderly BARTENDER comes over slowly. CRYER Dewars. Straight. No ice. (the bartender turns away) Hold on there. Can you put on the news? The bartender sets the drink down first, then turns to the TV mounted over the bar and turns the channel to CNN. There is no sound. On Cryer, watching, worried. Cryer's POV: We see images on CNN of the President waving from a podium, floods washing through Texas, and Ms. Pin Stripe Suit being shot, falling against the video camera taping her. (More on her later) On Cryer, severe expression of concentration. BARTENDER Somethin' 'bout those floods in Texas, eh? CRYER What floods? BARTENDER On the news you're watchin'. They got floodin' down in Texas. CRYER Good thing I'm not goin' there then. BARTENDER Yeah? Where you headed? CRYER Mobile, Alabama. He waggles his empty glass at the bartender, who re-fills it. BARTENDER Business or pleasure? CRYER (considering the question) Duty. He drinks. EXT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK Cryer tries to sleep, uncomfortably, in one of the hard plastic chairs with the small coin TV's mounted on the front. He finally gives up trying to sleep, eyeing the TV in front of him. Finally, he rolls over slightly and fishes a coin out of his pocket. He drops into the coin slot and waits. The TV comes on, showing whatever it shows. Cryer turns the channel dial to the news. We hear the newscaster without seeing the news. Staying on Cryer. NEWSCASTER The following is from an address given earlier today by the father of missing girl Monica Harvey to her kidnappers. MONICA'S FATHER V.O. We can help you with whatever you need. Just bring our daughter Monica back to us. Please do not her our Monica. She's a great little girl. I know you have some human decency in you, and that hurting Monica will not make you feel any better in the long run. NEWSCASTER Monica Harvey has been missing since June 6 of this year. On Cryer, rubbing sleep out of his eyes. NEWSCASTER In Mobile... Cryer snaps back to alertness. NEWSCASTER The Office Killer's second victim was removed from the O'Reilly and Sons Complex. Cryer sits up straight, wide awake. Cryer's POV: the TV footage of two PARAMEDICS wheeling out a body on a gurney, covered by a sheet. On Cryer, worried. NEWSCASTER Authorities believe the identity of the Office Killer to be Samuel White, a Computer Information Systems manager of O'Reilly & Sons, who started there three years ago. Questioning of White's friends and neighbors has been ongoing for several hours now, with still no word on what would have led White to threaten the lives of his co-workers� Image on the screen is now a photograph of SAMUEL WHITE, apparently attending a wedding. He's wearing a tux, and looks drunk. On Cryer, full on, looking at the screen, eyes narrowing. On the screen: showing the yearbook photo now of Samuel White. On Cryer, again. Watching the screen, his eyes narrow in concentration. Cryer's POV: the picture on the screen no longer shows the yearbook picture of Samuel White, but a wide angle shot of a small town and some grain elevators. ON THE SCREEN: Thanksgiving, 1940 Cryer does a doubletake. EXT. CANTON/DISTANCE -- DAY We see Canton from somewhere out in a corn field: silos, functional buildings, probably the river. A small town. EXT. AUNT'S HOUSE -- DAY A '40 Studebaker pulls into a side street and parks at the curb before a corner house. A YOUNG CRYER gets out of the car, with his PARENTS, looking around sullenly. Already bored and they've just arrived. His AUNT comes out of the front door, flanked by Cryer's two cousins, JIMMY and LEN. The Aunt is very happy to see them, almost fake. The two cousins don't pretend to care at all. The Aunt embraces Cryer. INT. AUNT'S HOUSE/LIVING ROOM -- DAY We come in slow on the family. MRS. CRYER talking with the Aunt. MR. CRYER roaming around the room, occasionally participating in their conversation. The young Cryer is sitting with his cousins in the living room, watching something on TV (had it been invented yet?) MRS. CRYER And little Ray, jr. was on the Honor Roll again this year. AUNT Oh, myyyyyyyy! I just knew it! Little Ray, jr. is so smart. He's just gonna be the President of this country some day. I just know it. Mr. Cryer walks by and ruffles Young Ray's hair. Young Ray seems put-on-the-spot. His two cousins look at him bored, then re-absorb in their TV show. The Aunt is looking at him, as we're on Young Ray. We see her, in the background, whisper something to Mrs. Cryer. Mrs. Cryer looks at her boy. AUNT I bet Lenny would let you borrow his new Schwinn if you wanted to ride around town, Ray, jr. Ray, jr.'s eyes flick to Lenny. Lenny looks at his mother, the Aunt, then back to Ray, jr. and shrugs. Ray, jr. is up quickly, kisses his mother on the temple, and races out of the room. MR. CRYER Be back by supper, Ray! INT. AUNT'S HOUSE/GARAGE -- DAY We are seeing Cryer advance toward us, slowly, as if in awe of the Holy Grail. Ray's POV: A sparkling new Schwinn bicycle gleaming in the dusky sunlight coming in the garage windows. EXT. AUNT'S HOUSE -- DAY We are following Ray, jr. now as he sets out to explore town on his borrowed bike. Ray's POV: the houses he passes, jumping to: the Main Street, the stores, the pharmacy, jumping to: more houses, a different side street, jumping to: the town school, the library, the town square. On Ray, jr. riding. Ray's POV: the Sioux River. Ray, jr. stops and gazes at it for a few seconds. Ray's POV: two YOUNG BOYS fishing. One of these is GABE. Right away, Gabe turns and looks at Ray, jr. (us). Ray returns his look, curious. Gabe waves Ray, jr. to come over. Ray, jr. does so. GABE Who are you? RAY, JR. I'm Ray Cryer. Gabe's buddy snickers at the name. Gabe looks at him, as if to say "shut up". The buddy does so. GABE You ain't from town. RAY, JR. I'm from Detroit. Gabe is impressed. Everyone knows Detroit has a bad reputation. GABE How come you're here? RAY, JR. My aunt lives over on Street. We're here for Thanksgiving. Gabe nods, satisfied. GABE You smoke? RAY, JR. (pause) Sure. Gabe pulls a pack of cigarettes out of his jeans and lights up. He offers the pack to his buddy, then to Ray, jr. Ray, jr. takes one, anxiety evident. Gabe lights it for him. Ray, jr. coughs. Gabe's buddy cracks up, and even Gabe chuckles this time, but not in a malicious way. GABE Thought you smoked? RAY, JR. Only sometimes. Gabe nods, seeing through the lie, but liking Ray, jr. anyway. He is reeling in his line. On Ray, jr. trying to smoke properly. Gabe smoking, getting ready to cast. GABE You like fishing? RAY, JR. Sure. Yeah. GABE (beat) You want to meet my sister? Ray, jr. coughs out hard. Gabe and the buddy laugh some more. INT. AUNT'S HOUSE/DINING ROOM -- EVENING Time has passed. Ray, jr. is eating (Sloppy Joes?) with his family. Everybody is boring. Eating, throwing out random, disinteresting bits of dialogue: the weather, etc. Ray, jr. looks at the clock. The clock reads 8:15 pm. On Ray, jr., anxious. RAY, JR. Mom? Can I ride around on Lenny's bike some more? Mrs. Cryer, looking at the Aunt, then Mr. Cryer. Looking at Ray, jr., considering it. On Lenny, no expression. EXT. SCHOOLYARD -- EVENING Ray, jr. POV: Gabe waiting, without his buddy, looking toward "us", Ray's approach. Over-the-shoulder/Gabe: On Ray, jr. GABE My Dad and Darla'll be leavin' soon. They're going down to the Wheel, and won't be back before two in the mornin'. Ray, jr. nods. They ride together. EXT. GABE'S HOUSE/CANTON STREET -- NIGHT Gabe and Ray, jr. pull up to the curb across the street from the house that Gabe lives in with his sister, father, and stepmom. They wait behind a shrub. Ray's DAD and DARLA, the stepmom, come out of the house but don't see the boys. They climb into their pickup truck, back out and leave. GABE Come on. Ray, jr. and Gabe cross the street and enter the house. INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK Then the screen goes completely black. On Cryer, lost in a half-daze, thinking. Finally, he pulls himself out of the plastic seat and heads back toward the bar. INT. AIRPORT BAR -- WEE HOURS OF THE MORNING/DARK The bartender sees him coming this time with recognition. BARTENDER What can I...? CRYER Whiskey. A double. BARTENDER Yeah. You got it. The bartender is eyeing Cryer, curious. Cryer accepts the drink and drains it, then slaps it down for another. The bartender is even more curious as he re-pours. Hands shaking, Cryer drains this one as well. Eyes closed, remembering. EXT. CANTON/SIDE STREET -- DAY The Studebaker pulls up in front of the Aunt's house. The passenger door swings open. Mr. and Mrs. Cryer are getting out. The Aunt is coming out of the house, glad to see them, flanked by her two sons, Jimmy and Len. As the Aunt hugs Mrs. Cryer, and Mr. Cryer comes around the car to shake hands with the two boys, then take his hug from the Aunt, as the boys hug Mrs. Cryer, Ray jr. steps out of the car, ignores them all, and walks toward 'us', looking into the distance. Mr. Cryer approaches. MR. CRYER Come on, Ray. We only come here once a year. Come talk to your cousins. Grudgingly, Ray, jr. turns away and follows his father into the house behind everyone else. EXT. CANTON/SIDE STREET -- DUSK Ray, jr. on his borrowed bicycle, combing the dusky streets of Canton. Suddenly, he stops. Ray, jr.'s POV: the schoolyard. EXT. SCHOOLYARD -- DUSK Gabe is sitting on his own bike, back turned to Ray, jr. and us. The front wheel is wedged in a bike rack and Gabe is balancing on the bike that way. He is talking to another KID. On Ray, jr, watching his friend, getting excited. Ray, jr.'s POV: Gabe and the kid he is talking to. The kid points at Cryer, still up the street a little. Gabe turns in. We zoom in (low angle) on Gabe's reaction to seeing his friend, Ray, jr., back in town. He is happy, to say the least. EXT. CANTON/SIDE STREET -- DUSK Gabe and Ray, jr. are now riding together. We follow behind them at fast-pedal bike speed. EXT. SCHOOL -- NIGHT Ray, jr. is following Gabe up the stairs and into the school. GABE Angel's gonna shit when she sees you. I can't wait to see the look on her face. Man, she is gonna flip! Her basketball game should be almost over. We hear crowds cheering and a scoreboard bleating out the end of game BUZZER. We follow them down the hallway, seeing the occasional kid run past our line of view. We follow Gabe and Ray, jr. around a corner into another hallway, going toward the locker rooms. A girl comes around the corner from the other direction and Gabe grabs her. GABE Heather, who won the game? HEATHER We did. GABE What was the score? HEATHER 4-6. GABE Hey, Heather, will you please go back in there and get Angel? Please? Please? HEATHER I gotta go... GABE Heather, please! Just go in there and tell her to come out here, please? It's really important. Please? HEATHER (walking away) Oh. Okay. EXT. SCHOOL/HALLWAY -- DAY/NIGHT Looking down the hallway from the corner, we the audience can see two things: that Angel is coming down the hallway from the locker rooms, and Ray, jr. is standing with his back to her, talking to Gabe, who is off-camera. Ray, jr. turns, just as Angel is coming around the corner, and they almost collide. Angel's hand flies to her mouth to keep in a scream. Ray, jr. just stares at her, speechless. Angel turns on her heel and runs back the way she came, Heather following. Ray, jr. falls back as well, leaning back against the wall, as if recovering from shocked paralysis. Gabe lays a hand on Ray, jr.'s shoulder, comforting. GABE Yep. She's nuts about ya. I might as well start callin' ya brother-in-law right now. Ray, jr. throws an arm playfully around Gabe's shoulders. JUMP TO: INT. 707 -- NIGHT/STORMS The plane that Cryer is riding on bucks over turbulence, and Cryer's eyes fly open. Cryer's POV: the fasten seatbelt sign. PILOT V.O. Yep, folks, there's our turbulence, and we should be through most of it in a couple of minutes. Please take your seats for the time being. We'll be landing in Mobile in about twenty more minutes. Cryer tries to relax, and sits back to look out the window. POSSIBLE DESCENDING SHOT THROUGH CLOUDS. EXT. CANTON HIGHWAY -- DAY AERIAL VIEW OF MR. CRYER'S STUDEBAKER COMING INTO TOWN. The Studebaker pulls up to the curb. Same scene as before. Everyone comes together. AUNT (to Ray, jr.) I bet you want to take Lenny's bike for a ride, don't you, Ray, jr.? CUT TO: EXT. CANTON/SIDE STREET -- DAY Ray, jr. riding the bike as if his life depends on getting somewhere fast. EXT. GABE'S HOUSE/SIDE STREET -- DAY He comes to a stop at the curb outside Gabe and Angel's house. He is just getting off his bike when a car drives by, and we hear a girl's voice. MANDY Hey, Ray! Ray, jr. turns around quickly, and sees MANDY, Angel's friend, hanging out of the passenger window of her mom's car as it motors past. Ray, jr. stares, incredulous. The car slows, and Mandy starts to get out, saying over her shoulder MANDY Okay, Mom! I promise! The car leaves. Mandy approaches Ray, jr. MANDY Hey, Ray! RAY, JR. Hey...Mandy. I was just goin' in to see Ang...uh, Gabe. MANDY Ray, jr. don't you pull my leg! I know who you're here to see! But sweetie, she ain't here. On Ray, jr., almost in shock. MANDY (understanding his disappointment) She's in Georgia, with Gabe. Seein' their mom for Thanksgiving. On Ray, jr., deeply disappointed. His whole world has collapsed. A noise distracts him, coming from the direction of the house. He jerks his head to the side to see. Two-shot: Between Ray, jr. and Mandy, who are both looking at the house, and Gabe's FATHER, standing outside the door, and looking at them threateningly. On Ray, jr. On Mandy, looking from Gabe's Father, to Ray, jr., knowing the heat is on Ray, jr. Not on her. Gabe's Father turns away after taking a nice, long look at Ray, jr. Understanding exactly what's going on. RAY, JR. Does he hurt them, Mandy? Mandy gets completely serious, leveling with Ray, jr. MANDY I don't know that, Ray. Take care, Sweetie. She leans in, hugs Ray, jr., and leaves. Ray, jr. turns on his bike and rides off, back the way he came. INT. AIRPORT -- DAWN Mobile Airport, dawn. Cryer disembarking in the terminal, carrying his carry-on, determined, but also looking like he spent the last night on an airport. Possible long, wide angle. There are people here, but the place isn't packed. EXT. AIRPORT -- DAWN It's raining. A taxi sits by the curb, and a young college girl runs to it, using a newspaper as an umbrella. This is JENEANE. She get there a few seconds before Cryer even comes on the scene. INT. CAB -- DAWN Jeneane's POV: Cryer leaning in politely through the rear window. CRYER I'd be happy to pay for your ride if you'll allow me to share your cab. Crier's POV: Jeneane looking back at him, taking a beat. Finally, nodding. Crier opens the door to get in. INT. CAB -- DAWN They are riding. Two-shot. Cryer looking sideways at her nonchalantly. Crier's POV: her lap, and the folded, wet newspaper. CRYER That's the great thing about the news. It serves so many purposes. Jeneane looks sideways at him, Crier's POV, and giggles pleasantly, then looks absently down at her paper. As Cryer zeros in on the front page like a hawk on a rat... JENEANE I know, can you believe this rain? It never rains like this out of hurricane season. The headline reads: Night of Terror, and shows the picture of the hostages. On Cryer, barely subduing anguish. JENEANE O.S. Terrible, isn't it? CRYER Yes. It is. JENEANE You from here? CRYER I'm in town for business. JENEANE And you're going to Dalemore Heights? Cryer nods. JENEANE That must be creepy. CRYER It is very creepy. JENEANE I know I'd have to have very important business to even go near Dalemore today. It's like a bomb scare to have that guy around. CRYER It's very important business, ma'am. (beat) He's the third one from the left, in front. JENEANE (She is looking at the paper.) Excuse me? Who is? CRYER My brother. The old guy third in � He doesn't finish, pointing at Gabe instead. JENEANE Oh my God (quiet, shocked, sad. ) I feel so bad for you. CRYER It's okay. I'm going to get him out. Her eyes are gigantic. The cab driver is listening now. JENEANE I'm sorry, take us to Dalemore Heights first, please. Cryer beams at her admiringly. EXT. ANY STREET -- DAY The cab makes a u-turn. INT. CAB -- DAY JENEANE So where are you comin' from, anyhow? CRYER Suffern, New York. JENEANE Wow. So...when was the last time you saw him, your brother? CRYER 1947. Jeneane says nothing, realizing the boundary of prying. CRYER I haven't seen him since he was a little boy. INT. CRIER'S JOB -- NIGHT Cryer in his security guard outfit, wandering through a deserted workplace. INT. CRIER'S JOB/GUARD'S OFFICE -- NIGHT Cryer wanders in, helps himself to a donut. RADIO ANNOUNCER Tonight's news in Alabama is ongoing coverage of the hostage situation currently underway in the O'Reilly & Sons Real Estate office complex the suburb of Dalemore Heights. At this time, there have been two casualties, both employees who worked for the office... EXT. SIDE STREET -- NIGHT Cryer walking home along the sidewalk. INT. CRIER'S HOUSE -- NIGHT Cryer comes into his kitchen, sets his stuff down, takes his hat off, gets himself a glass out of the cupboard. He then wanders into the living room, and slumps in his LazEBoy. He picks up the TV remote on his side table and clicks on the TV. Over-the-shoulder/Ray: A commercial, then the news. Ray is lifting a bottle of whiskey from beside the couch, uncapping it. Reverse: Over-the-shoulder/Ray: The news, the office and the hostages. Ray looks at his glass and begins to pour, when he notices the glass is dirty. His face sours, and he goes back into the kitchen to get a new one. NEWSCASTER And there again, the startling footage from the O'Reilly Real Estate Building in Dalemore Heights, Alabama. This footage was obtained from the perpetrator, himself. Apparently, he had someone holding this video recorder while he opened fire on one of the employees... On Cryer, in the kitchen, opening the cupboard, looking for a glass. We hear the crowd of hostages SCREAMING in unison. Cryer finds a glass and turns back to his living room. Cryer seeing the news. Slow-motion, the glass falls and shatters. Cryer comes closer to the set, awestruck, totally focused on it now. Crier's POV: the videtape of the hostages crowding together, as if that might save them. On Cryer, stunned. NEWSCASTER Authorities have been on the scene since all this began, at 3:40 this afternoon, when the first shots were fired. Crier's POV: the hostages, switching to...crowds of gawkers outside the building where the hostages are. We also see cops, and an ambulance. NEWSCASTER Immediately, investigators began contacting the families of each of those employees inside the building, asking for any clues that might lead them to a name of the shooter. On Crier's hands now, as he fumbles for a blank videotape still in the wrapper. He begins briskly trying to open the cellophane, dropping the tape. CRYER (bending over to pick it up.) Shit! New angle: Cryer standing up straight again, unwrapping, sticking it in the VCR. NEWSCASTER VO Soon after that, after authorities had responded to the reports of shots fired, one more shot was heard and then this videotape was released. Apparently, the police asked if they could send in an ambulance crew, and the shooter complied, also sending out this videotape that you've been watching. He backs away from the TV, still staring at it expectantly. He blindly picks up the remote beside him and aims, pressing a button. On the TV screen, we see the letters REC appear in the top corner. On Cryer, now visibly distraught. Crier's POV: the news. We are on the newscaster, then a picture of a man in a tuxedo at a soiree. This is SAMUEL WHITE, whom we will meet more closely later. NEWSCASTER VO Authorities believe the identity of the Office Killer to be Samuel White, a manager of Computer Information Systems, who has been (referring to notes ) Computer Information Systems manager of O'Reilly & Sons, who started there three years ago. Questioning of White's friends and neighbors has been ongoing for several hours now, with still no word on what would have led White to threaten the lives of his co-workers� INT. CAB -- DAY JENEANE (looking closely at the photo) You haven't seen him since he was a little boy? You're positive this is him? On Cryer INT. CRIER'S HOUSE -- NIGHT We see Crier's TV, and the REC in the top corner turns to STOP. We see a CU of Crier's finger hitting the REWIND button on his remote control. We see him apprehensively waiting for the tape to rewind. We see Crier's TV, and the word in the top corner turns to PLAY. On the TV, we see the Newscaster. NEWSCASTER Negotiations are now.... On Cryer, aiming the remote. We will assume he is hitting FAST FORWARD. On the TV, as lines appear and the picture moves at twice normal speed, fast forwarding. We come back to the hostage scene. Cryer hits PLAY on the remote. The screen freezes on the crowd, cowering in the corner. On Cryer, possible slow zoom. Slow zoom: Crier's POV: the crowd, then one man in the crowd. He is approximately the same age as Crier. INT. CAB -- DAY CRYER It's him. On Jeneane, looking sympathetically up at Cryer. JUMP TO: EXT. CAB/CROWDED STREET -- DAY The cab pulls up to the curb. People seem to be moving around on the sidewalks as though a parade is coming, somewhat expectant. INT. CAB -- DAY CRYER (leaning over to reach his wallet) Thank you. Jeneane seems to be considering something, as Cryer takes out his wallet and pays the driver. She watches the money change hands, and then lays a hand on Crier's arm. JENEANE I want to help. CRYER (putting away his wallet.) Whatever I do will probably be illegal. I can't let you help me. He smiles at her, and puts a hand on the door handle to get out, then stops. Thinking. He looks back at her. CRYER Do you have any Mace? She pulls a keychain with a small can of Mace on the end of it out of her purse and puts it in his hand. JUMP TO: EXT. CAB -- DAY Cryer is walking toward a phone booth. Behind him, the cab is rolling away. He stops quickly, remembering something. He turns back. INT. CAB -- DAY Jeneane taps the driver on the shoulder. JENEANE Wait. He's coming back. Cryer comes to the back window, looks in at her. CRYER Wait for me. Can you? JENEANE Yeah. Where? EXT. CAB -- DAY Crier's head rises above the cab and we see... Crier's POV: the crowds gathered around the O'Reilly & Sons building watching for action. There is an alley nearby the scene that seems devoid of most people. INT. CAB -- DAY Cryer looks back in the window at her. CRYER Over there, by the alley. JENEANE Okay. (to the driver) Let's go. EXT. CAB -- DAY Cryer turns back to the phone booth as the cab rolls away now. After a last glance down the street, he walks into the cab and closes the door. Lifts the phone, looks at the keypad. CU on the keypad. Crier's fingers dialing: 911. EXT. O'REILLY BUILDING -- DAY A good CROWD is gathered, gawkers and tragedy spectators. We also see two CAMERA CREWS and COPS. Also, an ambulance. General CROWD noise. Various angles: The front of the building: Steps leading up to double glass doors. The cops: forming a human cordon to keep the crowds back. The cop in charge, COP #1, peruses the crowds. We see guys in suits and shades, FBI, also standing around. Back to Cop #1. He is startled, as someone taps him on the back. He turns, to see... Cryer standing behind him. CRYER Has that man killed anyone else after the second one? COP #1 He's up to three. CRYER Three killed? COP #1 Yes, sir. Can you take a step backward, sir? Cryer takes a backward step, much more feebly than he needs to. CRYER Man or woman, Officer? Charles cupped a palm to the ear. CRYER Did that animal kill a man or a woman? COP #1 A woman, sir. The Cop turns away from Cryer and ambles off to find business elsewhere. Cryer also dissolves into the crowd. Different angle: Cryer continuing through the crowd, making his way closer to the building. We switch to a newscaster getting ready to speak into her camera. The cops watching the crowds. The Feds. Another angle of Cryer. Crier's POV: The front of the building, over heads. On Cop #1, as another COP (#2), comes up and whispers something in the first cop's ear. On Cryer, standing still for a moment, watching this. Crier's POV: Cop #1 seems disturbed by the news he has just heard, and whispers something back to his partner. Cop #2 takes off into the crowd. Cop #1 lifts a bullhorn and addresses the crowd. COP #1 People, I'm going to need you to disperse now. (turning to the building) Samuel, can you hear me in there? I'm telling these people to leave now, okay? That's all we're doing. Samuel? Your crew is on it's way now. Okay? Samuel? Different angle: We see two CAMERA MEN, one carrying a camera, run low along the front of the building toward the front doors. On Cryer, seeing this. The camera men wait by the ambulance. COP #1 People, we need to clear this area now. Everyone please disperse � One GUNSHOT, from inside the building, and a general distressed MURMER from the crowd. We hear one or two SCREAMS. Cop #1 spins around. SAMUEL WHITE (from inside, bellowing) What's happening out there? COP #1 Samuel, I'm just moving them out of here, okay? Samuel?" WHITE Why! COP #1 Samuel, we don't need all of these people- WHITE Come get this one! I told you! I told you! Get in here and get this one out of here! COP #1 Samuel, talk to me. WHITE I told you not to do anything without telling me first! COP #1 Samuel, I'm sending in the paramedics now, okay? Cop #1's POV: the PARAMEDICS, crouching by the ambulance, look to the first cop for the greenlight. WHITE Do it! The Paramedics POV: On Cop #1, who points to them. Crier's POV: They go, running in with a stretcher. From the angle of the front doors: The Paramedics run past the Camera Guys, who are standing by. COP #1 Samuel, do you want me to send in your news crew now? WHITE Do it! Crier's POV: the Camera Guys running in. On Cryer, walking faster toward the doors. Crier's POV: the doors, over everyone's heads, but they are much closer now. We are seeing occasional openings between the bodies packed in here like sardines. On Cryer, CU, silently counting, moving steadily toward those doors. On Cop #1, waiting like everyone else. Cop #1's POV: the front of the building. On Cryer, counting. Barely, we hear... CRYER Sixteen. Seventeen. Eighteen. On Cop #1 We hear White's voice O.S. WHITE What do you mean there's a bomb out there? Loud, general MURMER from the crowd. One or two shots of random groups within the crowd. Cryer moving. On Cop #1 WHITE O.S. What's this bomb shit I'm hearing out there? What is going on! COP #1 (lifting the bullhorn) We don't know that's true yet, Samuel. Cryer moving. Crier's POV: the doors are close now. Various angles: The crowds are moving away quicker now. On the Newscaster, and her Camera guy. She is picking up her bag, and tapping the camera guy on the shoulder, who stops filming and starts backing away. On Cryer. Crier's POV: the doors ever closer. Big gaps now between people who are leaving the scene. Crier is moving against the flow, toward the building instead of away. Wide angle of people moving backward en masse. Different angle: from the back of the crowd, on the sidewalk, some people running away. On the Newscaster and her camera man, hurrying to the other side of the street, with OTHERS. On Cryer, long shot, moving against everyone else. Crier's POV: the steps are open before him. Front doors POV: Cryer coming toward them. Cop #1 is now being jostled by people flooding past him. COP #1 Samuel, are you there? Many GUNSHOTS from inside. Collective SCREAM. The Newscaster turns back to see what has happened. We see her zero in on something in particular. Her angle, but closer: Cryer approaching the steps. On her, intrigued. Front doors POV: Cryer approaching. GUNSHOTS Cryer walks in through the front doors. FADE TO: EXT. O'REILLY BUILDING -- DAY Different angle. Lapsed time. The area now around the doors is vacant. Different angle: the CROWDS are now well across the street. On the Newscaster and her camera man. The Camera man is filming. Everyone's waiting. On Cop #1, waiting, watching. The Newscaster, watching. Original angle: We see a large group of people run out of the building. CAMERA GUY Come on, let's go! NEWSCASTER Wait. CAMERA GUY For what? NEWSCASTER Just wait a minute. Their angle: the last of the people from inside run out, followed two seconds later by Cryer, supporting Gabe, and coming down the stairs. They turn away once they hit the sidewalk and head toward an alley. NEWSCASTER There! Them! Who are they? EXT. CAB -- DAY Jeneane opens the door from the backseat, as Gabe and Cryer approach. They have blood on them. INT. CAB -- DAY Cryer puts Gabe in the backseat, with Jeneane's help, as gently as he can. He looks ready to pass out himself. JENEANE Are you hurt? Cryer climbs into the cab and pulls the door closed. On Cryer, exhausted. Crier's bleary POV: Jeneane, looking into his face, the scenery moving past the windshield, the back of the driver's head. Last look at Cryer. Crier's POV: CRYER No...the Office Killer... CUT TO: INT. O'REILLY BUILDING -- DAY Image is murky now. Cryer has passed out in the previous scene, and is reliving what just happened. He is walking down the hallway within the building. The noises, in here, are much clearer. We hear SHOTS, SCREAMS, SAMUEL WHITE, and CAMERA GUY #2. INT. OFFICE -- DAY We see SAMUEL WHITE, for the first time, hiding behind a HOSTAGE, backing up with her, firing out in front of him, yelling gibberish. In the background, we see the other HOSTAGES, all screaming. INT. O'REILLY BUILDING -- DAY Cryer is almost there. Past him, we see the two PARAMEDICS. One of them is shot in the leg, the other is trying to pull him into the hallway, out of the immediate area. Their POV: Cryer approaching, like a guardian angel. The Paramedic doing the dragging notices Cryer, stares for a good, long beat. Their POV: now all sound drops out of the scene. Cryer moves forward, closer, almost in slow motion. He reaches the edge of the hallway and begins to turn the corner, to walk into the heart of the action. Crier's POV: Samuel White, backing toward him, with the hostage, still firing. We see the one of the camera men laying in the middle of the room. The other camera man is behind an upturned desk. We can see his gun, but he's pinned down, unable to return fire. The Hostages. A few of them turn to where Cryer is now standing. On Cryer coming around the corner. CU on his hand: we see the mace keychain dangling from his fingers. They tighten around it, and it comes up out of our view. On Samuel White, getting closer to Cryer, who is almost right behind him. On the other Camera guy, who is really a Fed, holding his gun, waiting, getting ready to sneek a peak around the desk. Crier's POV: Samuel White close to him now. On Cryer, whose arm is coming up (we already know) with the mace. On Samuel White, whose gun clicks empty, and the sound of the CLICKING is dull and loud, the first real noise we've heard so far. It is empty. The second Camera guy starts to raise himself, ready to shoot. The Paramedics POV: Cryer standing right behind Samuel White, and his hostage. CRYER Hey. Samuel White, full of disbelief, turns The second Camera Guy stands into frame, aiming his Beretta. He fires. The shell pops out the side. The other hostages cringe, cower, all in slow motion. Samuel White takes the bullet in the neck, lets go of the hostage, falls back against Cryer, spraying blood all over the front of his shirt. CUT TO: INT. BEDROOM -- NIGHT Cryer, laying on his back, on a bed, wakes up, startled, but only opens his eyes. Crier's POV: a whirling ceiling fan. Aerial: on Cryer, laying there. We can see the blood still on his shirt. (In case we were wondering if it was all a dream). Different angle: Past Cryer, we can see a short hallway, with a light coming from what we will find out is the kitchen. Hallway's POV: Cryer sitting up on the bed. O.S. we can hear the MURMERED voices of a man and woman. Cryer reaches for his glasses in the dark, puts them on. Fumbles for the lamp, and knocks it over. Crier's POV: Gabe comes around the corner to investigate, already knowing the source of the noise. Cryer, fumbling, absently trying to pick up the lamp he knocked over. Gabe comes into the room with him. GABE Ray (He takes hold of him) Come on, buddy, I got ya. (He helps right Cryer, sitting him up on the bed.) CRYER Gabe. Are you okay? GABE You bet I am, kid. Thanks to you, I think. CRYER (looking into his friend's face; he hugs him.) Aw, Gabe (probably getting a little misty) GABE Hey. Cryer looks at him. GABE (conspiratorial wink) You want to meet my sister. CRYER She's here. Gabe nods, smiling. They stand. EXT. GABE'S HOUSE/SIDE STREET -- NIGHT We see Gabe and Ray, jr. as kids approaching the door of Gabe's parent's house. Their POV: approaching the screen door, a hand reaching out to open it. It opens. They continue down a short hallway, into a living room. INT. GABE AND ANGEL'S HOUSE -- NIGHT The present. Cryer follows Gabe around the corner into a kitchen. We see apprehension in his face. INT. GABE'S HOUSE -- NIGHT The past. Littler KIDS around, sleeping in sleeping bags. ANGEL is standing among them, the babysitter. Her POV: Gabe coming into the room, leading Ray, jr. Angel looks at him, a little bashful. On Ray, jr., looking at her, instantly in love again. GABE O.S. Angel. I got someone I want you to meet. FADE OUT:
