<script>
  <scene>
    <character>I, ALEX CROSS</character>
    <dialogue>by</dialogue>
    <scene_description>Kerry Williamson Based on the novel by James Patterson Revisions in process by Marc Moss DRAFT: 01-31-11 QED INTERNATIONAL 1800 N Highland Ave 5th Floor Los Angeles CA, 90028 (323) 785 7900 OPEN ON A MAN RUNNING. We are</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD PLANT, A TWO BLOCK LONG ASSEMBLY FLOOR -- DAY</stage_direction>
    <scene_description>The Lanyard around his neck with the POLICE BADGE swinging. This is TOMMY KANE. Late 30s, physically imposing. The man he's chasing is IAN McGUIRE. His shirt is streaked in blood - not his own. A gun's in his hand. He is blazing fast... Ahead looms a chain link fence. 10 feet high. Topped with coils of concertina wire. Tommy CUTS RIGHT. And with this REVEAL, running behind Tommy is another man: his partner, friend, ALEX CROSS. Cross is the physical opposite of McGuire. He's got the intimidating momentum of a train; and because he is as superbly conditioned as he is huge, he qualifies as a Frigidaire-sized force of nature. Not missing a step, McGuire jams his pistol in his pants, vaults the chain link fence, then contorts over the concertina with an acrobatic flip. He lands running. Cross approaches the fence with a different M.O., lowering his shoulder and blowing the locked hinges off the gate.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PACKARD PLANT -- CONTINUOUS</stage_direction>
    <scene_description>Cross follows McGuire out the main entrance -- and slows, looking and listening for his prey. Meanwhile, we are absorbing what a MIND-BLOWINGLY MASSIVE COMPLEX this is - a 36 acre ruin, 3.5 million square feet of dead factory space. Cross reacquires McGuire, running, and then if by magic dropping out of sight.</scene_description>
    <character>CROSS</character>
    <parenthetical>(on bluetoothed cell)</parenthetical>
    <dialogue>He's gone underground.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ANOTHER PACKARD BUILDING -- CONTINUOUS</stage_direction>
    <scene_description>Tommy is still running. He's not surprised.</scene_description>
    <character>TOMMY</character>
    <dialogue>Right. See you at the chute.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PACKARD PLANT -- CONTINUOUS</stage_direction>
    <scene_description>Cross reaches where McGuire disappeared - and we see an open manhole in the ground.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TUNNEL -- CONTINUOUS</stage_direction>
    <scene_description>Cross drops down into the small brick-arched passage and resumes the chase.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD FACTORY -- CONTINUOUS</stage_direction>
    <scene_description>As McGuire emerges from an opening in the floor. As he races to one end of the block-long space he finds Tommy entered from outside and Cross emerging from the tunnel behind him. He changes course, the reunited cops in pursuit.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD PLANT</stage_direction>
    <scene_description>The chase continues through areas that border on the macabre: Some windows have old automobiles dangling half-way out. There are boats stacked all over the place, mountains of trashed TV sets, old RVs... Cross and Tommy run, and we by now are getting the sense they're not so much chasing McGuire as channeling him, maneuvering him into a corner.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD PLANT ELEVATOR SHAFT</stage_direction>
    <scene_description>McGuire skids to a stop. The shaft is three stories -- it appears he's dead ended. But with the two cops closing in, he JUMPS, grabs iron pipes that run the length of the shaft, and SPRINGS UPWARDS from one pipe to another. Cross and Tommy continue on to THE AUTO RAMP at the building's end.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF, PACKARD PLANT -- DAY</stage_direction>
    <scene_description>McGuire emerges only to find Cross and Tommy blitzing towards him. The cops DIVE FOR COVER as McGuire whips out his pistol and FIRES 10 ROUNDS at them. McGuire then leaps off the roof, roll-landing 15 feet below on THE ROOF OF A CROSSWALK TO ANOTHER BUILDING. CONTINUED: Making this leap isn't Cross's style. Instead he throws himself at a rusted ladder that descends to the crosswalk -- the force tears the ladder loose from the wall, LEVERING CROSS DOWN to the midpoint of the crosswalk as McGuire drops through a hole INTO THE CROSSWALK itself. Tommy, meanwhile, dangle drops to the crosswalk. He runs, drops through the hole --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CROSSWALK -- CONTINUOUS</stage_direction>
    <scene_description>-- and is surprised to see Cross has stopped running.</scene_description>
    <character>TOMMY</character>
    <dialogue>What gives?</dialogue>
    <character>CROSS</character>
    <dialogue>Why are we chasing this knuckle dragger if he's shooting at us?</dialogue>
    <scene_description>Cross draws out his pistol. It's old school and bad-ass: a Ruger Super Redhawk .454</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD PLANT -- CONTINUOUS</stage_direction>
    <scene_description>McGuire senses he's no longer being chased. He pauses -- his sight-line shows him Cross with pistol leveled, but not at him. He's confused. Until he looks where Cross is aiming -- and sees TWO MASSIVE STAINLESS STEEL TANKS a hundred yards away. They're labeled: N02. Before he can shut his jaw --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CROSSWALK -- CONTINUOUS</stage_direction>
    <character>TOMMY</character>
    <dialogue>Good question.</dialogue>
    <scene_description>Cross quick fires six rounds at the two tanks.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACKARD PLANT -- CONTINUOUS</stage_direction>
    <scene_description>Cross' shot triggers an ENORMOUS EXPLOSION, its ear-bursting shock wave blowing McGuire 20 feet back in the air, and smack landing him into a concrete pillar. McGuire comes to, and finds himself with a close up view of Cross's Redhawk and Tommy's Glock.</scene_description>
    <character>CROSS</character>
    <dialogue>Ian McGuire, your days of hurting little girls are at an end. Would you care to argue the point?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MCGUIRE</character>
    <dialogue>How'd you keep up with me?</dialogue>
    <character>TOMMY</character>
    <dialogue>Because, dipshit, my daddy worked here --</dialogue>
    <character>CROSS</character>
    <dialogue>-- and every weekend this was our turf.</dialogue>
    <scene_description>Cross hoists McGuire up. Onto his tippy toes.</scene_description>
    <character>CROSS</character>
    <dialogue>Listen up. When you're sitting in your 6 by 8 for the next fifty years, contemplate the irony: You got caught in our playground.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PACKARD PLANT -- DAY</stage_direction>
    <scene_description>Police cars are on site. As McGuire is put into a squad car, Cross approaches a uniformed cop.</scene_description>
    <character>CROSS</character>
    <dialogue>Officer, I'm late for a date. Could you give me a lift?</dialogue>
    <character>COP</character>
    <dialogue>Sure, Detective. Where to?</dialogue>
    <character>CROSS</character>
    <dialogue>Ryan Correctional.</dialogue>
    <scene_description>CUT TO: Metal clanging, a door opening, and --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PSYCHIATRIC SECURE HOUSING UNIT -- CONTINUOUS</stage_direction>
    <scene_description>The officer leads ALEX along a dismal cellblock. INMATES HOLLER, SCREAM and POUND their heads against cell doors. Alex glances into a room with five phone-booth sized cages arranged in a circle. Each cage contains an inmate. A movie plays in the background.</scene_description>
    <character>CORRECTIONAL OFFICER</character>
    <dialogue>Group therapy.</dialogue>
    <scene_description>He walks on, whistling to himself and swinging his baton. Alex notices his trying-too-hard-to-be-a-tough-guy swagger. They move deeper into the bowels of the facility. A voice calls out from behind a heavy steel door. CONTINUED:</scene_description>
    <character>MONSTER</character>
    <dialogue>Hey Doc!</dialogue>
    <scene_description>Alex sees a single eye peering at him through the perforations in the door.</scene_description>
    <character>ALEX</character>
    <dialogue>What's up Diaz?</dialogue>
    <scene_description>MONSTER DIAZ, a brick shit-house of a Salvadorian, inked with gang tattoos, sticks his pinkie finger through the hole. The correctional officer hits the door with his baton. Alex raises a hand to stop him and obliges Diaz with a "pinkie shake".</scene_description>
    <character>CORRECTIONAL OFFICER</character>
    <dialogue>He butchered five people with those hands.</dialogue>
    <character>ALEX</character>
    <dialogue>I know what he did.</dialogue>
    <character>CORRECTIONAL OFFICER</character>
    <dialogue>You're the one needs a psychologist.</dialogue>
    <character>ALEX</character>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>You're probably right.</dialogue>
    <scene_description>They continue down the corridor and stop at the last door.</scene_description>
    <character>CORRECTIONAL OFFICER</character>
    <dialogue>And the pick of the litter... Bronson "Pop-Pop" James.</dialogue>
    <scene_description>A heavy bolt clunks and the door opens. Alex walks into a small, grey, windowless cell.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CELL -- CONTINUOUS</stage_direction>
    <scene_description>BRONSON "POP-POP" JAMES, an eleven-year-old kid, slouches on a thin mattress. His feet dangle six inches off the floor. His skinny body is dwarfed in a white jumpsuit. Alex grabs a seat facing him. He opens the McDonalds bag and takes out two HAPPY MEALS. He hands one to the boy.</scene_description>
    <character>ALEX</character>
    <dialogue>How're they treating you?</dialogue>
    <character>BRONSON</character>
    <dialogue>This place sucks.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>Yes it does.</dialogue>
    <scene_description>Bronson studies him intently. Alex smiles.</scene_description>
    <character>BRONSON</character>
    <dialogue>You all up in your own shit today. D'you bag another bad guy?</dialogue>
    <scene_description>Alex takes a bite of his hamburger.</scene_description>
    <character>ALEX</character>
    <dialogue>You say that like my job's a bad thing-- I like protecting people.</dialogue>
    <character>BRONSON</character>
    <dialogue>Just 'cause you're a cop - you supposed to be a role model?</dialogue>
    <character>ALEX</character>
    <dialogue>So who's your role model? 50 Cent? Tupac?</dialogue>
    <character>BRONSON</character>
    <dialogue>I ain't got time for no punkass role model.</dialogue>
    <character>ALEX</character>
    <dialogue>What about your father?</dialogue>
    <scene_description>Bronson ignores him, digs a small SUPERHERO ACTION FIGURE out of the Happy Meal box and starts to play with it..</scene_description>
    <character>ALEX</character>
    <dialogue>Why did you do it? Why did you bash that homeless guy's head in?</dialogue>
    <scene_description>The boy ignores him and plays with the toy.</scene_description>
    <character>ALEX</character>
    <parenthetical>(non-judgmental)</parenthetical>
    <dialogue>Really, I'd like to know.</dialogue>
    <character>BRONSON</character>
    <parenthetical>(callous)</parenthetical>
    <dialogue>He was just there, a'right?</dialogue>
    <scene_description>Alex continues. His tone is empathetic, non-accusatory.</scene_description>
    <character>ALEX</character>
    <dialogue>You killed him because he was just there?</dialogue>
    <scene_description>CONTINUED: (2) Bronson shrugs.</scene_description>
    <character>ALEX</character>
    <dialogue>So what did it feel like? What do you remember?</dialogue>
    <scene_description>Bronson continues playing with the toy, completely detached from emotion.</scene_description>
    <character>ALEX</character>
    <dialogue>You like seeing the blood all over his face? Did it feel good?</dialogue>
    <character>BRONSON</character>
    <dialogue>It's no thing.</dialogue>
    <character>ALEX</character>
    <dialogue>No thing? Really?</dialogue>
    <scene_description>The boy glances up, suddenly engaged.</scene_description>
    <character>BRONSON</character>
    <dialogue>The bitch just kept crying and shit, "Please, please. Please, please, please."</dialogue>
    <scene_description>Alex doesn't flinch.</scene_description>
    <character>ALEX</character>
    <dialogue>How do you feel now?</dialogue>
    <scene_description>Bronson very calmly twists the toy and breaks it.</scene_description>
    <character>BRONSON</character>
    <dialogue>Yo, they got any Skittles in that machine down the hall? Get me some Skittles, man.</dialogue>
    <scene_description>Alex scrunches up his trash, stands and extends his hand.</scene_description>
    <character>ALEX</character>
    <dialogue>Good seeing you, Bronson. I'll catch you again soon.</dialogue>
    <character>BRONSON</character>
    <parenthetical>(with dead eyes)</parenthetical>
    <dialogue>Already got caught.</dialogue>
    <scene_description>Bronson stares at Alex's extended hand. He's caught off guard, not used to being addressed at the level of an adult. He gives Alex a weak little shake. CONTINUED: (3) He notices that Alex has placed the action figure from his own Happy Meal on the stool. He waits until Alex leaves, drops off the cot, picks up the toy, considers it for a beat and puts it in his pocket.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INNER-CITY BUT SOMEWHAT PICTURESQUE -- DAY</stage_direction>
    <scene_description>The CL65 pulls up in the shadows. The houses here used to be fine, but now they're in disrepair. MICHAEL SULLIVAN steps out wearing a rogue's smile and a sharp suit. His leonine presence and predatory nature strike the perfect balance of menace and charisma. If life had dealt him a different hand, this guy could've been a shark in the board room instead of the street. He scans his surroundings, composed, calculated, instincts scalpel-sharp... A crew of CORNER BOYS eyefuck the handsome white man, who dares venture here. The cockiest of the bunch pimp-rolls up and nods at the Mercedes.</scene_description>
    <character>CORNER BOY</character>
    <dialogue>Ten bucks. I'll watch the car, yo.</dialogue>
    <scene_description>Sullivan fixes him with his striking blue eyes. The kid is maybe thirteen-years-old and all puffed up in his designer tracksuit and high-tops.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Sorry, kid. I gotta big dog for that.</dialogue>
    <scene_description>Sullivan taps the window of the Mercedes. A SNARLING GERMAN SHEPHERD lunges at the glass.</scene_description>
    <character>CORNER BOY</character>
    <dialogue>Can doggie put out fires?</dialogue>
    <scene_description>The corner boys LAUGH. Sullivan grins and produces a twenty- dollar bill.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You know what good faith means?</dialogue>
    <scene_description>The corner boy shrugs, all attitude. Sullivan hands him the crisp twenty, but holds onto the bill long enough for the kid to detect an undercurrent of pure menace.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Careful now. Doggy likes dark meat.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH -- DAY</stage_direction>
    <scene_description>Sullivan enters a side door of an abandoned church and he takes a stairway to a dank basement. A LOW RUMBLING roars from below. A clutch of WASHINGTON HIGHROLLERS approach a doorway, manned by ARMED GUARDS. Sullivan falls into step, and flashes his I.D.. He is frisked for weapons. The high rollers, recognized as regulars, push past. Sullivan nods at the guards.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Packed house tonight. What's the game? Bingo? You raffling off a Cadillac?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. UNDERGROUND -- CONTINUOUS</stage_direction>
    <scene_description>Sullivan enters a cavernous space, densely packed with PUNTERS waving cash and yelling. The source of their frenzy is a NO HOLDS BARRED FIGHT--"ANYTHING GOES." A BOOKIE scrawls odds on a chalk board and handles the wagers. Sullivan scans the crowd. His gaze settles on a striking Canton beauty, OY-FAN YAU, seated ring-side. He pulls out a money clip, fat with cash and places a wager.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Ten thousand...on The Butcher of Sligo.</dialogue>
    <scene_description>The bookie checks his list.</scene_description>
    <character>BOOKIE</character>
    <dialogue>There is no Butcher of Sligo.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>You're looking at him.</dialogue>
    <scene_description>The bookie eyeballs the white boy in his tailored suit and laughs his ass off. Sullivan grins back, shrugs off the jacket and loosens his tie. The Canton beauty glances in the bookie's direction.</scene_description>
    <character>BOOKIE</character>
    <parenthetical>(subtitled Mandarin)</parenthetical>
    <dialogue>Crazy gweilo wants to fight. He bet $10,000 on himself.</dialogue>
    <scene_description>The Canton beauty nods her consent. Sullivan looks her way and nods.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNDERGROUND -- LATER</stage_direction>
    <scene_description>Sullivan appears in a pair of black shorts. He has tremendous poise and confidence. His opponent drops into the pit. Sullivan stands with his back to a brutish SERBIAN-AMERICAN with a roid-rage physique and prison tats. The bookie chalks up the odds, heavily favoring the Serb. Sullivan winks at a long-legged RING GIRL.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>If I win, you're leaving with me.</dialogue>
    <character>RING GIRL</character>
    <parenthetical>(smiling, coyly)</parenthetical>
    <dialogue>What if I told you I'm only thirteen?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>I'm not superstitious.</dialogue>
    <scene_description>The crowd simmers, on the verge of pandemonium as Sullivan turns and squares off with the enormous Serb. The blood- thirsty crowd forms a human barrier around them. The fight begins. Sullivan keeps his distance and studies the Serb. Recognizing a south paw, he circles to his right. The Serb reverses his stance. The brute is ambidextrous, and surprisingly athletic. He pops Sullivan with a fast left hook and a hard right.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Not bad, Bluto. I'm impressed.</dialogue>
    <scene_description>The Serb kicks Sullivan hard, then grapples him into a guillotine head lock and goes for the take down.</scene_description>
    <character>SERB</character>
    <dialogue>Anything goes, asshole!</dialogue>
    <scene_description>Sullivan sinks his teeth into his forearm. The Serb yells, releases and springs back.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I'm getting the hang of it.</dialogue>
    <scene_description>The Serb nails Sullivan with a devastating straight cross. Sullivan can definitely take a punch. The Serb pivots and strikes him with a swift kick to the thorax. Sullivan hits the dirt. The Serb's neck muscles tense, he takes a sharp intake of breath and leaps -- CONTINUED: Time slows in Sullivan's mind. He sees the Serb's knees coming for his face and flips sideways. The Serb lands on his kneecaps and reels from the dagger of pain. Sullivan grabs the brute's scalp and drives his knee into his face. The Serb wobbles, dazed and disoriented. Sullivan leans close to the Serb and whispers.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Anything goes, right?</dialogue>
    <scene_description>Sullivan's entire demeanor shifts as if a switch is flipped in his brain. He launches an attack that is mind-blowing in its ferocity. No fancy martial art theatrics, just precision. The crowd erupts on the sidelines. The Serb flails wildly, crumples to the dirt and "taps out". The REFEREE glances at the boss. She signals the end of the fight.</scene_description>
    <character>REFEREE</character>
    <parenthetical>(to Sullivan)</parenthetical>
    <dialogue>We're done.</dialogue>
    <scene_description>Sullivan grabs a fallen betting slip and forces it down the Serb's throat. The referee tries to stop him. Sullivan shoves him away and delivers a devastating coup de grâce. The Serb's neck snaps with a stomach-churning CRACK. His body falls lifeless.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Now, we're done.</dialogue>
    <scene_description>Sullivan faces the crowd as torn betting slips rain down like confetti. He smiles and takes a bow from the waist. It's his trademark.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOCKER ROOM -- DAY</stage_direction>
    <scene_description>Sullivan listens to Led Zeppelin's Whole Lotta Love on earphones as he cleans up in a locker room (Sullivan listens to rock n' roll throughout our story.) FAN YAU shows up, flanked by her BODYGUARDS.</scene_description>
    <character>FAN YAU</character>
    <parenthetical>(perfect English)</parenthetical>
    <dialogue>Did you learn to fight in prison? I think you probably did.</dialogue>
    <scene_description>Sullivan takes off the earphones and takes her in. She's gorgeous. But so is he. CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Brooklyn, actually. Irish kid in a guinea neighborhood.</dialogue>
    <character>FAN YAU</character>
    <dialogue>You're a long way from New York, Mr. Sullivan?</dialogue>
    <scene_description>She throws him his wallet.</scene_description>
    <character>FAN YAU</character>
    <dialogue>And you took a very big gamble tonight.</dialogue>
    <character>SULLIVAN</character>
    <parenthetical>(shrugging it off)</parenthetical>
    <dialogue>No gamble. Your prize-bull had a fatal flaw.</dialogue>
    <character>FAN YAU</character>
    <dialogue>Several flaws. Arrogance. Neanderthal stupidity. Slow feet.</dialogue>
    <scene_description>Sullivan smiles.</scene_description>
    <character>FAN YAU</character>
    <dialogue>I'm talking about your gamble. You defied me.</dialogue>
    <scene_description>Her bodyguards surround him.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Your guy taps out when he gets a nosebleed-- and costs you what? Half a million? He's the one defied you.</dialogue>
    <scene_description>She smiles. They speak the same language. He unwraps boxing tape from his hand, revealing a badly dislocated finger. She moves closer. Her bodyguards are on alert. She takes Sullivan's hand and snaps the finger back into place. He doesn't flinch. The chemistry between them is palpable.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Thank you. Now if you'll excuse me, I'd like to clean up, have a cold one and screw your lovely ring girl.</dialogue>
    <character>FAN YAU</character>
    <dialogue>We don't serve alcohol here, Mr. Sullivan...</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>FAN YAU</character>
    <dialogue>and maybe you should set your sights higher than a ring girl.</dialogue>
    <character>SULLIVAN</character>
    <parenthetical>(holding her stare)</parenthetical>
    <dialogue>Maybe I should.</dialogue>
    <scene_description>Sullivan nonchalantly drops the towel around his waist. He definitely is a star. A bodyguard yanks out a weapon.</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(grins)</parenthetical>
    <dialogue>No need for guns, boys. Mine's not even loaded.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CROSS APARTMENT, WASHINGTON D.C. -- NIGHT</stage_direction>
    <scene_description>The space is cramped but cozy and tastefully decorated. Family photos adorn the walls. A beat-up, upright piano, with sheet music for Chopin and Duke Ellington contrasts the videogame ROCK BAND BLASTING on TV. Computer generated images of ZZ TOP jam on screen. Alex's daughter Janelle plays bass, his son, Damon, beats a drum kit and their smokin'-hot mom, MARIA sings into a plastic microphone in a sultry barroom growl.</scene_description>
    <character>MARIA</character>
    <dialogue>... They come runnin just as fast as they can. Coz every girl crazy 'bout a sharp dressed man.</dialogue>
    <scene_description>Maria turns to Alex and winks. Alex sits down at the old upright piano. He plays along with ROCK BAND-- and he's good! His family HOWLS LAUGHING.</scene_description>
    <character>JANNIE</character>
    <dialogue>You're funny, Daddy!</dialogue>
    <scene_description>Alex makes a funny face.</scene_description>
    <character>ALEX</character>
    <dialogue>It's my job to make you laugh, big girl.</dialogue>
    <scene_description>Jannie screws her face into a fake grimace.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES - NIGHT</stage_direction>
    <scene_description>Sullivan is driving through D.C. CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(into cell)</parenthetical>
    <dialogue>There's been a murder. Terrible homicide. Plural, actually. Homicides... How do I fucking know? I'm the one did them... Pavilion Building. No need to hurry though. They're all dead.</dialogue>
    <scene_description>He removes the SIMCARD. Tosses it. Cranks the music. Steps on the gas.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TINY BEDROOM, CROSS APARTMENT -- NIGHT</stage_direction>
    <scene_description>Alex stands in the doorway watching Damon and Jannie kneeling by their beds and praying. Damon clutches a toy dinosaur.</scene_description>
    <character>JANNIE / DAMON</character>
    <dialogue>God Bless Nana and Daddy and Mommy...</dialogue>
    <character>DAMON</character>
    <dialogue>... and T-Rex!</dialogue>
    <character>ALEX</character>
    <parenthetical>(solemnly)</parenthetical>
    <dialogue>And Sponge Bob. And Bart Simpson.</dialogue>
    <scene_description>Alex tucks Damon and Jannie into their beds and kisses them good night. He hears Maria in the shower.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM -- NIGHT</stage_direction>
    <scene_description>Alex slips into the shower behind Maria. He kisses her neck, her shoulders... Maria lets out a SCREECH as the water runs ice-cold. Alex yanks back the curtain.</scene_description>
    <character>ALEX</character>
    <dialogue>Alright, who flushed?</dialogue>
    <scene_description>Damon's little feet patter out the door.</scene_description>
    <character>DAMON</character>
    <dialogue>Sorry, Daddy! Sorry, Mommy!</dialogue>
    <scene_description>Alex ties on a towel, then chases a laughing Damon back to bed. The phone in the hall starts to ring.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY -- NIGHT</stage_direction>
    <scene_description>Maria stands in a bathrobe with a sexy little smile. She looks amazing. The phone keeps ringing. CONTINUED: By the look on both their faces, it's evident this happens a lot. Alex glances from his hot wife to the phone. He gives in and answers.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNMARKED CROWN VIC -- NIGHT</stage_direction>
    <scene_description>Alex drives with the siren on. Tommy rides shotgun. He is eating from a bowl he keeps in the car.</scene_description>
    <character>TOMMY</character>
    <parenthetical>(as he eats)</parenthetical>
    <dialogue>You're quiet tonight. Not like you, All-star.</dialogue>
    <character>ALEX</character>
    <parenthetical>(shrugs, then)</parenthetical>
    <dialogue>Thinking about that open position. The one with the FBI. They'll pay extra for my psyche degree. Might even be able to pay off my loans to Johns Hopkins.</dialogue>
    <character>TOMMY</character>
    <dialogue>ViCAP? It's a desk job. Give your ass hemorrhoids!</dialogue>
    <character>ALEX</character>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>Give my ass hemorrhoids...anyway. Nights, weekends off. More time with the wife and kids.</dialogue>
    <character>TOMMY</character>
    <dialogue>Who the hell would want that?</dialogue>
    <scene_description>Alex smiles.</scene_description>
    <character>TOMMY</character>
    <dialogue>Something you're not telling me about, partner? Not very Oprah of you.</dialogue>
    <character>ALEX</character>
    <dialogue>I guess. Yeah. Maria's pregnant.</dialogue>
    <character>TOMMY</character>
    <dialogue>No shit? Congratulations. You're catching up with me.</dialogue>
    <character>ALEX</character>
    <dialogue>You're assuming your wife's kids are all yours.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>TOMMY</character>
    <dialogue>You're assuming my wife's kids are all I got.</dialogue>
    <scene_description>Alex laughs and drives under the Friendship Arch into Chinatown. Tommy glances out the window and sees a fleet of squad cars blockading the street. He finishes up his cereal with hungry gulps. Alex parks. They check their weapons.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHINATOWN -- NIGHT</stage_direction>
    <scene_description>Alex and Tommy step out of the car. A WALL OF UNIFORMS holds back the LOCALS straining to catch a glimpse of the action. There are lots of irate people on the street..</scene_description>
    <character>TOMMY</character>
    <dialogue>A desk job? That'll be the day.</dialogue>
    <scene_description>They make their way through the blockade to the inner perimeter where LT. SCOTT DAWSON is calling the shots from a mobile COMMAND POST.</scene_description>
    <character>DAWSON</character>
    <dialogue>Glad you two could make it. What a pigfuck this turned out to be.</dialogue>
    <scene_description>He points to an attractive grey stone building.</scene_description>
    <character>DAWSON</character>
    <dialogue>We got a report of multiple homicides. Next thing, half of Shanghai shows up. They don't want us inside the building.</dialogue>
    <scene_description>Alex surveys the area. He notices a Chinese symbol sprayed on a wall.</scene_description>
    <character>ALEX</character>
    <dialogue>This is Triad turf. Any witnesses?</dialogue>
    <character>DAWSON</character>
    <dialogue>Yeah, the killer. He called it in.</dialogue>
    <scene_description>That get's Alex's attention.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP -- NIGHT</stage_direction>
    <scene_description>A TACTICAL TEAM breaches a roof access door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT BUILDING -- NIGHT</stage_direction>
    <scene_description>Alex and Tommy accompany tactical down a stairwell. The building is eerily quiet. Flashlights cut the Stygian darkness and illuminate a POOL OF BLOOD. A DEAD CHINESE is sprawled on the floor. He's been shot between the eyes. A MACHINE PISTOL lies by his side. Dancing flashlights illuminate two more CHINESE gunned down. Both have sustained HEAD-SHOTS. Alex spots a SHOOTER, hunkered at the end of the hallway. The tactical team takes cover and levels their weapons.</scene_description>
    <character>TEAM LEADER</character>
    <dialogue>DROP YOUR WEAPON.</dialogue>
    <scene_description>Alex takes in the way the gunman is slouched against a heavy vault-like door. The tactical team prepares to fire --</scene_description>
    <character>ALEX</character>
    <dialogue>Wait. Hold it. Don't shoot.</dialogue>
    <scene_description>The team leader bites back his frustration.</scene_description>
    <character>TEAM LEADER</character>
    <dialogue>What's the problem?</dialogue>
    <character>ALEX</character>
    <dialogue>Look around. These are professional hits. This guy's a victim. Which makes him a witness.</dialogue>
    <scene_description>Alex steps in front of Tactical before they can shoot. His body language is non-threatening, despite the fact that he's strapped and wearing Kevlar...The shooter raises his gun.</scene_description>
    <character>ALEX</character>
    <parenthetical>(calm; steady)</parenthetical>
    <dialogue>Easy now. Easy. My name is Alex Cross. I'm a police detective... Just nod your head if you understand.</dialogue>
    <scene_description>Alex sees his face illuminated for the first time. His expression is full of anguish. Alex glances at the vault-like door open behind him. Suddenly the shooter jams the gun under his own chin, about to blow his head off.</scene_description>
    <character>ALEX</character>
    <dialogue>You failed to protect someone. This is about honor isn't it?</dialogue>
    <scene_description>CONTINUED: A chord has been hit. The shooter's grip on his gun falters. Frightened eyes stare out from a bloody face. Alex is struck by how young the guy is; and that he's going to die. He bends low, so he doesn't tower over the wounded and threatened man.</scene_description>
    <character>ALEX</character>
    <dialogue>Put the gun down. Talk to me.</dialogue>
    <scene_description>The shooter sees the tactical team inching forward. He finds his resolve and tightens his grip on the gun. Alex doesn't back off.</scene_description>
    <character>ALEX</character>
    <dialogue>What happened here?</dialogue>
    <character>CHINESE GUARD</character>
    <parenthetical>(weakly)</parenthetical>
    <dialogue>No protect...</dialogue>
    <scene_description>The shooter drops his hand and draws something in his own blood. It's a CHINESE SYMBOL. The shooter raises his gun-and fires into his forehead.</scene_description>
    <character>ALEX</character>
    <dialogue>Ah, Jesus.</dialogue>
    <scene_description>The tactical unit converges and secures the area. Alex snaps on a pair of latex gloves. Then he reaches into the shooter's pocket. He pulls out slips of paper with blood on them.</scene_description>
    <character>TOMMY</character>
    <dialogue>What is it?</dialogue>
    <character>ALEX</character>
    <dialogue>Betting slips.</dialogue>
    <character>TOMMY</character>
    <dialogue>Looks like he lost.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT -- NIGHT</stage_direction>
    <scene_description>The tactical unit breaches the vault-like door and sweeps the apartment, which is surprisingly large and attractive. Alex and Tommy follow them into the expansive loft like space. Alex's flashlight illuminates the floor and walls spattered with more blood. Tommy checks out the massive dead bolts on the front door and the sophisticated intercom system.</scene_description>
    <character>TOMMY</character>
    <dialogue>No forced entry. Big time, big bucks security.</dialogue>
    <scene_description>CONTINUED: Alex's flashlight illuminates: a wall safe yawning empty, a statue of Guan Yu, the Chinese God of War. The furniture and art on the walls is very tasty. Lots of books-in English.</scene_description>
    <character>ALEX</character>
    <dialogue>V.S. Naipaul. Ha Jin. Gabriel Garcia Marquez... whoever the bodyguard couldn't protect is well read.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM -- CONTINUOUS</stage_direction>
    <scene_description>Alex glances around the room. The furnishings are expensive and luxurious. The walls are lined with erotica. Tommy picks up a pair of elaborate metal restraints. He can't figure out which end is up.</scene_description>
    <character>TOMMY</character>
    <dialogue>This is some sick shit. I like it.</dialogue>
    <scene_description>Their flashlights fall across a four-poster bed. The bedding is saturated with blood. Oy Fan Yau, THE CANTON BEAUTY FROM THE FIGHT CLUB is trussed up to the posts. Her flesh is lacerated, her skin ghostly pale, her eyes fixed in death.</scene_description>
    <character>TOMMY</character>
    <dialogue>We got one sadistic motherfucker. Death by a thousand cuts.</dialogue>
    <scene_description>Alex notices a vial. Picks it up. Sniffs it.</scene_description>
    <character>ALEX</character>
    <dialogue>Opium.</dialogue>
    <character>TOMMY</character>
    <dialogue>At least she was doped up.</dialogue>
    <scene_description>Alex runs a gloved hand along her arm - fresh track marks.</scene_description>
    <character>ALEX</character>
    <dialogue>The drugs weren't to help her pain. They prolonged it.</dialogue>
    <scene_description>He walks over to the windows and taps the glass.</scene_description>
    <character>ALEX</character>
    <dialogue>Bulletproof.</dialogue>
    <character>TOMMY</character>
    <dialogue>Place is a fortress. How'd the killer get in here?</dialogue>
    <scene_description>CONTINUED: Alex shines his flashlight on a pile of woman's clothes-a dress, panties, thigh-highs at the base of the bed, as if someone just stepped out of them.</scene_description>
    <character>ALEX</character>
    <dialogue>She invited him.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FANCY STEAKHOUSE -- NIGHT</stage_direction>
    <scene_description>An upscale crowd eating and chatting. This is an expensive place.</scene_description>
    <character>SULLIVAN (VO)</character>
    <dialogue>Look at this decadence, James. Fine wines, red meat, fat cats everywhere. Power by the pound. And their sleek mistresses.</dialogue>
    <scene_description>We come to Sullivan and JIMMY "HATS" GALATI eating steak and drinking scotch whisky. Sullivan is wearing a hat which is out of place, but cool. He never acts like a street punk. Never. Galati is dressed in a suit.</scene_description>
    <character>JIMMY</character>
    <dialogue>So how did it go?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Easy, peasey, Chineesy.</dialogue>
    <character>JIMMY</character>
    <dialogue>I gotta ask this, why can't you just pull a trigger, man? You're good with a rifle. Boom. Boom. Hit and quit. Why cut up the Chinese girl like she's Dim Sum?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>It keeps me interested. Passionate. It's a drug.</dialogue>
    <character>JIMMY</character>
    <parenthetical>(shakes his head)</parenthetical>
    <dialogue>You have to tone it down, Michael. There's more work to do in D.C. In and out work. A little less passion.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>You know your problem, Jimmy? You have no faith. I am undefeated, am I not?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>JIMMY</character>
    <dialogue>I'm serious. We're getting a taste of the big time here. Dominic Maggione's put a lot of trust in you. So have I. You need to be more careful. Subtle.</dialogue>
    <scene_description>Sullivan is distracted by a beautiful blond sitting with a middle-aged man at the next table.</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(to the blond, very soft- spoken and self-assured- very charming)</parenthetical>
    <dialogue>Can I be of some service? Anything at all.</dialogue>
    <character>BLOND</character>
    <dialogue>Sure. Could you keep your voice down. Other people are eating here too, trying to talk.</dialogue>
    <scene_description>Sullivan gets up and goes over to the table. The blond woman doesn't seem to mind.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I hadn't noticed anyone but you.</dialogue>
    <character>MALE COMPANION</character>
    <dialogue>Why don't you leave us alone?</dialogue>
    <character>SULLIVAN</character>
    <parenthetical>(to the girl's companion)</parenthetical>
    <dialogue>Why? Are you somebody important?</dialogue>
    <character>MALE COMPANION</character>
    <dialogue>As a matter of fact, I am.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Ahhh.</dialogue>
    <parenthetical>(he leans in and whispers in the blond's ear)</parenthetical>
    <dialogue>Me too. I'm a fucking contract killer.</dialogue>
    <scene_description>The blond stares at him - astonished. Sullivan returns to his own table. He takes off the hat, and puts it on Jimmy's head. It's his anyway.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Relax Jimmy, it's who I am. It's just my nature.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KID'S ROOM, CROSS APARTMENT -- NIGHT</stage_direction>
    <scene_description>Alex arrives home, checks on his kids and tucks the covers tightly around them. He notices an apple left out for Damon's toy dinosaur. He takes a sneaky bite and sets it back in place-- as if the dinosaur chewed on it.</scene_description>
    <character>ALEX</character>
    <dialogue>God bless, T-Rex.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM, CROSS APARTMENT -- NIGHT</stage_direction>
    <scene_description>Alex slides into bed beside Maria. She stirs and snuggles into him. He lies wide awake. He can't keep the murder from working inside of him. Maria senses it. She thumps him playfully with the pillow.</scene_description>
    <character>MARIA</character>
    <dialogue>Just go.</dialogue>
    <scene_description>Alex kisses her and is up and out of there.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN, CROSS APARTMENT -- DAWN</stage_direction>
    <scene_description>Alex works in a tiny breakfast nook. A laptop sits on the counter. Books are scattered all over. Alex Cross is clearly a student of crime. He has an mpeg of Sullivan's call and listens to it over and over.</scene_description>
    <character>SULLIVAN (V.O.)</character>
    <dialogue>There's been a murder. Terrible homicide. Plural, actually. Homicides... How do I fucking know? I'm the one did them...</dialogue>
    <scene_description>Alex studies the CHINESE SYMBOL the witness drew in his own blood. He scribbles the word "BUTCHER" in his steno-pad. ANGLE ON LAPTOP: Alex scrolls through images of ancient Chinese woodcuts depicting torture scenes, similar to the murder. The horrific images have no place in the family kitchen. Alex hears the fridge opening and turns to see Damon in his pjs with his little hand over his eyes.</scene_description>
    <character>DAMON</character>
    <dialogue>Not looking, Daddy. I Promise.</dialogue>
    <scene_description>Alex closes the laptop as Damon ransacks the fridge. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>You hungry, buddy? I sure am. I could eat that whole refrigerator.</dialogue>
    <character>DAMON</character>
    <dialogue>Really?</dialogue>
    <scene_description>Alex pounds his chest.</scene_description>
    <character>ALEX</character>
    <parenthetical>(roars)</parenthetical>
    <dialogue>Maria walks in behind them, yawning.</dialogue>
    <character>MARIA</character>
    <dialogue>Morning, Chewbacca. Son of Chewbacca...</dialogue>
    <scene_description>She ruffles Damon's hair. Alex leans in for a kiss. She smiles, wriggles free and beelines for the coffee pot. She looks at the sludgy dregs. Makes a funny face, which is her style, her charm.</scene_description>
    <character>MARIA</character>
    <dialogue>Did you make this all by yourself?</dialogue>
    <character>ALEX</character>
    <dialogue>I did. Four hours ago.</dialogue>
    <character>MARIA</character>
    <dialogue>You sleep at all?</dialogue>
    <character>ALEX</character>
    <dialogue>Bad homicide.</dialogue>
    <character>MARIA</character>
    <dialogue>Are there good homicides?</dialogue>
    <character>ALEX</character>
    <dialogue>Pablo Escobar, Osama Bin Laden... Nancy Grace.</dialogue>
    <scene_description>Maria picks up her own paperwork and shakes off crumbs and peanut butter, like this is an everyday occurrence.</scene_description>
    <character>MARIA</character>
    <dialogue>Can you pick me up tonight?</dialogue>
    <character>ALEX</character>
    <dialogue>Anywhere, anytime.</dialogue>
    <scene_description>Maria notices the time and shouts down the hallway. CONTINUED: (2)</scene_description>
    <character>MARIA</character>
    <dialogue>JANNIE!</dialogue>
    <scene_description>She sets up the ironing board and gets to work on a blouse. The DOORBELL RINGS. Damon runs to answer it. NANA MAMA, Alex's feisty, battle-axe of a grandmother walks in with a tray of homemade biscuits and jam. Alex digs in. Nana slaps his wrist.</scene_description>
    <character>NANA</character>
    <dialogue>Were you raised by Philistines?</dialogue>
    <scene_description>He tries to kiss her. She swats him off.</scene_description>
    <character>ALEX</character>
    <dialogue>I was raised by a saint.</dialogue>
    <character>NANA</character>
    <dialogue>You're a silver-tongued charmer. But it doesn't work with me.</dialogue>
    <scene_description>She notices Maria rushing to iron her clothes.</scene_description>
    <character>NANA</character>
    <dialogue>Gimme that.</dialogue>
    <scene_description>Nana glides the iron expertly over a blouse.</scene_description>
    <character>ALEX</character>
    <parenthetical>(whispering to Maria)</parenthetical>
    <dialogue>You need to put some elbow into it.</dialogue>
    <character>NANA</character>
    <dialogue>You need to put some elbow --</dialogue>
    <scene_description>She catches Maria smirking and wags the iron at Alex.</scene_description>
    <character>NANA</character>
    <dialogue>I'll put some elbow into you, mister.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BMW -- DAY</stage_direction>
    <scene_description>Alex drives with one hand on the steering wheel, holding Maria's hand. They're very cute together. His 3-Series is a hold-over from his bachelor days and looks wrong with a baby- seat and DVD screens. He pulls up outside the Potomac Garden's housing project and glances out the window at the mean streets. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>Know what? I wish you'd never left that cushy job in Georgetown.</dialogue>
    <character>MARIA</character>
    <dialogue>I grew up here. I love this neighborhood.</dialogue>
    <scene_description>She pulls him close and kisses him. There's a tender intimacy between them. Maria reluctantly pulls away.</scene_description>
    <character>MARIA</character>
    <dialogue>Seven o'clock. Don't forget.</dialogue>
    <character>ALEX</character>
    <dialogue>How could I forget?</dialogue>
    <scene_description>She wriggles out of the car. Alex watches her tighten her pretty scarf against the chill, as she runs toward the projects. She looks back and waves, beautiful and SLIGHTLY GOOFY. Alex smiles, thinking he's the luckiest man alive.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE BULLPEN -- DAY</stage_direction>
    <scene_description>The bullpen buzzes with activity. VICKI RYAN, a fresh- scrubbed rookie, adds four new names to the MURDER BOARD. The years victims are listed in a column - BLACK for SOLVED, RED for OPEN. SERGEANT DAVEY CRAWFORD, a die-hard old stalwart, leans back in his creaky government-issue chair, and admires Vicki Ryan's perfectly formed ass. Vicky is very cute. Tommy glances up from typing an incident report and guzzling a Gatorade. They both watch her.</scene_description>
    <character>CRAWFORD</character>
    <dialogue>Little higher there, F.N.G. Be still my heart.</dialogue>
    <character>TOMMY</character>
    <dialogue>F.N.G?</dialogue>
    <character>CRAWFORD</character>
    <dialogue>Fuckin' New Guy. Word is she's got a girlfriend. Female companion. Partner. Whatever they call it.</dialogue>
    <scene_description>Tommy stares at her shapely figure.</scene_description>
    <character>TOMMY</character>
    <dialogue>I don't think so.</dialogue>
    <scene_description>CONTINUED: Tommy winks at Crawford and sidles up beside her.</scene_description>
    <character>TOMMY</character>
    <dialogue>We were wondering if we should call you Vicki? Or Vic? No problem either way.</dialogue>
    <character>RYAN</character>
    <dialogue>Try Detective Ryan. For now. Eventually though, you'll call me boss.</dialogue>
    <scene_description>Crawford laughs at Tommy's expense. Alex walks in smiling at the interchange. The team straightens up at the arrival of LT. Dawson. He's politically savvy, no nonsense, nobody's fool.</scene_description>
    <character>DAWSON</character>
    <dialogue>Anybody-- talk to me. What are we dealing with? Don't be shy.</dialogue>
    <character>TOMMY</character>
    <dialogue>Victim's name was Oy Fan Yau. Excuse my Mandarin.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CHINATOWN APT. -NIGHT</stage_direction>
    <scene_description>Michael Sullivan is naked. He circles the bed where Oy Fan Yau is tied down. He has a knife. He gives her a single cut, but not the first.</scene_description>
    <character>ALEX (VO)</character>
    <dialogue>Chinese national. Came here on a student visa. She's a Princeton grad. Then she graduated to a three year stint on Federal charges of racketeering and money laundering.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>Alex directs the team. Alex directs him to a few surveillance photos of the victim with various nefarious looking characters.</scene_description>
    <character>ALEX</character>
    <dialogue>Since then she's mostly stayed below the radar. Member of the Sun Yee On Triad. Very smart -- until last night.</dialogue>
    <scene_description>CONTINUED: He pulls up the images of ancient Chinese woodcuts featuring torture techniques.</scene_description>
    <character>ALEX</character>
    <dialogue>The style of the kill is "língchí" - "Death by a thousand cuts." It's a form of execution. Painful. Cruel. Unnecessary.</dialogue>
    <character>DAWSON</character>
    <dialogue>So we're looking at a rival gang?</dialogue>
    <character>ALEX</character>
    <dialogue>I don't think so.</dialogue>
    <scene_description>Alex opens a case file.</scene_description>
    <character>TOMMY</character>
    <dialogue>You remember Carlos Delgada?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CHOP HOUSE - NIGHT</stage_direction>
    <scene_description>Delgada is on fire. The scene is portrait-like.</scene_description>
    <character>DAWSON (VO)</character>
    <dialogue>Colombian dealer? That Carlos?</dialogue>
    <character>ALEX (VO)</character>
    <dialogue>That Carlos. "Necklaced" inside a burning tire in his brother's chop shop.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOMICIDE -- DAY</stage_direction>
    <character>TOMMY</character>
    <dialogue>Justice was served.</dialogue>
    <scene_description>Alex grabs a second case file.</scene_description>
    <character>ALEX</character>
    <dialogue>Then there was Tommy McGoey.</dialogue>
    <character>DAWSON</character>
    <dialogue>Irish thug. Him I remember.</dialogue>
    <character>ALEX</character>
    <dialogue>Indicted for money laundering, about to turn state's evidence. He ends up nailed to a fence with his legs broken.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MCGOEY HOUSE - DAY</stage_direction>
    <scene_description>McGoey nailed to the fence. He's alive, crying like a baby.</scene_description>
    <character>DAWSON</character>
    <dialogue>I'd call that a little overkill.</dialogue>
    <character>ALEX</character>
    <dialogue>Or ritualistic torture.</dialogue>
    <character>TOMMY</character>
    <dialogue>Justice was served.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOMICIDE -- DAY</stage_direction>
    <scene_description>Alex lays out the medieval torture images he captured the night before.</scene_description>
    <character>ALEX</character>
    <dialogue>Killed by lingchi... Burned at the stake... Crucified. By a professional killer.</dialogue>
    <scene_description>Alex lines up the three actual murder photos.</scene_description>
    <character>ALEX</character>
    <dialogue>The m.o. changes, but not the signature. Not once. This guy's getting off on his kills. Likes to subjugate and torment his victims. Which means... he's awfully good at what he does. He's cocky too and getting more arrogant with each kill.</dialogue>
    <character>DAWSON</character>
    <dialogue>So you're telling me we're looking for a professional hitman... Who's also a serial killer?</dialogue>
    <character>ALEX</character>
    <dialogue>Why not? It's the perfect job for him.</dialogue>
    <character>DAWSON</character>
    <dialogue>You gotta name for this guy?</dialogue>
    <scene_description>Alex pins up the Chinese symbol the victim drew in his blood.</scene_description>
    <character>ALEX</character>
    <dialogue>Butcher.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOUSE, BROOKLYN HEIGHTS - DAY</stage_direction>
    <scene_description>Sullivan is walking with his two boys, out to the family car. They're carrying books and it's clear he's taking them to school. He looks like the perfect dad. Except that he's extremely paranoid. His eyes roam the neighborhood street. They settle on a dark sedan. Then move on. A WELL-HEELED NEIGHBOR in a suit and tie waves from next door.</scene_description>
    <character>NEIGHBOR</character>
    <dialogue>Hey, Mikey. I can see who wears the long pants in your family.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>You got that right.</dialogue>
    <parenthetical>(to Seamus and Mike Jr.)</parenthetical>
    <dialogue>I gotta make nice to this total asshole. 'Like a good neighbor.'</dialogue>
    <scene_description>The suit walks over, all smiles and bullshit.</scene_description>
    <character>NEIGHBOR</character>
    <dialogue>I got Yankee tickets for Sunday. Corporate box. You and the boys?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Corporate box. I'd feel like a traitor to my people. But, yeah, we're in. Thank you, Richie. Thanks much.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LEXUS -- DAY</stage_direction>
    <scene_description>Sullivan gets in the car and starts it up.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I hate that fucking pissant cocksucker. But I do like baseball.</dialogue>
    <character>SEAMUS</character>
    <parenthetical>(grins)</parenthetical>
    <dialogue>Pissant cocksucker.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- NIGHT</stage_direction>
    <scene_description>In the space of a few hours the bulletin boards have swollen with additional homicides.</scene_description>
    <character>ALEX</character>
    <dialogue>Two years of unsolved homicides -- bad ones. Freak jobs.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>He's all over the place. Colombian cartels, Russian mafia, Irish mob.</dialogue>
    <character>DAWSON</character>
    <dialogue>How many homicides?</dialogue>
    <character>ALEX</character>
    <dialogue>He's prolific. Fourteen for sure. Could be more.</dialogue>
    <scene_description>Ryan approaches with another case file.</scene_description>
    <character>RYAN</character>
    <dialogue>This poor bastard was chopped up on the Jersey Shore, left in the family fridge.</dialogue>
    <character>ALEX</character>
    <dialogue>What's his name?</dialogue>
    <character>TOMMY</character>
    <dialogue>Johnny Salami.</dialogue>
    <scene_description>The team laughs. It's a welcome reprieve from the intensity of the homicides.</scene_description>
    <character>TOMMY</character>
    <dialogue>Not a shred of physical evidence on this guy. What's he -- a ghost?</dialogue>
    <character>ALEX</character>
    <dialogue>He's a contradiction-- organized and unpredictable. I've never seen anything like it. No one has. He's not in any of the text books I've read. Not yet.</dialogue>
    <character>DAWSON</character>
    <dialogue>How do we catch him?</dialogue>
    <character>ALEX</character>
    <dialogue>These murders aren't random... Our killer works his way up from the bottom to get to the top dogs.</dialogue>
    <scene_description>Alex points to the board. The homicides are separated into groups of Colombians, Italians, Russians, Irish and now Chinese. Within each group the victims are pinned on the board in ascending ranks. Alex starts on the bottom tier of the Russians.</scene_description>
    <character>ALEX</character>
    <dialogue>Nicholi Michaillov. Shut down.</dialogue>
    <scene_description>CONTINUED: (2) Alex draws a marker through his mugshot and moves up a tier to the next rank.</scene_description>
    <character>ALEX</character>
    <dialogue>Sergei Mogilevich. Boris Kalashov. Shut down.</dialogue>
    <scene_description>Alex strokes them out and moves up another tier.</scene_description>
    <character>ALEX</character>
    <dialogue>All the way to crime boss Yuri Pavlov.</dialogue>
    <scene_description>Alex strokes him out.</scene_description>
    <character>ALEX</character>
    <dialogue>The Capelli Crime Family was next. Then the Sun Yee On triad. Lipo Ching. Shu-Jon Mao. And now Fan Yau.</dialogue>
    <character>DAWSON</character>
    <dialogue>Was she at the top?</dialogue>
    <character>ALEX</character>
    <dialogue>NO.</dialogue>
    <scene_description>Alex circles a question mark at the top of the triads.</scene_description>
    <character>ALEX</character>
    <dialogue>We find that guy, maybe we find this guy.</dialogue>
    <character>DAWSON</character>
    <parenthetical>(addressing team)</parenthetical>
    <dialogue>Find out who she worked for. Get on it.</dialogue>
    <character>TOMMY</character>
    <parenthetical>(under his breath to Alex)</parenthetical>
    <dialogue>Chop. Chop.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BALLPARK, BROOKLYN -- DAY</stage_direction>
    <scene_description>A classic Brooklyn ballpark, surrounded by the city. Michael Sullivan is watching two young boys. It seem sinister. He walks directly toward them and picks up a Louisville Slugger.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Alright girls, let's see what you got. Throw it-then duck!</dialogue>
    <scene_description>CONTINUED: The target of Sullivan's psyche-out is his eldest son, MIKE JUNIOR a towhead, eleven-year-old. He stands on the pitcher's mound, focused and unfazed, bad-eyeing his old man. His youngest, SEAMUS, a cheeky eight-year-old, stands behind him thumping his catcher's mitt and trash-talking.</scene_description>
    <character>SEAMUS</character>
    <parenthetical>(cute but tough)</parenthetical>
    <dialogue>This guy's nothin'! You own this mutt!</dialogue>
    <scene_description>Mike ducks his chin. His wind-up is fluid. His speed is good for his age. Sullivan swings hard and connects with a satisfying crack.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>That's out of here, punks! Into the cheap seats!</dialogue>
    <scene_description>He runs / dances the bases for show, while Seamus scrambles over the ballpark's chain-link fence to retrieve the home-run ball. Seamus stops dead at the sight of a pair of shiny loafers. He looks up and sees Jimmy Hats. Jimmy tips his fedora and tosses the scuffed ball in his hand.</scene_description>
    <character>JIMMY</character>
    <dialogue>Your dad around?</dialogue>
    <scene_description>He sees the kid's eyes dart behind him and whips around. Sullivan appears and swings the bat at his head! Jimmy ducks as the bat blurs past with a rush of air and clips the top of his fedora sending it flying. Jimmy picks up the hat while Sullivan laughs.</scene_description>
    <character>JIMMY</character>
    <dialogue>You're a funny guy, Michael.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Wherever I go, that's what I hear.</dialogue>
    <scene_description>Sullivan flips the bat kendo-style, like a fighting staff. Jimmy flinches. Sullivan chuckles and tosses it to his son.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Go on, get outta here now. Daddy has important business with Uncle Jimmy.</dialogue>
    <character>SEAMUS</character>
    <parenthetical>(knows he's funny)</parenthetical>
    <dialogue>You're both mutts.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Run for your life, midget!</dialogue>
    <scene_description>Sullivan and Jimmy sit on the hood of his car. They gaze out on the Brooklyn street.</scene_description>
    <character>JIMMY</character>
    <dialogue>Look at these pathetic morons.</dialogue>
    <scene_description>He points out a group of URBANITES-all races, all creeds, very few white faces.</scene_description>
    <character>JIMMY</character>
    <dialogue>There goes the neighborhood sinking into the melting pot. Remember when we were kids here?</dialogue>
    <scene_description>Sullivan glances across the street at a boarded-up storefront with a torn and faded awning. The signage reads: THE BUTCHER OF SLIGO. Sullivan's demeanor darkens.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What brings you around, Jimmy?</dialogue>
    <character>JIMMY</character>
    <dialogue>Some hotshot in D.C. Homicide is zeroing in on you. Because of the Chinese girl, and how she died.</dialogue>
    <scene_description>Sullivan considers it.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You really think this cop's a threat to me? I doubt it. Cops are morons.</dialogue>
    <character>JIMMY</character>
    <dialogue>All I'm saying is be more careful. Maybe you're not the only one who likes to make a statement, wants to make a reputation.</dialogue>
    <scene_description>Jimmy lets his words sink in.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You have a name? This cop I need to be afraid of?</dialogue>
    <character>JIMMY</character>
    <dialogue>Yup. Cross, Alex Cross.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CITY STREET, D.C. -- TWILIGHT</stage_direction>
    <scene_description>Sullivan stands in a doorway. He pulls up the hood of his sweatshirt and stakes out the building across the street. Sullivan looks cool. Sullivan is cool.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. D.C. METRO POLICE STATION -- TWILIGHT</stage_direction>
    <scene_description>Alex exits to the precinct parking lot and goes to his car.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CUSTOM IMPALA -- TWILIGHT</stage_direction>
    <scene_description>Sullivan follows in a custom Impala.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- TWILIGHT</stage_direction>
    <scene_description>Maria glances at her watch. A couple of GANGBANGERS hanging in a doorway. They WOLF-WHISTLE.</scene_description>
    <character>GANGBANGER</character>
    <dialogue>Yo shortie. Can I get your number?</dialogue>
    <character>MARIA</character>
    <dialogue>I'm not your yo, Vernon. Not your shortie either. And pull up your pants. You look ridiculous.</dialogue>
    <scene_description>The gangbanger busts out a tune.</scene_description>
    <character>GANGBANGER</character>
    <parenthetical>(rapping)</parenthetical>
    <dialogue>Hey baby, can I get your number? Say lady, take a ride with me...</dialogue>
    <scene_description>To their surprise, Maria sings - she's funny, and she knows the words. The gangbangers smile and pump their fists in a show of respect.</scene_description>
    <character>MARIA</character>
    <parenthetical>(sings)</parenthetical>
    <dialogue>Say lady, take a ride with me... In your dreams, gentlemen.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BMW -- TWILIGHT</stage_direction>
    <scene_description>Alex pulls up outside the housing project. The light is beautiful. This is the kind of night when you feel lucky to be alive. He sees Maria. Smiles. Can't help it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CUSTOM IMPALA -- TWILIGHT</stage_direction>
    <scene_description>Sullivan pulls up a block behind and watches as Alex jogs, to meet Maria. He cranks the volume on the car stereo and drums his fingers on the steering wheel, psyching himself up.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- TWILIGHT</stage_direction>
    <scene_description>Alex meets up with Maria and gives her a big smooch. The gangbangers WHOOP and CHEER.</scene_description>
    <character>GANGBANGER</character>
    <dialogue>See that's what I'm talkin' about. You are fine, girl. Halle Berry, Beyonce, don't got shit on you.</dialogue>
    <scene_description>Alex throws his arm around Maria and gives her a wink.</scene_description>
    <character>ALEX</character>
    <dialogue>Kid's right about that. You are fine, girl.</dialogue>
    <character>MARIA</character>
    <dialogue>You should know.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CUSTOM IMPALA -- TWILIGHT</stage_direction>
    <scene_description>Down the street, Sullivan continues to watch.</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Mr. and Mrs. Cross. How do you do?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- TWILIGHT</stage_direction>
    <scene_description>Alex takes Maria's briefcase and grabs her hand.</scene_description>
    <character>MARIA</character>
    <dialogue>I was thinking of names today.</dialogue>
    <character>ALEX</character>
    <dialogue>Such as?</dialogue>
    <character>MARIA</character>
    <dialogue>If it's a boy, Travis.</dialogue>
    <character>ALEX</character>
    <dialogue>Travis?</dialogue>
    <character>MARIA</character>
    <dialogue>After my great grandfather.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>What was he -- a country and Western singer?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CUSTOM IMPALA -- TWILIGHT</stage_direction>
    <scene_description>Sullivan hits the gas --</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- TWILIGHT</stage_direction>
    <scene_description>Alex sees the Impala. THE BARREL OF A SEMI AUTOMATIC sticks out the window. Alex catches a fleeting glimpse of the shooter, and the intensity in his eyes.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Peek-a-boo motherfucker.</dialogue>
    <scene_description>The LOWRIDER SCREAMS PAST; wheels spinning furiously -- MULTIPLE GUNSHOTS RING OUT. Alex RETURNS FIRE -- The GANGBANGERS react, and are instantly on the defensive, pulling guns, running and gunning for the lowrider. The RETORT OF GUNFIRE is deafening. Bullets zip everywhere.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOWRIDER -- TWILIGHT</stage_direction>
    <scene_description>Sullivan expertly steers into the skid as the lowrider fishtails around the corner.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- TWILIGHT</stage_direction>
    <scene_description>Alex watches the lowrider speed out of sight. He hears Maria's strained voice, behind him.</scene_description>
    <character>MARIA</character>
    <dialogue>Oh, Alex.</dialogue>
    <scene_description>He turns and she falls to the sidewalk. Alex goes to her.</scene_description>
    <character>ALEX</character>
    <dialogue>Maria?</dialogue>
    <scene_description>She looks up at him like a frightened child. Alex sees blood dripping onto the street. He frantically checks her and discovers that she's been hit in the chest.</scene_description>
    <character>ALEX</character>
    <dialogue>Jesus, no.</dialogue>
    <scene_description>CONTINUED: Alex runs to a nearby hospital carrying his dying wife. He's unbelievably physical and strong... and desperate.) He cradles her, holds her tightly against him and bounds into motion. A crew of CORNER-BOYS stop and gawk as he bolts past them down the sidewalk with Maria clinging to his neck. The neighborhood improves. The buildings get more attractive. A KNOTTED OLD WOMAN looks up from her stoop and raises a hand to her mouth in shock. Then blesses herself. Pedestrians stare in horror - transfixed. Alex charges past. Never lets up. His breathing is rapid and heavy. His fear blends with courage, determination and the sheer feat of running several blocks carrying his dying wife.</scene_description>
    <character>ALEX</character>
    <parenthetical>(screaming out)</parenthetical>
    <character>COME ON. COME ON.</character>
    <dialogue>He turns a corner and powers down another block. Finally, a cross glows like a beacon. A crimson sign reads: EMERGENCY ROOM. There's hope now.</dialogue>
    <dialogue>The concrete bastion of ST. ANTHONY'S HOSPITAL looms ahead. Heavy traffic surges past. Alex won't stop. He weaves through the speeding cars. HORNS BLAST. TIRES SCREECH. DRIVERS swerve to avoid collision with this clearly desperate man.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ST. ANTHONY'S HOSPITAL -- TWILIGHT</stage_direction>
    <scene_description>Alex surges forward with Maria bleeding out in his arms. She hasn't made a sound since she whispered his name. EMTs rush toward him. Everyone is talking at once. Alex is sweating, in shock and running on pure adrenaline. He clings to Maria. Her eyes suddenly blink open. She's frightened and confused.</scene_description>
    <character>MARIA</character>
    <dialogue>Alex. Our babies.</dialogue>
    <character>ALEX</character>
    <dialogue>You're safe now. It's going to be all right.</dialogue>
    <scene_description>She starts to drift...</scene_description>
    <character>ALEX</character>
    <parenthetical>(desperate)</parenthetical>
    <dialogue>Stay with me. Stay with me. Please God, don't do this.</dialogue>
    <scene_description>CONTINUED: Maria tries to speak, again. She can't. She reaches up and touches Alex's face.</scene_description>
    <character>ALEX</character>
    <dialogue>Maria --</dialogue>
    <scene_description>Maria closes her eyes for the last time and dies in his arms.</scene_description>
    <character>ALEX</character>
    <dialogue>MARIA... NO... NO... NO...</dialogue>
    <scene_description>Alex is completely distraught, desperate, refusing to believe it. He clings to her as the paramedics swarm around him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INNER-CITY -- TWILIGHT</stage_direction>
    <scene_description>The custom Impala eases down a street then parks near an open lot. Sullivan pours on gasoline then tosses a match and walks away as the car is engulfed in flames behind him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ST. ANTHONY'S HOSPITAL, WAITING ROOM -- NIGHT</stage_direction>
    <scene_description>A small, sterile room. A crucifix hangs on the wall. Alex sits completely numb. Maria's belongings are in a plastic bag in his arms. Tommy helps him up.</scene_description>
    <character>TOMMY</character>
    <dialogue>We're going to get him, Alex. We'll get this sonofabitch.</dialogue>
    <scene_description>Tommy leads him down a hallway. Alex stares straight ahead, eyes like steel, completely shut off. He punches out a wall lamp. His hand bleeds. His expression never changes. Tommy has no reaction. Just keeps walking.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ST. ANTHONY'S HOSPITAL -- NIGHT</stage_direction>
    <scene_description>A chaotic E.R. swarming with UNIFORMED POLICE. Crawford and Ryan wrangle the investigation. The gangbangers are all speaking at once.</scene_description>
    <character>GANGBANGER</character>
    <dialogue>Potomac Gardens man. This shit ain't no game here.</dialogue>
    <character>CRAWFORD</character>
    <dialogue>You get a look at the shooter? Anybody?</dialogue>
    <character>GANGBANGER TWO</character>
    <dialogue>Muffugga tinted windows. Low-rider. Chevy.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>CRAWFORD</character>
    <dialogue>The gun? What kind?</dialogue>
    <scene_description>The banger demonstrates by pointing his finger and turning his hand sideways.</scene_description>
    <character>GANGBANGER 2</character>
    <dialogue>Held it like this. Muffugga lit up real fast.</dialogue>
    <parenthetical>(he makes sound effects -- serious and scary)</parenthetical>
    <dialogue>Ryan approaches fast.</dialogue>
    <character>RYAN</character>
    <dialogue>We got the car. Burn out. Over on 85th.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- NIGHT</stage_direction>
    <scene_description>Sullivan backtracks through the projects. He eyeballs a crew of STREET THUGS on the corner and turns down an alleyway. A PITBULL lunches from the shadows. Sullivan leaps back as a leash snaps taught. He hears laughter and a THUG steps into the light, mean mugging him as he restrains the dog. Sullivan meets his gaze. Instead of backing off, smiles, then leans down to pet the beast.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>She's a beauty. Look at you, precious.</dialogue>
    <scene_description>The dog snarls, but Sullivan shows no fear.</scene_description>
    <character>STREET THUG</character>
    <dialogue>Go pet a poodle, punk-ass faggot.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Moi? Punk-ass? Faggot?</dialogue>
    <scene_description>Sullivan rises fast from his crouch, his arm shooting out in a blur. The street thug doubles as something strikes him in the gut. His head jerks back as a second strike cuts his throat. The dog barks and tugs wildly at the leash. Sullivan steps back, a bloody knife in his grip. The thug grips his throat. His knees buckle and he goes down. Sullivan wipes off the gun that killed Maria and plants it in the waistband of the thug's baggy pants. He rips off his mp3 player and shuffles through his playlist. CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Kanye West? And you call me a faggot?</dialogue>
    <scene_description>Sullivan gives him another few stabs for good measure. He calmly snaps the blade shut, stands over the kid's bloody body and takes a bow.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Michael Sullivan. Good to meet you.</dialogue>
    <scene_description>He grabs the dog leash, sticks in the headphones and saunters off in a pimp roll, rocking out to GANGSTA RAP.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE -- LATE DAY</stage_direction>
    <scene_description>The gathering after Maria's funeral is in progress. Friends and relatives and cops that Alex works with crowd the house. There are a lot of tears. Alex walks through the crowd and people keep hugging him. There are several beautiful photos of Maria and her family set up all around the living room. People file around and look at the photos. Some are crying. Some carry platefuls of food. Everyone is in mourning.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE</stage_direction>
    <scene_description>Alex's AUNT TIA sits with Damon and Jannie in her broad lap.</scene_description>
    <character>TIA</character>
    <dialogue>You are the best children in the whole wide world. You are the very best kids. God loves you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE</stage_direction>
    <scene_description>Nana and Tommy talk privately.</scene_description>
    <character>NANA</character>
    <dialogue>You watch over Alex, Tommy. You do that for me?</dialogue>
    <character>TOMMY</character>
    <dialogue>Yes, Nana.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE</stage_direction>
    <scene_description>Damon walks up to another small child.</scene_description>
    <character>DAMON</character>
    <dialogue>My mommy died.</dialogue>
    <scene_description>CONTINUED: Tommy picks Damon up-upside down-and nuzzles the boy until he starts laughing. People turn and smile at the sight of this beautiful boy laughing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE</stage_direction>
    <scene_description>Alex sits and plays the piano. A beautiful song. Alex can really play and this music comes straight from his soul.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN, NANA'S HOUSE - LATER THAT NIGHT</stage_direction>
    <scene_description>Alex sits in Nana's kitchen staring at crime scene photos of the dead gangbanger. Tommy sits beside him. All of the mourners are finally gone.</scene_description>
    <character>TOMMY</character>
    <dialogue>We don't have to do this now.</dialogue>
    <character>ALEX</character>
    <dialogue>Yes we do... That's not him. It's not the guy in that low-rider.</dialogue>
    <scene_description>Tommy puts a hand on his shoulder.</scene_description>
    <character>TOMMY</character>
    <dialogue>Alex, the ballistics match. Trust me, it's the same gun that killed Maria. It's the same guy.</dialogue>
    <scene_description>Alex shoves the photos away from him in frustration.</scene_description>
    <character>ALEX</character>
    <dialogue>HE LOOKED RIGHT AT ME.</dialogue>
    <scene_description>Alex paces the room, his muscles bunched in anger.</scene_description>
    <character>ALEX</character>
    <dialogue>He's still out there somewhere.</dialogue>
    <scene_description>Tommy throws a concerned glance at Nana - who is standing in the doorway to the kitchen.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SULLIVAN HOME, BROOKLYN HEIGHTS -- DAY</stage_direction>
    <scene_description>The sound of VIOLENT COMBAT reverberates through a tastefully decorated old Colonial -- a residence worthy of a well-heeled doctor or lawyer. Michael Jr. plays ASSASSIN'S CREED on Xbox 360. Sullivan is on a laptop surfing Google Earth. He prints out a few satellite images and scribbles a few notes. CONTINUED: He hears a DOG BARKING and glances out the window to see a Cadillac pulling into the drive.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- DAY</stage_direction>
    <scene_description>Sullivan strides down the driveway as Jimmy Hats pulls up in front of the house. The Sullivan cars, a Mercedes Sedan and a Lexus SUV, are in the driveway. Sullivan darts around the passenger side of Jimmy's car and climbs in beside him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CADILLAC -- DAY</stage_direction>
    <scene_description>Hats reverses out of the driveway. Sullivan waves to his wife like everything is fine. As soon as they are out of sight, he turns on Hats.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What wrong with you? You come here, you put me at risk. You put my family at risk.</dialogue>
    <character>JIMMY</character>
    <dialogue>I told you to keep your head down. This is our big play, Michael. Everything is coming together now. Don't you get that?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>You said a hot-shot cop wanted to make his reputation on me.</dialogue>
    <character>JIMMY</character>
    <dialogue>I didn't tell you to kill him!</dialogue>
    <character>SULLIVAN</character>
    <dialogue>You said he was good. That's what you told me, Jimmyboy.</dialogue>
    <character>JIMMY</character>
    <dialogue>The wife was pregnant, you know that?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Now she's dead. Baby makes two. Just calm down.</dialogue>
    <character>JIMMY</character>
    <dialogue>Calm down? You know what you are? You're a liability. Maggione wants to run you down.</dialogue>
    <scene_description>Sullivan stares Jimmy down. Jimmy is rattled by the menace in his gaze, but the most unnerving part of all is his calmness. CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Stop the car.</dialogue>
    <scene_description>Jimmy pulls over. Sullivan gets out. Walks away. Jimmy sits there, shaking his head. He lights a cigarette. TWO HANDS SHOOT THROUGH THE DRIVER'S WINDOW and clutch Jimmy's throat. Jimmy flails wildly and claws at his neck, but he can't escape Sullivan's vice-like grip. Sullivan watches as he slowly chokes. Jimmy's eyes roll back. Sullivan releases him. Jimmy slumps forward, retching and gasping for air. He glances nervously out the window. Sullivan is gone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUBWAY TRAIN -- NIGHT</stage_direction>
    <scene_description>Jimmy boards the train and grabs a seat beside a suavely good- looking Italian-American - DOMINIC MAGGIONE.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>Al Capone used to meet on trains.</dialogue>
    <character>JIMMY</character>
    <dialogue>Yeah, but he booked the whole car.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>He needed protection. I've got you.</dialogue>
    <scene_description>Jimmy laughs.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>So what's up?</dialogue>
    <character>JIMMY</character>
    <dialogue>It's Michael. I think we ought to cut him loose. And soon.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Because of this business with the cop?</dialogue>
    <scene_description>Maggione notices an OLD LADY looking for a seat.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>Mrs. Valva, please.</dialogue>
    <scene_description>Maggione stands politely and gives her his seat. She's hearing-impaired and speaks very loudly.</scene_description>
    <character>MRS. VALVA</character>
    <dialogue>God bless you, Dominic.</dialogue>
    <scene_description>She looks at Jimmy. CONTINUED:</scene_description>
    <character>MRS. VALVA</character>
    <dialogue>Jimmy? Is that you? Handsome fella. How's your mother, dear.</dialogue>
    <character>JIMMY</character>
    <dialogue>Still busting my chops.</dialogue>
    <character>MRS. VALVA</character>
    <dialogue>Give her my love.</dialogue>
    <scene_description>Jimmy smiles and stands next to Maggione.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>Who's gonna do the job? Who's gonna take out Michael Sullivan? You?</dialogue>
    <character>JIMMY</character>
    <dialogue>What about Vincent?</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Francesca's kid? You can't be serious.</dialogue>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>That's funny actually. I don't like him for this. You really think Sullivan's run his course?</dialogue>
    <character>JIMMY</character>
    <dialogue>You let loose a guy like Michael, you better have him on a short leash.</dialogue>
    <scene_description>Maggione considers it.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>Let him finish up this last detail, then I'll deal with him myself. You take care of that overachieving moolie cop.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KID'S BEDROOM, CROSS APARTMENT -- NIGHT</stage_direction>
    <scene_description>Alex stands in the dim light watching over his kids. A fresh apple has been left out for the dinosaur.</scene_description>
    <character>DAMON</character>
    <dialogue>Daddy?</dialogue>
    <character>ALEX</character>
    <dialogue>What is it, buddy?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAMON</character>
    <dialogue>Am I still going to be a big brother?</dialogue>
    <scene_description>Alex is rocked by the question. He chokes back the emotion and puts on his best cheerful dad's face.</scene_description>
    <character>ALEX</character>
    <dialogue>When you grow bigger than Janelle- you'll be her big brother.</dialogue>
    <character>DAMON</character>
    <dialogue>Is mommy coming back? Ever?</dialogue>
    <character>ALEX</character>
    <dialogue>No, honey. She isn't.</dialogue>
    <character>DAMON</character>
    <dialogue>Nana said the angels carried her up to heaven.</dialogue>
    <scene_description>Alex smiles through the pain. Janelle pipes up from the other bed.</scene_description>
    <character>JANELLE</character>
    <parenthetical>(angry)</parenthetical>
    <dialogue>It's not true. Mommy was shot.</dialogue>
    <scene_description>Alex is caught off guard. He sits on the edge of her bed. Alex strokes her hair.</scene_description>
    <character>ALEX</character>
    <dialogue>I was with mommy, sweetheart. She was in my arms the whole time. Mama just closed her eyes and went to sleep.</dialogue>
    <character>DAMON</character>
    <dialogue>Are you going away too, Daddy?</dialogue>
    <character>ALEX</character>
    <dialogue>Nope, I'm staying right here with both of you. Go on, scooch over. Move your skinny little butt.</dialogue>
    <scene_description>Damon wriggles over. Alex crawls into the bed beside his son. He holds him. Then Jannie comes into the bed too.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. UPSCALE STREET, WASHINGTON D.C. - NIGHT</stage_direction>
    <scene_description>Michael Sullivan strolls along a street of well-kept brownstones. CONTINUED: He starts to pass a house with a big Mercedes parked in front. Two Chinese men stand near the front steps. One of them notices Sullivan.</scene_description>
    <character>CHINESE GUARD #1</character>
    <dialogue>Hey, what you doing here? Get outta here! Take off!</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Not a problem.</dialogue>
    <scene_description>Sullivan continues up the block.</scene_description>
    <character>CHINESE GUARD #2</character>
    <parenthetical>(in Cantonese with subtitles)</parenthetical>
    <dialogue>I saw that gweilo before. With Fan Yau. Come on.</dialogue>
    <scene_description>They follow Sullivan and catch up with him. Sullivan is struck hard from behind and goes down on one knee. He really can take a punch though.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What the hell?</dialogue>
    <character>CHINESE GUARD #2</character>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>You walk on the wrong street.</dialogue>
    <scene_description>Sullivan gets up very fast. He pulls a gun with a silencer.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Gents, I can walk wherever I want. Do whatever I want. This is what I want to do.</dialogue>
    <scene_description>Sullivan shoots both men. Head shots. Expertly done. He doesn't even blink. Then Sullivan strolls on.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I'm coming for your boss. No way to stop me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN, CROSS APARTMENT -- DAY</stage_direction>
    <scene_description>Alex makes the kids their lunches. He tries hard. But he's clearly distracted and distraught. Cutting off the crusts, making triangles. He checks the time and shouts down the hallway. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>Janelle! C'mon. School waits for no one! Not even a beautiful girl.</dialogue>
    <scene_description>He stares at the fridge door, plastered with family snapshots of Maria and the kids. Everywhere he turns, he sees her and feels her presence. He notices that Damon isn't eating his breakfast.</scene_description>
    <character>ALEX</character>
    <dialogue>What's wrong, buddy? Not hungry?</dialogue>
    <scene_description>The boy shakes his head.</scene_description>
    <character>ALEX</character>
    <dialogue>C'mon, just a few bites.</dialogue>
    <character>DAMON</character>
    <dialogue>I want the other kind.</dialogue>
    <character>ALEX</character>
    <parenthetical>(trying to be patient)</parenthetical>
    <dialogue>You don't like the other kind, Damon.</dialogue>
    <scene_description>Damon starts sobbing.</scene_description>
    <character>DAMON</character>
    <parenthetical>(stubborn)</parenthetical>
    <dialogue>Yes I do. Mommy knows what I like.</dialogue>
    <character>ALEX</character>
    <dialogue>JANELLE! NOW MEANS NOW!</dialogue>
    <scene_description>A buzzer sounds. The door opens and Nana arrives. Alex is so harried and flustered, he barely acknowledges her.</scene_description>
    <character>NANA</character>
    <dialogue>JANELLE! SCHOOL!</dialogue>
    <scene_description>Jannie comes running. Alex can't believe it. Janelle runs to her Nana.</scene_description>
    <character>NANA</character>
    <dialogue>Maybe you and the kids should come live at my house.</dialogue>
    <character>ALEX</character>
    <dialogue>We're OK.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>NANA</character>
    <dialogue>You can all fit in my place. Three big bedrooms. You can't swing a cat in here.</dialogue>
    <character>ALEX</character>
    <dialogue>We're fine.</dialogue>
    <scene_description>The five foot tall warrior of a woman is calm and in control.</scene_description>
    <character>NANA</character>
    <dialogue>Damon, dry those tears and eat your delicious breakfast. Janelle, listen to your father, or I'll bust you one.</dialogue>
    <parenthetical>(to Alex)</parenthetical>
    <dialogue>As for you, no more back talk. This is how it's going to be. You eat some breakfast too.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CADILLAC -- DAY</stage_direction>
    <scene_description>Jimmy parks his car, removes his hat and glances at himself in the vanity mirror. He flattens his hair and straightens his tie. He checks his gun, holsters it and glances out the window... D.C. HOMICIDE is right across the street.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>Alex walks through the door with a big container of coffee. He freezes when he sees his wife's name crossed out on the murder board. The atmosphere in the bullpen is bleak. No one knows how to react. Tommy grips his partner's shoulder.</scene_description>
    <character>TOMMY</character>
    <dialogue>Welcome home, man.</dialogue>
    <scene_description>Alex studies the boards covered in crime scene photos of Sullivan's kills. Ryan approaches.</scene_description>
    <character>RYAN</character>
    <dialogue>I'm sorry --</dialogue>
    <character>ALEX</character>
    <parenthetical>(all business)</parenthetical>
    <dialogue>Where are we on his next target? What have I missed?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>RYAN</character>
    <dialogue>Can't find anything that connects Fan Yau to anyone higher. Whoever her boss is, he's well insulated.</dialogue>
    <character>ALEX</character>
    <dialogue>Exactly. So let's look at the legitimate stuff. Import/export. Real estate --</dialogue>
    <character>TOMMY</character>
    <dialogue>Thirty-five chop suey joints.</dialogue>
    <scene_description>The team laughs. The tension eases. Dawson exits his office and sees Alex.</scene_description>
    <character>DAWSON</character>
    <dialogue>Alex. Come in here.</dialogue>
    <scene_description>INT D.C. HOMICIDE -- DAY Jimmy Galati strides down the corridor toward the squad room. This is quite the surprise.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LT'S OFFICE -- DAY</stage_direction>
    <scene_description>Alex sees MARIA CROSS typed on a case file on the desk. He and Dawson stand and talk.</scene_description>
    <character>DAWSON</character>
    <dialogue>I didn't expect to see you back so soon. You shouldn't be here.</dialogue>
    <character>ALEX</character>
    <dialogue>I can't be at home.</dialogue>
    <scene_description>Dawson studies him for a beat. He looks like hell.</scene_description>
    <character>DAWSON</character>
    <dialogue>Have you checked in with psych?</dialogue>
    <character>ALEX</character>
    <dialogue>Fuck psyche. And yes, I get the irony in me saying that. So let me say it again -- fuck psyche.</dialogue>
    <scene_description>The door knocks. Dawson answers it. JIMMY HATS IS STANDING RIGHT THERE! He fixes his gaze on Alex. Dawson shakes his hand. Alex notices the Italian loafers. The bespoke suit. CONTINUED:</scene_description>
    <character>DAWSON</character>
    <dialogue>James. Come in... Alex... this is Special Agent Galati of the FBI's organized crime unit.</dialogue>
    <scene_description>SPECIAL AGENT JAMES GALATI aka Jimmy Hats extends his hand. Alex eyes the FBI badge on his lapel.</scene_description>
    <character>JIMMY</character>
    <dialogue>Detective Cross, I'm more sorry than my words can express about your loss.</dialogue>
    <scene_description>Alex shuts down any emotion and shakes his hand.</scene_description>
    <character>ALEX</character>
    <dialogue>You're with the FBI's organized crime unit?</dialogue>
    <character>DAWSON</character>
    <dialogue>Agent Galati is here about the homicide spree. The ritual killings.</dialogue>
    <character>JIMMY</character>
    <dialogue>We really appreciate the work you've done, Detective. But we have to take it from here. These murders are important to an active operation.</dialogue>
    <scene_description>Alex glances out the window. A slew of FBI agents are loading his case-files into boxes and carting them off. He stares incredulously at Dawson.</scene_description>
    <character>ALEX</character>
    <dialogue>You agreed to this?</dialogue>
    <character>DAWSON</character>
    <parenthetical>(to Jimmy)</parenthetical>
    <dialogue>Give us a minute?</dialogue>
    <scene_description>Jimmy nods and steps out. Dawson closes the door.</scene_description>
    <character>ALEX</character>
    <dialogue>How can you let them waltz in here like this?</dialogue>
    <character>DAWSON</character>
    <dialogue>James Galati is a decorated agent with major arrests. Cleaned up a lot of streets. He's a rising star in the Bureau.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>ALEX</character>
    <dialogue>This is my case.</dialogue>
    <character>DAWSON</character>
    <dialogue>C'mon Alex. Fourteen murders. Three different states?</dialogue>
    <character>ALEX</character>
    <dialogue>Fifteen, if you count my wife. I do.</dialogue>
    <scene_description>Dawson is used to Alex's rational, level-headed demeanor, he's never seen him so agitated and emotional.</scene_description>
    <character>DAWSON</character>
    <dialogue>Alex... we got the guy.</dialogue>
    <character>ALEX</character>
    <dialogue>The wrong guy. How can I say it any clearer? I saw him. He looked right at me. He was coming after me.</dialogue>
    <scene_description>Dawson hands him Maria's case file.</scene_description>
    <character>DAWSON</character>
    <dialogue>We've got three witnesses. The weapon. The prints. The bullet... the shooter was in a rival gang with an ongoing blood feud for Christ's sake. It all fits.</dialogue>
    <character>ALEX</character>
    <dialogue>That's the problem. It fits too well.</dialogue>
    <scene_description>Dawson considers him for a beat.</scene_description>
    <character>DAWSON</character>
    <dialogue>Alex, schedule in with Fuck Psyche.</dialogue>
    <character>ALEX</character>
    <parenthetical>(as he leaves)</parenthetical>
    <dialogue>For the record, I'm past the denial stage. Holding off depression. I'll let you know when I reach acceptance.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SQUAD ROOM -- DAY</stage_direction>
    <scene_description>Alex walks back into the bull pen. He DROP KICKS his full container of coffee. Then he walks through the room of cops and FBI and leaves. Jimmy watches him go. CONTINUED:</scene_description>
    <character>RYAN</character>
    <dialogue>Wow.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LAUNDROMAT, BROOKLYN -- DAY</stage_direction>
    <scene_description>Michael Sullivan pushes open the door of a laundromat. He's got a few shirts over his arm. He glances up at a security camera and sets a laundry bag on the counter. A TEENAGE EMPLOYEE with Goth makeup, glances up from filing her nails. Sullivan smiles. He is a charmer, very seductive.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You're Jeanie, right?</dialogue>
    <scene_description>She ignores him and fidgets with a piercing in her eyebrow.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I remember you selling Girl Scout cookies door to door. Mint chocolate. Mmm, mmm.</dialogue>
    <scene_description>She picks up her receipt book.</scene_description>
    <character>GOTH GIRL</character>
    <dialogue>Name?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Ever heard of red light-green light?</dialogue>
    <scene_description>She scribbles "WEIRDO" in the name box.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>It's a game. I ask you a question. If I'm right I come closer. If I'm wrong, I back off.</dialogue>
    <character>GOTH GIRL</character>
    <dialogue>You want starch?</dialogue>
    <scene_description>Sullivan gives her a grin.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You've only got piercings where people can see them. None under the hood, so to speak.</dialogue>
    <scene_description>She blushes and looks away. Sullivan moves closer and touches her ear with the multiple piercings. CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(softer)</parenthetical>
    <dialogue>That's because you're basically a good Catholic girl and you're just acting bad.</dialogue>
    <scene_description>He pushes her scraggly hair off her face.</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(even softer)</parenthetical>
    <dialogue>No one's ever told you how pretty you are, have they?</dialogue>
    <scene_description>She looks at him with big vulnerable eyes, scared and excited at the same time. He leans in and whispers his last question.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You're still a virgin.</dialogue>
    <scene_description>Her embarrassed expression confirms he's right.</scene_description>
    <character>MAGGIONE (O.S.)</character>
    <dialogue>Hey asshole, leave the staff alone.</dialogue>
    <scene_description>Sullivan spins around to see Dominic Maggione. Sullivan grins. Maggione embraces him.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>Here's my boy. My favorite killer.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OPERATIONS FLOOR, LAUNDROMAT -- MOMENTS LATER</stage_direction>
    <scene_description>Maggione leads Sullivan through the operations floor. A few of the WORKFORCE are busy laundering clothes, the majority are laundering enormous amounts of cash. BODYGUARDS man the exits and keep vigil on the workers. None of them want to meet Sullivan's gaze.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>That's your weakness, Michael. The ladies. How many times have I told you?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Too many to count.</dialogue>
    <scene_description>Sullivan follows Maggione up a narrow stairwell.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>They're all afraid of you, Michael. My people.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I'm good at my job. They aren't.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE, LAUNDROMAT -- DAY</stage_direction>
    <scene_description>They enter an office with a desk, a few chairs, and a large safe. A TV plays in the corner.</scene_description>
    <character>MAGGIONE</character>
    <dialogue>How're your boys?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Good, except Caitlin has them spoiled rotten. Especially the youngest. Seamus.</dialogue>
    <parenthetical>(smiles) )</parenthetical>
    <dialogue>He's a little bastard, like me.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Send Seamus to me. I'll straighten him out.</dialogue>
    <scene_description>Sullivan smiles. So does Maggione. There seems to be affection between them.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Yeah, just like you did with me? Bada Bing summer camp.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Look how you turned out.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Yeah. Look at me.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>What's this I hear about a policeman's wife in Washington?</dialogue>
    <character>SULLIVAN</character>
    <parenthetical>(sarcastic)</parenthetical>
    <dialogue>Damn shame. Real human tragedy. Cop was getting too close.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Maybe if you used a paintbrush instead of a sledgehammer.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Paintbrush? You want me to tickle them to death?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MAGGIONE</character>
    <dialogue>You're a bright boy. What is it with you?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Arrogance? Death wish? No concept of my own mortality? I'm not sure.</dialogue>
    <character>MAGGIONE</character>
    <dialogue>Michael. Michael. Always the theatrics. Now listen to me closely. No more attention drawn to us. Especially not now. This is a deal breaker between us. You're very good with a rifle. Use it. Understood?</dialogue>
    <scene_description>Sullivan doesn't answer. Maggione feels his eyes drilling into him, the effect is unsettling. Sullivan stands and gives a little bow.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I understand. I'm a bright boy.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WATERSIDE - DAY</stage_direction>
    <scene_description>Sullivan walks along a deserted stretch of beach in Brooklyn or Queens. He's carrying a rifle at his side. He raises it quickly and shoots a seagull winging across the surf. He's very good with a rifle. Very good. It's a bad day for seagulls though.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS PROJECTS -- DAY</stage_direction>
    <scene_description>Alex walks to the spot where Maria was gunned down. The blood stain on the sidewalk is faded but still visible. The grief wells up inside him. Flashbacks of the fateful night torment him -- a constant loop.</scene_description>
    <character>MARIA (O.S.)</character>
    <dialogue>Oh Alex...</dialogue>
    <scene_description>Alex goes down to a crouching position and covers his head.</scene_description>
    <character>ALEX</character>
    <dialogue>Jesus, Jesus.</dialogue>
    <scene_description>Then he switches to the dispassionate, professional mode of Dr. Alex Cross and starts working the crime scene...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS PROJECTS -- DAY</stage_direction>
    <scene_description>A gang of LATCHKEY KIDS clamber over the charred carcass of the abandoned Impala. A LITTLE BOY sits in the melted driver's seat, makes rally-racing sounds as he turns the steering wheel left and right. Alex leans in the window.</scene_description>
    <character>ALEX</character>
    <dialogue>Hey. Can you give me a ride?</dialogue>
    <scene_description>The kid eyes him warily.</scene_description>
    <character>KID</character>
    <dialogue>You a pervert?</dialogue>
    <scene_description>Alex shows him his detective shield. The kid glowers with disdain and keeps driving.</scene_description>
    <character>KID</character>
    <dialogue>Po-lease. Worse than a pervert.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BURNED OUT IMPALA -- DAY</stage_direction>
    <scene_description>Alex climbs in beside him and scans the charred interior. The kid grips the melted steering wheel, leans left and makes the sound of skidding tires. Alex notices that his legs are too short to reach the peddles.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PROJECTS -- MOMENTS LATER</stage_direction>
    <scene_description>Alex salvages a couple of bricks from the lot.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BURNED OUT IMPALA -- MOMENTS LATER</stage_direction>
    <scene_description>The kid sits in the driver's seat with his feet planted on bricks tied to the pedals. He beams a big smile and bumps fists with Alex.</scene_description>
    <character>ALEX</character>
    <dialogue>You're welcome. Go po-lease.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS PROJECTS -- DAY</stage_direction>
    <scene_description>Alex visits the location of the gangbanger's stabbing. The area is cordoned with police tape. The spot is secluded. The surrounding houses are boarded up and vacant. Alex gets to work. He's more driven, more focused than ever. He opens Maria's case file and lays the crime scene photos on the ground like a visual reenactment of the murder. He studies the gangbanger's autopsy report -- makes a note of his height. CONTINUED: He picks up a stone and scratches a height marker on the wall. He towers over it. He tapes a CLOSE UP SHOT of the knife wound in the gangbanger's abdomen at the corresponding height on the wall. He makes a stabbing motion at the wall and realizes that he's too tall to inflict such a low blow. He needs to get down very low to achieve the same angle. He studies the crime scene photos and notices BONE SHAPED COOKIES scattered amongst the gangbanger's pocket litter.</scene_description>
    <character>ALEX</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Dog treats?</dialogue>
    <scene_description>He bends to his knees, opposite the wall, and extends his palm like he's petting a dog. He springs forward, stabbing at an upward angle.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KANE HOUSE -- DAY</stage_direction>
    <scene_description>Tommy is in the kitchen, putting trainer wheels on a bike. It's a nice house, lots of light. His kids run wild through the house. His three-year-old DAUGHTER crawls up his back. His cell rings...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS -- DAY</stage_direction>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>He stopped to pet the dog.</dialogue>
    <character>TOMMY (V.O. ON PHONE)</character>
    <dialogue>What are you talking about?</dialogue>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>That's why the first stab-wound was so low. He sprang at the kid from a crouch... either that, or the killer's a dwarf.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KANE HOUSE -- DAY</stage_direction>
    <scene_description>Tommy flips the bike right side up and sets his daughter on the saddle. He kisses her and gives her a gentle push.</scene_description>
    <character>TOMMY</character>
    <dialogue>Go forth, little one.</dialogue>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Slow down, man. Tell me again. What are you saying?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX (V.O. ON PHONE)</character>
    <dialogue>You put this down as a gang slaying. You think a rival gangster, thirsty for blood, stops to pet a dog? That's what the killer did.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS PROJECTS -- DAY</stage_direction>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>This guy's real good with a knife. The first two strikes severed major arteries, but get this...</dialogue>
    <scene_description>He scans the autopsy report.</scene_description>
    <character>ALEX</character>
    <dialogue>... he stabbed the guy repeatedly after he was dead. So he was either trying to make it look like a random stabbing, or he couldn't help himself. Either way, it's not the action of some hit and run gangbanger --</dialogue>
    <character>TOMMY (V.O. ON PHONE)</character>
    <dialogue>OK, All-Star. Maybe you haven't lost it after all.</dialogue>
    <scene_description>Alex walks across the street toward the Impala.</scene_description>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>...and there's another thing, whoever drove the Impala was over six feet. The seat was pushed way back. I checked.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KANE HOUSE -- DAY</stage_direction>
    <scene_description>Tommy considers it as he watches his daughter peddling happily, up and down the kitchen.</scene_description>
    <character>TOMMY</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Refresh me. How big was the dead gangbanger?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDENS -- DAY</stage_direction>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Not big enough to reach the peddles.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PSYCHIATRIC SECURE HOUSING UNIT -- DAY</stage_direction>
    <scene_description>Alex enters Bronson "Pop-Pop" James's cell. The boy notices his tired and haggard appearance.</scene_description>
    <character>BRONSON</character>
    <dialogue>You're late.</dialogue>
    <character>ALEX</character>
    <dialogue>How are you today, Bronson?</dialogue>
    <character>BRONSON</character>
    <dialogue>No Happy Meal?</dialogue>
    <scene_description>Alex digs out Bronson's case file. The boy watches his every move. Alex seems distant and distracted.</scene_description>
    <character>BRONSON</character>
    <dialogue>What's up with you?</dialogue>
    <scene_description>Alex realizes how transparent he is. He tries to cover it.</scene_description>
    <character>ALEX</character>
    <dialogue>It's nothing.</dialogue>
    <scene_description>Bronson knows he's lying. He withdraws into the oversized jumpsuit and fumbles with something in his hands. He's playing with the superhero toy Alex gave him. Alex can see that it's still in one piece.</scene_description>
    <character>ALEX</character>
    <parenthetical>(soft; hesitant)</parenthetical>
    <dialogue>I lost someone. A few days ago.</dialogue>
    <scene_description>Bronson shows no reaction. Alex draws his thumb over his wedding band. It's a tiny gesture but Bronson picks it up. He plays with the toy. No empathy whatsoever.</scene_description>
    <character>BRONSON</character>
    <dialogue>Not my problem.</dialogue>
    <scene_description>Alex opens his case file. He doesn't look at the pages.</scene_description>
    <character>ALEX</character>
    <dialogue>Let's go back to the night you killed the homeless guy.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>What were you doing in the Metro at 3:00 a.m.?</dialogue>
    <character>BRONSON</character>
    <dialogue>What do you care?</dialogue>
    <character>ALEX</character>
    <dialogue>I care. Was it because you couldn't go home?</dialogue>
    <scene_description>Bronson doesn't respond.</scene_description>
    <character>ALEX</character>
    <dialogue>Were you afraid? Three in the morning? Nowhere to go?</dialogue>
    <scene_description>Bronson calmly snaps the head off the toy.</scene_description>
    <character>ALEX</character>
    <dialogue>You know where all that anger comes from, Bronson? It comes from feeling helpless and scared.</dialogue>
    <scene_description>The boy stares defiantly at Alex.</scene_description>
    <character>ALEX</character>
    <dialogue>Who scares you? Your father?</dialogue>
    <character>BRONSON</character>
    <dialogue>I ain't scared of shit, a'ight?</dialogue>
    <character>ALEX</character>
    <dialogue>Then tell me why you were in the Metro at 3:00 a.m.?</dialogue>
    <parenthetical>(very quietly) )</parenthetical>
    <dialogue>Tell me why you killed a man -- by hitting his head repeatedly with a cement block?</dialogue>
    <scene_description>Bronson answers with a bone-chilling calmness.</scene_description>
    <character>BRONSON</character>
    <dialogue>It was fun.</dialogue>
    <scene_description>Alex's emotions are raw. His patience is at breaking point.</scene_description>
    <character>ALEX</character>
    <dialogue>What part's fun to you, huh? Tell me?</dialogue>
    <scene_description>Alex makes the motions of bashing someone to death. CONTINUED: (2)</scene_description>
    <character>ALEX</character>
    <dialogue>Please, please, please... whack! Is that fun?</dialogue>
    <scene_description>Bronson stares at Alex in astonishment.</scene_description>
    <character>ALEX</character>
    <dialogue>I'll kill you, you piece of shit. Whack! I'll crack your skull...</dialogue>
    <scene_description>Bronson punches his fist in the air.</scene_description>
    <character>BRONSON</character>
    <dialogue>Yeah... do it... bash the muffugga's face in!</dialogue>
    <scene_description>The boy watches with delight as Alex descends into the darkest recesses of his mind.</scene_description>
    <character>ALEX</character>
    <dialogue>What about when your dad smashed your mom's head in? Whack! Was that fun? Huh?</dialogue>
    <scene_description>The kid freezes. He stares at Alex in shock. A flash of real emotion crosses the boy's face and for a second it looks like he might cry. Alex has hit a nerve and penetrated his black heart but he realizes that he has crossed the line in the process. He catches himself and quietly leaves.</scene_description>
    <character>ALEX</character>
    <dialogue>I'm sorry. I'm sorry, Bronson.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA CROSS HOUSE -- TWILIGHT</stage_direction>
    <scene_description>Nana and the kids sit at the dinner table. Nana glances at the empty place set for Alex.</scene_description>
    <character>NANA</character>
    <dialogue>Damon, you can say grace tonight.</dialogue>
    <character>DAMON</character>
    <dialogue>Rub-a-dub-dub thanks for the grub! Yeah God!</dialogue>
    <scene_description>Nana tries not to laugh.</scene_description>
    <character>NANA</character>
    <parenthetical>(only half kidding now)</parenthetical>
    <dialogue>Damon! I whacked your father. I will whack you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC ROOM -- NIGHT</stage_direction>
    <scene_description>This was Alex's room when he was a boy. There's a few snapshots of him and his parents until the age of thirteen, then the images depict only him and Nana. Sports trophies crowd the dresser. A punch bag hangs from the ceiling. Every inch of available space is covered in evidence reports, depositions, crime scene photos, etc., all pertaining to Maria's murder.</scene_description>
    <character>NANA</character>
    <parenthetical>(calls from downstairs)</parenthetical>
    <dialogue>Come to bed, Alex. You hear me? Alex? Did you kiss your children goodnight? No. You did not.</dialogue>
    <scene_description>Alex is watching the video footage Jannie shot of Maria. Maria is vibrant and alive on the screen. The images are heartbreaking to watch. The tape ends. Alex sits alone, in darkness.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERSIDE IN WASH. D.C. -- DAY</stage_direction>
    <scene_description>A couple of ELEVEN YEAR-OLDS scramble down the muddy riverbank and use slingshots to stone rats.</scene_description>
    <character>KIDS</character>
    <dialogue>Die! Die you vermin! Die, Ratatouille!</dialogue>
    <scene_description>The rats crawl all over each other in a heaving mass. It's gut-wrenching and creepy. The boys edge closer to see what the rats are chewing on... A DISMEMBERED HUMAN BODY.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CITY MORGUE -- DAY</stage_direction>
    <scene_description>The bloated remains of THE DISMEMBERED HUMAN BODY are splayed out on a steel slab. The head and hands are missing. Tommy has a mask pressed tight to his nose, trying to mask the stench. A pretty, pony-tailed Medical Examiner, DR. DANIELS hands Alex a plastic evidence bag.</scene_description>
    <character>DANIELS</character>
    <dialogue>I removed it from his esophagus.</dialogue>
    <scene_description>Alex holds it up to the light revealing, the chewed-up remnants of a BETTING SLIP. He throws a glance at Tommy. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>How long's he been in the water?</dialogue>
    <character>DANIELS</character>
    <dialogue>Judging by the level of decomp, seven or eight days.</dialogue>
    <scene_description>Daniels indicates how the skin is removed in patches.</scene_description>
    <character>TOMMY</character>
    <dialogue>Rats made Swiss cheese of him.</dialogue>
    <character>DANIELS</character>
    <dialogue>Not just rats. These are straight edged cuts. Rats often have trouble wielding a knife.</dialogue>
    <scene_description>Tommy looks at Alex.</scene_description>
    <character>TOMMY</character>
    <dialogue>Ritual torture. Like with the Chink chick.</dialogue>
    <scene_description>Alex checks the autopsy report.</scene_description>
    <character>ALEX</character>
    <dialogue>Except these wounds are post- mortem?</dialogue>
    <character>DANIELS</character>
    <dialogue>Victim has multiple fractures. Old wounds as well as new. This guy took a beating on a regular basis.</dialogue>
    <scene_description>Alex studies the betting slip.</scene_description>
    <character>DANIELS</character>
    <dialogue>If you two were here officially, I'd show you something really interesting.</dialogue>
    <character>TOMMY</character>
    <dialogue>Please, Dr. Death.</dialogue>
    <character>DANIELS</character>
    <dialogue>The lab picked up elevated levels of testosterone and minute traces of lead, nickel, and selenium?</dialogue>
    <character>ALEX</character>
    <dialogue>Heavy metals?</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DANIELS</character>
    <dialogue>Imbedded in his mast cells. No explanation for it.</dialogue>
    <scene_description>Alex considers it for a moment. He looks at the body.</scene_description>
    <character>ALEX</character>
    <dialogue>Killer didn't want him identified.</dialogue>
    <character>TOMMY</character>
    <dialogue>No shit, Alex. There's no head. No hands.</dialogue>
    <character>ALEX</character>
    <dialogue>What else can you be identified by?</dialogue>
    <character>TOMMY</character>
    <dialogue>Larger than life penis. Distinguishing marks. Old scars, tattoos --</dialogue>
    <scene_description>Alex points out patches of missing skin.</scene_description>
    <character>TOMMY</character>
    <dialogue>Son-of-a-bitch. Tattoos.</dialogue>
    <scene_description>Dr. Daniels smiles as the pieces fall into place.</scene_description>
    <character>DANIELS</character>
    <dialogue>Heavy metals, like in tattoo ink.</dialogue>
    <character>ALEX</character>
    <dialogue>Combine that with a physique straight out of a prison gym... It all adds up to--</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>A mugshot of THE SERB from the fight club revolves on a computer screen. Alex and Tommy look on.</scene_description>
    <character>RYAN</character>
    <dialogue>Goran Bregovic. A real punk. Reported missing six days ago by his wife. She should be out celebrating.</dialogue>
    <scene_description>Various angles of his tattoos appear on screen.</scene_description>
    <character>RYAN</character>
    <dialogue>... I already cross referenced with the penal system's database of inmate tattoos.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>TOMMY</character>
    <dialogue>Jesus, they're even keeping track of our tattoos now.</dialogue>
    <character>RYAN</character>
    <dialogue>The pattern of tattoos matches. It's him.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MOBILE HOME PARK -- DAY</stage_direction>
    <scene_description>Alex and Tommy pull up in a ramshackle trailer park. The REDNECK LOCALS eyeball them warily, paying particular heed to the handsome, imposing black man on their turf. A weathered sign reads: BEL AIR COMMUNITY They approach a dilapidated trailer with a shiny satellite dish bolted to the rusted out roof. A bunch of YOUNGSTERS splash in a paddling pool. Tommy flattens his mop of unruly hair and tries to make himself presentable.</scene_description>
    <character>TOMMY</character>
    <dialogue>Will you tell her? You're better at it than me.</dialogue>
    <character>ALEX</character>
    <dialogue>Nobody's good at this.</dialogue>
    <scene_description>Alex raps the screen door. A DAY TIME TALK SHOW BLASTS from a 60 inch television. A TODDLER WAILS. A ten-year-old BOY with a bare chest and half-shaved head peers out. Alex notices the kid's cauliflower ear.</scene_description>
    <character>ALEX</character>
    <dialogue>Is your mom home?</dialogue>
    <scene_description>MRS. BREGOVIC appears with a buzz-cut clipper in her hands. She's pretty despite twenty six years of bad road. Alex flashes his detective badge. She turns to her son.</scene_description>
    <character>MRS. BREGOVIC</character>
    <dialogue>Goran, go play with your sister. Please son, go on.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TRAILER HOME -- LATER</stage_direction>
    <scene_description>Mrs. Bregovic sobs into a wad of paper towel. Tommy whips up an instant cup of Folgers and hands it to her.</scene_description>
    <character>ALEX</character>
    <dialogue>Mrs. Bregovic, I need to ask you some questions.</dialogue>
    <scene_description>CONTINUED: She digs in her purse and shakes a few Xanax from a pill bottle.</scene_description>
    <character>MRS. BREGOVIC</character>
    <dialogue>For my nerves --</dialogue>
    <scene_description>She knocks back the drugs and lights a smoke.</scene_description>
    <character>ALEX</character>
    <dialogue>The night Goran disappeared, do you know where he went?</dialogue>
    <character>MRS. BREGOVIC</character>
    <dialogue>He was always running off -- and me with three babies.</dialogue>
    <scene_description>Alex picks up on the way she rests her hand on her belly and stubs the cigarette out after a few puffs.</scene_description>
    <character>ALEX</character>
    <dialogue>You're pregnant.</dialogue>
    <scene_description>She looks at him, surprised. He indicates the cigarette.</scene_description>
    <character>ALEX</character>
    <dialogue>Trying to quit?</dialogue>
    <scene_description>She nods. Tommy smiles, reassuring her.</scene_description>
    <character>TOMMY</character>
    <dialogue>Me too. Now I can't stop eating.</dialogue>
    <scene_description>Alex surveys the cramped but clean accommodation.</scene_description>
    <character>ALEX</character>
    <dialogue>What did Goran do for work?</dialogue>
    <scene_description>Bregovic looks away, avoiding eye contact.</scene_description>
    <character>MRS. BREGOVIC</character>
    <dialogue>Whatever he could get.</dialogue>
    <parenthetical>(lying)</parenthetical>
    <dialogue>Nothing bad.</dialogue>
    <scene_description>Alex picks up a portrait of GORAN BREGOVIC in a boxing ring, wearing a title belt.</scene_description>
    <character>MRS. BREGOVIC</character>
    <dialogue>That was before he was banged up.</dialogue>
    <scene_description>Alex notices a series of head-shots of a pretty model. CONTINUED: (2)</scene_description>
    <character>ALEX</character>
    <dialogue>This is you.</dialogue>
    <scene_description>She's pleased he recognized her.</scene_description>
    <character>MRS. BREGOVIC</character>
    <dialogue>Summer, '98. I was going places. Coulda been somebody.</dialogue>
    <character>TOMMY</character>
    <dialogue>You're a good mom, right? That's what counts.</dialogue>
    <scene_description>Alex picks up a loose DVD, next to the big screen TV. FELONY FIGHTS scrawled across it in black sharpie. He notices the little boy with the cauliflower ear watching from the doorway.</scene_description>
    <character>ALEX</character>
    <dialogue>That's quite an ear you got there, champ.</dialogue>
    <scene_description>The boy displays it proudly. Alex throws a play punch. The boy springs into a defensive stance and busts a few moves.</scene_description>
    <character>ALEX</character>
    <dialogue>Your dad teach you?</dialogue>
    <scene_description>The boy nods. Alex shows him the DVD.</scene_description>
    <character>ALEX</character>
    <dialogue>This one of his?</dialogue>
    <scene_description>The boy nods and eagerly loads one into the DVD player. A fight plays on TV. Alex watches the handheld, brutal footage of Goran Bregovic beating the hell out of another fighter. The boy jumps to his feet and emulates his dad's moves.</scene_description>
    <character>BOY</character>
    <dialogue>Hit him dad. Smash him to dirt.</dialogue>
    <scene_description>Alex watches Mrs. Bregovic, eyes fixed on her son, headed down the same path as his father.</scene_description>
    <character>ALEX</character>
    <dialogue>You know where this was shot?</dialogue>
    <scene_description>She shakes her head and looks away.</scene_description>
    <character>ALEX</character>
    <dialogue>Mrs. Bregovic --</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>MRS. BREGOVIC</character>
    <parenthetical>(softer)</parenthetical>
    <dialogue>I loved him, you know? I loved that big man.</dialogue>
    <character>ALEX</character>
    <dialogue>I know you did. Please. Help us find whoever did this to him.</dialogue>
    <character>MRS. BREGOVIC</character>
    <dialogue>He told me about a fight club. Under a church --</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. UNMARKED CAR -- DUSK</stage_direction>
    <scene_description>Alex and Tommy pull up in the shadows of a building that used to be attractive but has seen better days. The neighborhood's current denizens congregate on corners. A crew of CORNER BOYS tags graffiti. Tommy's eating again.</scene_description>
    <character>TOMMY</character>
    <dialogue>Used to be nice around here. Look at them. Little punks. I can pick out the ones I'll be putting down couple years from now. Like him.</dialogue>
    <scene_description>The corner boy taps the window. Tommy winds it down.</scene_description>
    <character>CORNER BOY</character>
    <dialogue>Got something special for you, man.</dialogue>
    <character>TOMMY</character>
    <dialogue>Uh-huh. What's that?</dialogue>
    <character>CORNER BOY</character>
    <dialogue>Touch-screen DVD, Bluetooth, GPS, the works. Ain't hard to install.</dialogue>
    <character>TOMMY</character>
    <dialogue>Ain't hard to un-install, either. How much?</dialogue>
    <character>CORNER BOY</character>
    <dialogue>Fiddy dollars. They go for like two-fiddy in Radioshack. Circuit City.</dialogue>
    <character>TOMMY</character>
    <dialogue>Circuit City went bankrupt.</dialogue>
    <character>ALEX</character>
    <dialogue>What's your name, son?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>CORNER BOY</character>
    <dialogue>You want the DVD, homes -- or what?</dialogue>
    <scene_description>He whistles and a LITTLE BOY no older than six runs over with an in-car DVD player. Tommy inspects it.</scene_description>
    <character>TOMMY</character>
    <dialogue>I'll give you twenty. For some information. We're looking for a fight club around here. You know it?</dialogue>
    <character>CORNER BOY</character>
    <dialogue>Gimme my fuckin' DVD back.</dialogue>
    <character>ALEX</character>
    <dialogue>The club is attached to some old church. Check around for me. I'll hold onto the DVD, Bluetooth, the works. Go.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES -- DAY</stage_direction>
    <character>JIMMY (VO FROM A PHONE)</character>
    <dialogue>Guess what? The cops just I.D.'d the guy you beat to death.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Which one was that?</dialogue>
    <character>JIMMY (VO)</character>
    <dialogue>The Serb. You think you're funny, but it's only a matter of time before they locate that fight club.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>No doubt.</dialogue>
    <scene_description>Sullivan cuts off Jimmy on the phone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNMARKED CAR -- DAY</stage_direction>
    <scene_description>The surveillance continues. Tommy is eating again. Through binocs, Alex observes high rollers starting to arrive at the abandoned church. His cell rings.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <character>RYAN</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>I ran the address of the church. Lease is held by a shell company. Dead end. But I found something else. The entire area's up for re- development. One of the biggest investors is Jiang An-Lo. I'm sending his details now.</dialogue>
    <character>ALEX (V.O.)</character>
    <dialogue>OK. I know a Jiang An-Lo.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. UNMARKED CAR -- DAY</stage_direction>
    <scene_description>A surveillance shot of a tall, thin Chinese - JIANG AN-LO downloads on Alex's laptop.</scene_description>
    <character>TOMMY</character>
    <dialogue>You think he's the next target?</dialogue>
    <character>ALEX</character>
    <dialogue>If he's not already dead.</dialogue>
    <scene_description>Alex spots a guy getting into a towncar parked by itself in the shadows. The ring girl is with him. Alex focuses on the Brooklyn plate.</scene_description>
    <character>ALEX</character>
    <dialogue>He's a long way from Brooklyn.</dialogue>
    <character>TOMMY</character>
    <dialogue>And she's a long way from eighteen.</dialogue>
    <character>ALEX</character>
    <parenthetical>(reading plate)</parenthetical>
    <character>457JGK.</character>
    <dialogue>Tommy plugs it into a laptop. A rap sheet pops on screen.</dialogue>
    <character>TOMMY</character>
    <parenthetical>(reading)</parenthetical>
    <dialogue>Car belongs to a Rocco Moretti. Dirtbag. Arrests for extortion. Rape. Assault. The works. Bagman for Dominic Maggione.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES - DAY</stage_direction>
    <scene_description>Sullivan pulls in a ways down the block. He watches Cross and Tommy's car through a sniper scope-just the scope.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWNCAR -- DAY</stage_direction>
    <scene_description>MORETTI slides into the back seat of his towncar and unhitches his pants. He's a shameless bastard. The ring girl spits out her gum and sticks it on the leather seat. Moretti flicks it off.</scene_description>
    <character>MORETTI</character>
    <dialogue>Mind the upholstery, sweetheart.</dialogue>
    <scene_description>She smiles and slides between his stubby, hairy legs.</scene_description>
    <character>RING GIRL</character>
    <dialogue>You mind the upholstery.</dialogue>
    <scene_description>The doors open and Alex and Tommy push in on either side. Moretti shoves the girl off of him and yanks at his pants. Tommy throws a glance at his crotch.</scene_description>
    <character>TOMMY</character>
    <dialogue>What's that, a pimple? A jalapeño?</dialogue>
    <scene_description>The girl tries to bolt. Alex catches her. She mean mugs him. Total attitude. He searches her bag and finds a school book, checks the inside cover and gets her name, address. Tommy frisks Moretti and finds a handgun and a silver vial of cocaine.</scene_description>
    <character>TOMMY</character>
    <dialogue>Bad news my friend-- drugs, guns, jail bait. Three strikes and you're out. You're out.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MERCEDES - DAY</stage_direction>
    <scene_description>Sullivan gets out of his car. He's concealing a rifle on one side. He walks quickly.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWN CAR - DAY</stage_direction>
    <scene_description>Tommy shows Moretti the mugshot of Goran Bregovic - the fighter killed by Sullivan.</scene_description>
    <character>TOMMY</character>
    <dialogue>So start talking to us.</dialogue>
    <character>MORETTI</character>
    <dialogue>Am I supposed to know this guy? 'Cause I don't.</dialogue>
    <scene_description>Alex shows him crime scene shots of the butchered Canton beauty. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>You know her though, don't you?</dialogue>
    <scene_description>Moretti is keeping his cool. Alex catches the young girl's reaction. She's repulsed. Bites her lips.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHURCH - DAY</stage_direction>
    <scene_description>Sullivan jogs toward a nearby building. He's carrying the rifle and looking like a pro.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWNCAR - DAY</stage_direction>
    <character>ALEX</character>
    <parenthetical>(to Tommy)</parenthetical>
    <dialogue>Cut the girl loose.</dialogue>
    <parenthetical>(to the girl)</parenthetical>
    <dialogue>Go.</dialogue>
    <scene_description>Tommy looks at him with surprise. The girl hesitates.</scene_description>
    <character>RING GIRL</character>
    <dialogue>He owes me forty.</dialogue>
    <scene_description>Alex stares at her incredulously. She shrugs.</scene_description>
    <character>RING GIRL</character>
    <dialogue>I need the bus fare.</dialogue>
    <scene_description>Alex looks at Tommy.</scene_description>
    <character>TOMMY</character>
    <dialogue>Don't look at me. I'm not the Lending Tree.</dialogue>
    <character>ALEX</character>
    <parenthetical>(to Moretti)</parenthetical>
    <dialogue>Pay her.</dialogue>
    <scene_description>Moretti stares at the detectives on either side of him.</scene_description>
    <character>MORETTI</character>
    <dialogue>I pay forty bucks for a happy ending. Is this what you'd call a happy ending?</dialogue>
    <scene_description>Moretti gives her the money. The girl snatches it and takes off. Alex grabs, then rifles through the guy's wallet. He finds family pictures. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>Nice looking family. What's this? A receipt for patio furniture. And a marquis? Somebody getting married?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DESERTED BUILDING - DAY</stage_direction>
    <scene_description>Sullivan runs upstairs inside the building. He's in very good shape. It's fairly dark inside, just light from a few windows.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWNCAR - DAY</stage_direction>
    <scene_description>Alex finds a white invitation card folded inside the wallet with a cross on the front.</scene_description>
    <character>ALEX</character>
    <dialogue>Your daughter's getting confirmed. That's sweet.</dialogue>
    <character>TOMMY</character>
    <dialogue>Awhh.</dialogue>
    <scene_description>Moretti fidgets nervously. Alex catches it. He flips through the family snapshots and stops at a picture of a pretty little girl. He forces Moretti to look at the picture.</scene_description>
    <character>ALEX</character>
    <dialogue>Take a good look. Next time you see her will be through plexi glass. That's if your wife lets you see her -- after she finds out you go with little girls.</dialogue>
    <character>MORETTI</character>
    <dialogue>How do you think I met my wife, asshole?</dialogue>
    <character>TOMMY</character>
    <dialogue>What do you say we take this low- life to the landfill. Show him where all the unmarked graves are?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DESERTED BUILDING ROOF - DAY</stage_direction>
    <scene_description>Sullivan comes out on the roof with the rifle. He looks down on the towncar.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWNCAR - DAY</stage_direction>
    <character>MORETTI`</character>
    <dialogue>You guys are terrific together. This is the part where I'm supposed to cave and start singing like a canary on crack, right?</dialogue>
    <character>TOMMY</character>
    <dialogue>If you have half a brain, yes.</dialogue>
    <character>MORETTI</character>
    <dialogue>You don't get it, do you? The guy you're looking for-- you don't want to find. He's a total psycho. I tell you anything, he'll wipe out me and my entire family. Then he'll take a bow.</dialogue>
    <character>ALEX</character>
    <dialogue>A bow?</dialogue>
    <character>MORETTI</character>
    <dialogue>Yeah, a bow. Like an actor on a stage. That's what he is. A bad actor. Even the Mafia's afraid of him.</dialogue>
    <scene_description>There's an EAR-WRENCHING CRACK as the rear window SHATTERS.</scene_description>
    <character>ALEX</character>
    <dialogue>GET DOWN! DOWN!</dialogue>
    <scene_description>Alex and Tommy hit the floor as a HIGH-VELOCITY ROUND ZIPS past their heads.</scene_description>
    <character>TOMMY</character>
    <dialogue>Son of a bitch.</dialogue>
    <scene_description>Alex pulls Moretti down beside him. He looks at Alex with terrified eyes. He's been shot in the chest. Alex draws his gun as Tommy scrambles for his radio.</scene_description>
    <character>TOMMY</character>
    <parenthetical>(into radio)</parenthetical>
    <character>MAN DOWN. REQUESTING IMMEDIATE BACK</character>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP -- DAY</stage_direction>
    <scene_description>Sullivan crouches on a rooftop with a sniper's rifle. He locks the towncar in his sights... takes a breath, lets it out slowly, squeezes the trigger gently.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWNCAR -- DAY</stage_direction>
    <scene_description>Tommy returns fire as a third round punches through the bodywork and tears the stuffing out of the leather seats.</scene_description>
    <character>TOMMY</character>
    <dialogue>We gotta get out of here!</dialogue>
    <scene_description>Alex looks at Moretti, bleeding out.</scene_description>
    <character>ALEX</character>
    <dialogue>Not until he tells us something.</dialogue>
    <scene_description>Another bullet gores the roof and shatters the dashboard. Moretti starts screaming.</scene_description>
    <character>MORETTI</character>
    <dialogue>Oh God, oh Jesus --</dialogue>
    <character>TELL ME WHAT YOU KNOW!</character>
    <dialogue>WHO IS HE?</dialogue>
    <character>TOMMY</character>
    <dialogue>TELL HIM FOR CHRISSAKES!</dialogue>
    <character>MORETTI</character>
    <parenthetical>(terrified)</parenthetical>
    <dialogue>He's called The Butcher. That's all I know. Get me the fuck out of here!</dialogue>
    <character>ALEX</character>
    <dialogue>Does he work for Maggione?</dialogue>
    <scene_description>Moretti nods. He flinches as a bullet shatters the sunroof.</scene_description>
    <character>MORETTI</character>
    <parenthetical>(freaking out)</parenthetical>
    <dialogue>Get me out of here! C'mon, man.</dialogue>
    <scene_description>Alex shows him the picture of JIANG AN-LO.</scene_description>
    <character>ALEX</character>
    <dialogue>This guy. LOOK AT HIM! Is he the next target?</dialogue>
    <scene_description>Tommy ducks as the side window blows in on top of him.</scene_description>
    <character>TOMMY</character>
    <dialogue>No. That would be us.</dialogue>
    <character>MORETTI</character>
    <dialogue>I don't know. Please!</dialogue>
    <scene_description>CONTINUED: A round drills through the rear seat, missing Tommy by inches. He grabs Alex.</scene_description>
    <character>C'MON!</character>
    <dialogue>THAT'S ALL HE KNOWS!</dialogue>
    <scene_description>Alex's humanity takes over. He props Moretti up and puts his daughter's confirmation card in his hand. He looks at the card and back at Alex. His body trembles with fear.</scene_description>
    <character>MORETTI</character>
    <dialogue>It's just business. Nothing to do with the other thing.</dialogue>
    <character>ALEX</character>
    <dialogue>What other thing?</dialogue>
    <scene_description>Moretti gags on the blood bubbling up in his throat.</scene_description>
    <character>ALEX</character>
    <dialogue>WHAT OTHER THING?</dialogue>
    <character>MORETTI</character>
    <dialogue>The cop's wife. The one who got shot.</dialogue>
    <scene_description>Alex snaps and grabs Moretti.</scene_description>
    <character>ALEX</character>
    <dialogue>What did you say? WHAT DID YOU SAY?</dialogue>
    <scene_description>Alex shakes the hell out of him, but he's already dead. Another bullet rips through the car. Alex boots open the car door...</scene_description>
    <character>TOMMY</character>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF TOP -- DAY</stage_direction>
    <scene_description>Sullivan locks target on the figure diving out the open door and fires... The bullet strikes the figure broadside, spinning him around. He drops hard... A second bullet hits him with a jolt. Sullivan gets the face in his sights... IT'S MORETTI. Sullivan quickly pans his sights back to the car and sees... ALEX CROSS with a gun aimed right at him... CONTINUED: Sullivan realizes he just gave away his position.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Alex unloads on the warehouse rooftop.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF TOP - DAY</stage_direction>
    <scene_description>Sullivan drops off his perch as chunks of masonry spray around him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Alex and Tommy sprint toward the building where the shots came from. They run flat-out. This is it. We can see it in Alex's eyes. There are a few hangarounds on the front steps and they get the hell out of the way.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Sullivan exits the roof and starts down a steep flight of stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Alex and Tommy race up the stairs. Everything is on a collision course now.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Sullivan yanks open a door and disappears inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Alex and Tommy continue up the stairs, looking intense, ready for anything. But are they? They hear cries and shouts from behind a door at the next stairwell.</scene_description>
    <character>TOMMY</character>
    <dialogue>What the hell is that?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - DAY</stage_direction>
    <scene_description>Alex pulls open the door and he and Tommy go inside, their guns drawn. They are stunned by what they encounter. Several dozen people are camped out in total squalor - mostly families, living in a space that must've been the floor of a factory at one time. Tommy reels at the putrid stench.</scene_description>
    <character>ALEX</character>
    <scene_description>CONTINUED: There's an eerie silence. Nobody speaks. Alex scans the rows of frightened eyes. One man's face is obscured by a hooded sweater. He glances up and meets Alex's gaze. Alex recognizes HIS WIFE'S KILLER STARING BACK AT HIM! Sullivan rises up from between a couple of families. Alex feels the rage pulsing through his veins. His gun is locked on Sullivan's head...</scene_description>
    <character>ALEX</character>
    <dialogue>DOWN-ON-THE-GROUND!</dialogue>
    <scene_description>A woman cries out...</scene_description>
    <character>HOMELESS WOMAN</character>
    <dialogue>My baby! He took my boy.</dialogue>
    <scene_description>Only then does Alex see that Sullivan has a toddler in one arm. He holds a gun to the boy's head.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I have no affection for this child.</dialogue>
    <character>ALEX</character>
    <dialogue>You have no affection for anybody. PUT THE BOY DOWN.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Sullivan suddenly swings the boy out an open window, dangling him like a doll over the sheer drop. The mother SCREAMS. The child WAILS. It's total chaos. Alex has a clean shot...</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Go ahead, Detective Cross. You'll be scraping this little shit factory off the sidewalk.</dialogue>
    <scene_description>Alex keeps his gun locked on Sullivan. He doesn't flinch.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You're in good shape. Question is, how fast can you run down five flights? 20 seconds? 15? Let's say 10 for shits and giggles. 10... 9...</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>TOMMY</character>
    <dialogue>Alex, we gotta go!</dialogue>
    <scene_description>Alex doesn't budge. Tommy bolts out the door and bounds down the stairs.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Your partner's got the right idea but then he's not the one that lost a pretty wife.</dialogue>
    <scene_description>Alex's eyes burn with fury, his finger tightens on the trigger.</scene_description>
    <character>ALEX</character>
    <dialogue>Shut your mouth.</dialogue>
    <scene_description>Sullivan lets the terrified child slip a little further.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Whoops! ... 8... 7... Drop the baby! Don't drop the baby!</dialogue>
    <scene_description>Alex turns and bolts.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWELL -- DAY</stage_direction>
    <scene_description>Alex takes the stairs four at a time. He can see Tommy a few flights ahead of him.</scene_description>
    <character>SULLIVAN (O.S.)</character>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING -- DAY</stage_direction>
    <scene_description>The boy's mother is screaming for her child.</scene_description>
    <character>HOMELESS WOMAN</character>
    <dialogue>Please, my baby. Please!</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Look on the bright side, one less mouth to feed.</dialogue>
    <scene_description>He tickles the baby's toes with his gun barrel.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>This little piggy went to market. This little piggy stayed home.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWELL -- DAY</stage_direction>
    <scene_description>Alex passes the 4th floor. Tommy is a floor ahead. Alex leaps over the handrail and clears a single floor in one jump. He hears Sullivan's booming voice.</scene_description>
    <character>SULLIVAN (O.S.)</character>
    <dialogue>3... 2...</dialogue>
    <scene_description>Alex can see Tommy dead ahead with only one flight to go. He realizes they aren't going to make it... He races to a window and jacks it open...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING -- DAY</stage_direction>
    <character>SULLIVAN</character>
    <dialogue>... This little piggy cried weeweeweewee all the way down five flights...</dialogue>
    <scene_description>And he DROPS THE BABY!</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED BUILDING -- DAY</stage_direction>
    <scene_description>Alex leaps out a window and drops two stories. He crash lands hard. Rolls to breaks his fall and springs into motion in time to see the child plummeting the last few floors... Tommy comes charging out the front door and turns the corner to see... Alex on his back with the toddler planted on all fours on top of him. His chubby face is stained with tears. He giggles like it's all a game. Alex and Tommy look like they just saw the devil. Tommy picks up the boy like the child is his own.</scene_description>
    <character>TOMMY</character>
    <dialogue>Hey, hey, it's your Uncle Tommy.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOPS - DAY</stage_direction>
    <scene_description>Sullivan escapes over a series of connecting rooftops.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>Alex faces off with Dawson in his office.</scene_description>
    <character>DAWSON</character>
    <dialogue>I owe you an apology. We all do.</dialogue>
    <scene_description>CONTINUED: Special Agent James Galati aka Jimmy Hats is also present.</scene_description>
    <character>JIMMY</character>
    <dialogue>I'm sorry. I can't imagine how painful this situation must be. I promise, we'll do everything in our power to get this guy.</dialogue>
    <character>ALEX</character>
    <dialogue>We?</dialogue>
    <character>JIMMY</character>
    <parenthetical>(trying to keep his cool)</parenthetical>
    <dialogue>We understand you know his next target. We need a name.</dialogue>
    <character>ALEX</character>
    <dialogue>You need to understand this, he killed my wife. You come in here, take over our case -- and share nothing with us. Tell us nothing. Act like we're not even here.</dialogue>
    <character>JIMMY</character>
    <dialogue>I told you, this is a huge, active operation. I'm not at liberty to tell you --</dialogue>
    <character>ALEX</character>
    <dialogue>Well, until you liberate yourself, stay out of the way. This is my case. He's mine. And so is his target.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN -- DAY</stage_direction>
    <scene_description>Alex and his team are hunkered down in a cramped surveillance van. A TECHIE is in there wearing earphones. Surveillance shots of Jiang An-Lo are displayed on a laptop.</scene_description>
    <character>TOMMY</character>
    <dialogue>Dead Chink walking..dead Chink talking...dead Chink taking a leak.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FLOWERSHOP -- DAY</stage_direction>
    <scene_description>Sullivan pays a PRETTY FLORIST for a bouquet. She eyes him up and smiles.</scene_description>
    <character>FLORIST</character>
    <dialogue>Lucky girl.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Not really. She's dead.</dialogue>
    <scene_description>The florist winces.</scene_description>
    <character>FLORIST</character>
    <dialogue>I'm so sorry.</dialogue>
    <scene_description>Sullivan turns to leave, reconsiders...</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You ever play red light, green light?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FLOWERSHOP -- MOMENTS LATER</stage_direction>
    <scene_description>Sullivan and the florist are going hard at it in the back of the store. He finishes up.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Thank you. For soothing my grief.</dialogue>
    <scene_description>He grabs the bouquet of flowers and walks away, revealing the florist sprawled out behind him, with her throat slit.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CEMETERY -- DAY</stage_direction>
    <character>SULLIVAN</character>
    <parenthetical>(on cell phone)</parenthetical>
    <dialogue>I'd like to report a murder. Bad one. At a florist shop of all places.</dialogue>
    <scene_description>Sullivan talks on the cell as he strides through a cemetery with the bouquet in one hand. He also has a shoulder bag. He glances around to make sure he's alone, tosses the flowers down on a random grave. He slips a rifle sight from his bag. RIFLE SIGHT: The cemetery offers a clear vantage point of a line of adjacent rowhouses. Sullivan spots a police SNIPER on a roof top.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I see you.</dialogue>
    <scene_description>He scans the street below and stops on a CABLE TV VAN.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>And you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN -- DAY</stage_direction>
    <scene_description>The team is locked on a row of monitors displaying multiple angles of Jiang's attractive brownstone. Alex spots movement at Jiang An-Lo's place.</scene_description>
    <character>ALEX</character>
    <dialogue>Here we go. Here's the target.</dialogue>
    <character>TOMMY</character>
    <dialogue>Let's see how good our boy really is.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. UPSCALE STREET, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>JIANG AN-LO exits his rowhouse, flanked by two BODYGUARDS. Tall, thin and dressed completely in black, he cuts a striking, ninja-esque figure.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN -- DAY</stage_direction>
    <scene_description>All eyes are locked on Jiang as he heads for a black SUV.</scene_description>
    <character>RYAN</character>
    <dialogue>I got something. Homicide in a florist shop a block from here. Girl with her throat slashed.</dialogue>
    <scene_description>She passes Alex headphones. Alex listens to the voice that haunts his every thought.</scene_description>
    <character>SULLIVAN (V.O.)</character>
    <dialogue>I'd like to report a murder. Bad one. At a florist shop of all places.</dialogue>
    <character>ALEX</character>
    <dialogue>That's him.</dialogue>
    <parenthetical>(to techie)</parenthetical>
    <dialogue>Pull up the satellite.</dialogue>
    <scene_description>ANGLE ON LAPTOP: A satellite map appears on screen. Alex studies it.</scene_description>
    <character>ALEX</character>
    <dialogue>What would appeal to his morbid sense of humor. There. Right there. A cemetery.</dialogue>
    <character>RYAN</character>
    <dialogue>That's a block away!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN -- DAY</stage_direction>
    <scene_description>Tommy spots a LOW-RIDER with tinted windows turning onto M and curb-crawling toward Jiang.</scene_description>
    <character>TOMMY</character>
    <dialogue>One o'clock. What the hell?</dialogue>
    <scene_description>Alex stares at the lowrider. It's very similar to the car used when Maria was shot. He's spooked. FLASHBACK:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POTOMAC GARDEN'S PROJECTS -- NIGHT</stage_direction>
    <scene_description>ALEX'S POV: The lowrider gunning toward him and Maria. The driver's side window inches down... SHOTS RING OUT. BACK TO SCENE:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. UPSCALE STREET, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Alex jumps from the surveillance van, gun drawn and bolts for the lowrider... The lowrider accelerates, ENGINE ROARING, TIRES SQUEALING. Jiang's bodyguards spin toward the racket and hustle Jiang toward the Mercedes... Tommy is out the door behind Alex...</scene_description>
    <character>TOMMY</character>
    <parenthetical>(into radio)</parenthetical>
    <dialogue>GO! GO! GO! Watch this punk. He's got all the moves.</dialogue>
    <scene_description>The doors to a SECOND VAN spring open and a TACTICAL TEAM bursts onto the street...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>The SNIPER tracks the lowrider, now speeding toward Jiang...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Alex trains his gun on the lowrider, looking to spot the driver. Jiang is almost at the Mercedes... He sees the danger coming. The lowrider is closing fast... The driver's side window inches down... CONTINUED: Alex prepares to fire... A HIGH VELOCITY ROUND punches a perfect hole through the windshield of the lowrider...Then A SECOND ROUND. The SNIPER watches the action. The car swerves out of control... Alex holds up... The lowrider skids and spins crazily to a stop. Alex approaches the lowrider. Gun leveled. Heart pounding... The driver's door swings open... Alex prepares to shoot... A SKINNY LITTLE ARM falls out... Alex is stunned to see a twelve-year-old boy slumped over in the driver's seat. It's the same kid who guarded Sullivan's Lexus outside the fight club.</scene_description>
    <character>ALEX</character>
    <dialogue>Aaahh no.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES -- DAY</stage_direction>
    <scene_description>Jiang watches from the Mercedes. His driver slams the Mercedes SUV into reverse and plants the gas. The street is blocked off by the tactical team and the Mercedes is forced down an alleyway.</scene_description>
    <character>JIANG</character>
    <parenthetical>(subtitled Cantonese)</parenthetical>
    <dialogue>Get me away from here! Now! Drive!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STREET, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Alex pulls the driver from the car but the kid is already dead.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>The SWAT SNIPER lies garroted on the rooftop. Sullivan is in his position. He's the one who fired the shots. He gets Alex in his sights...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROWHOUSE, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Alex looks from rooftop to rooftop, window to window. He spots Sullivan and rolls for cover. A bullet steaks past, grazing his temple. Alex is rattled. That was way too close.</scene_description>
    <character>ALEX</character>
    <parenthetical>(into radio; urgent)</parenthetical>
    <dialogue>He's on the roof. Our sniper position.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF TOP, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Sullivan is on the move. He jogs across the roof top.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEYWAY -- DAY</stage_direction>
    <scene_description>The Mercedes reverses dangerously fast through the narrow alley.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET, WASHINGTON D.C. -- DAY</stage_direction>
    <scene_description>Alex is in motion.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEYWAY -- DAY</stage_direction>
    <scene_description>The Mercedes suddenly skids to a halt.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES -- DAY</stage_direction>
    <scene_description>Jiang glances nervously out the rear window.</scene_description>
    <character>JIANG</character>
    <parenthetical>(speaks English)</parenthetical>
    <dialogue>What the shit? What the shit?</dialogue>
    <scene_description>The alleyway is blocked with a large metal dumpster. A FIRESCAPE snakes down an adjacent wall. The car jolts as something lands on the roof.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEYWAY -- DAY</stage_direction>
    <scene_description>Sullivan stands on the roof of the Mercedes with a MACH-10. He starts shooting. A bodyguard jumps out of the car and is gunned down.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES -- DAY</stage_direction>
    <scene_description>Jiang stares in horror as bullets spray the car. He's hit half a dozen times.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEYWAY -- DAY</stage_direction>
    <scene_description>Alex sees the SUV trapped at the end of the alleyway and Sullivan blazing away on the roof.</scene_description>
    <character>ALEX</character>
    <parenthetical>(to Tommy)</parenthetical>
    <dialogue>Cut him off. Other side. I'm coming</dialogue>
    <scene_description>Tommy bolts between two houses. They've got Sullivan now.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MERCEDES -- DAY</stage_direction>
    <scene_description>Sullivan keeps firing into the Mercedes.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MERCEDES -- DAY</stage_direction>
    <scene_description>Jiang's gangly body does a contorted dance as he is riddled with bullets.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEYWAY -- DAY</stage_direction>
    <scene_description>Alex is within shooting range, he slows to take his shot... Sullivan spins with the MACH-10 blasting on automatic... Alex dives for cover and returns fire... Sullivan is on the move again, ducking past the Mercedes toward the end of the alleyway... Tommy turns the corner. Suddenly, he and Sullivan are RIGHT ON TOP OF EACH OTHER. Sullivan keeps coming, his arm shooting forward in a blur... Tommy staggers backward... He's been stabbed.</scene_description>
    <character>TOMMY</character>
    <dialogue>Ahhhh Jesus.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Jesus won't help you.</dialogue>
    <scene_description>Sullivan keeps moving... Alex turns the corner... There's no sign of Sullivan. He sees Tommy, who takes a few steps, then drops. Alex kneels beside his partner and frantically tears open his jacket. Blood seeps from a slice in his vest. His shirt is saturated with blood. Tommy sees the look on Alex's face. CONTINUED:</scene_description>
    <character>TOMMY</character>
    <dialogue>I had him. He knew I had him. He kept coming.</dialogue>
    <character>ALEX</character>
    <parenthetical>(into radio)</parenthetical>
    <character>10-00. OFFICER DOWN!</character>
    <dialogue>Ryan runs up and tries to help Alex curb the blood flow.</dialogue>
    <character>TOMMY</character>
    <parenthetical>(to Ryan)</parenthetical>
    <dialogue>Hey there, boss.</dialogue>
    <scene_description>She locks eyes with Alex. This doesn't look good.</scene_description>
    <character>ALEX</character>
    <dialogue>Keep pressure on it.</dialogue>
    <parenthetical>(into radio)</parenthetical>
    <dialogue>Get an ambulance down here, now! Seal off the area.</dialogue>
    <character>TOMMY</character>
    <parenthetical>(to Alex)</parenthetical>
    <dialogue>Get the sonofabitch.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LEXUS -- DAY</stage_direction>
    <scene_description>Sullivan listens to rock music as he cruises out of the area. He turns a corner and sees a police roadblock dead ahead. He turns down an alleyway and takes a different route..</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LEXUS -- DAY</stage_direction>
    <scene_description>Sullivan turns a corner, parks the Lexus, and calmly gets out of the car. He starts walking toward another car-a Cadillac. Jimmy Hats is the driver.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>Alex can't see Sullivan anywhere. Then he finds the Lexus. He approaches it very cautionsly-his gun drawn-but no one's there. Christ, he's lost him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CITY STREETS - DAY</stage_direction>
    <scene_description>Jimmy Galati's Cadillac pulls up to a couple of Metro squad cars blocking off the street. Jimmy flashes his FBI creds and they let him through.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CADILLAC - DAY</stage_direction>
    <scene_description>Jimmy drives off-and then Sullivan pops up from the back seat.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You do good work, James. On occasion.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ST. ANTHONY'S HOSPITAL -- NIGHT</stage_direction>
    <scene_description>The team is gathered in the waiting room. A FEMALE DOCTOR comes in. Alex stands.</scene_description>
    <character>DOCTOR</character>
    <dialogue>He's through surgery. He's tough, isn't he?</dialogue>
    <character>ALEX</character>
    <dialogue>Tommy's a fighter.</dialogue>
    <character>DOCTOR</character>
    <dialogue>Good. That's his best shot.</dialogue>
    <scene_description>Lt. Dawson steps in.</scene_description>
    <character>DAWSON</character>
    <dialogue>Alex -- what happened out there?</dialogue>
    <character>ALEX</character>
    <dialogue>Ask him.</dialogue>
    <scene_description>Dawson turns and sees Agent James Galati walking into the waiting room.</scene_description>
    <character>JIMMY</character>
    <dialogue>Excuse me? What did you just say?</dialogue>
    <scene_description>Jimmy confronts Alex. Ryan and the rest of the team look on.</scene_description>
    <character>ALEX</character>
    <dialogue>He knew we were going to be there. How did that happen, huh?</dialogue>
    <character>JIMMY</character>
    <dialogue>I don't like your insinuation or your tone of voice.</dialogue>
    <scene_description>Alex is in Jimmy's face. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>I'm not insinuating anything, I'm telling you. He was a step ahead of us the entire time.</dialogue>
    <character>JIMMY</character>
    <dialogue>You planned it. It was your team. Maybe you should clean your own house. Maybe you're too personally involved to be objective.</dialogue>
    <character>ALEX</character>
    <dialogue>I'm objective. I'm very objective.</dialogue>
    <scene_description>Dawson pulls Alex aside.</scene_description>
    <character>DAWSON</character>
    <dialogue>Can we talk rationally? Is that a possibility?</dialogue>
    <character>ALEX</character>
    <dialogue>No we can't talk rationally. Maria is dead. Tommy is... who knows how Tommy is.</dialogue>
    <character>DAWSON</character>
    <dialogue>Think about what you're saying.</dialogue>
    <character>ALEX</character>
    <dialogue>I know what I'm saying. This whole thing stinks.</dialogue>
    <parenthetical>(to Jimmy)</parenthetical>
    <dialogue>Yeah, you heard me. I'm onto you.</dialogue>
    <scene_description>Galati takes a swing at Alex. Alex is ready for him. He steps aside and nails Galati with a powerhouse of a punch. Galati goes down. Alex is on him. Dawson hauls Alex off.</scene_description>
    <character>DAWSON</character>
    <dialogue>All right, that's it. You're taking a leave. Effective now.</dialogue>
    <character>ALEX</character>
    <dialogue>Forget about it.</dialogue>
    <character>DAWSON</character>
    <dialogue>I'm not asking your permission, Detective. Take some leave!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA CROSS HOUSE -- NIGHT</stage_direction>
    <scene_description>Alex arrives home to find Nana waiting up for him, sipping tea. CONTINUED: She looks up, her eyes fix on a bandage on his head.</scene_description>
    <character>ALEX</character>
    <dialogue>It's just a scratch.</dialogue>
    <character>NANA</character>
    <dialogue>Nonsense. Don't you condescend to me, like I'm somebody's fool. Just a scratch? From a bullet that came inches from splattering your brains and leaving your two poor children orphans.</dialogue>
    <character>ALEX</character>
    <dialogue>What am I supposed to do? He killed her, Nana.</dialogue>
    <character>NANA</character>
    <dialogue>So you hunt him down, no matter what the cost to your family?</dialogue>
    <scene_description>Alex looks away.</scene_description>
    <character>NANA</character>
    <dialogue>You've got to stop, Alex. I'm begging you, for the sake of those kids.</dialogue>
    <character>ALEX</character>
    <dialogue>The kids are fine. I'll take care of my kids.</dialogue>
    <character>NANA</character>
    <dialogue>Oh, really. Really? Is that so?</dialogue>
    <scene_description>She walks away. Alex sits down at the kitchen table, exhausted. He shuts his eyes. A CAR HORN BLASTS. Alex glances out the window and sees a dirty D.C. Cab, idling outside. Nana reappears, dragging a battered old suitcase.</scene_description>
    <character>ALEX</character>
    <dialogue>What are you doing? Nana?</dialogue>
    <character>NANA</character>
    <dialogue>What does it look like?</dialogue>
    <scene_description>She walks right past him and out the door.</scene_description>
    <character>ALEX</character>
    <dialogue>Nana, stop. Let's talk. Awhh, c'mon.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>NANA</character>
    <dialogue>I'm through talking. You don't listen anyway.</dialogue>
    <scene_description>She bumps the case down the steps. The DRIVER helps her into the cab. Alex watches from the doorway. He hears a small voice behind him.</scene_description>
    <character>DAMON</character>
    <dialogue>Where's Nana going, daddy?</dialogue>
    <scene_description>Alex turns and looks at his son, standing in his pjs clutching his toy dinosaur. He scoops him up.</scene_description>
    <character>ALEX</character>
    <dialogue>I don't know, buddy. I don't know anything right now.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. NANA CROSS HOUSE -- NIGHT</stage_direction>
    <scene_description>The cab makes a U-turn and comes right back. Nana gets out and trudges toward the house.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NANA CROSS HOUSE -- NIGHT</stage_direction>
    <scene_description>Nana walks back in, hauling her suitcase. Alex helps her.</scene_description>
    <character>ALEX</character>
    <dialogue>You're right. I'm sorry.</dialogue>
    <character>NANA</character>
    <dialogue>I was wrong. I missed all of you the second the cab pulled away.</dialogue>
    <scene_description>She goes into the house. Alex and Damon follow.</scene_description>
    <character>NANA</character>
    <dialogue>Anyway, you need me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HUNT COUNTY, MARYLAND -- DAY</stage_direction>
    <scene_description>An unmarked SUV rolls down a residential street.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- DAY</stage_direction>
    <scene_description>Jimmy Galati studies the street names.</scene_description>
    <character>JIMMY</character>
    <dialogue>Your new neighborhood's a goddamn maze. This street name's changed three times already.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>That's to keep bastards like you out of here.</dialogue>
    <character>JIMMY</character>
    <dialogue>I'm the bastard saved your ass.</dialogue>
    <scene_description>Jimmy hands Sullivan an envelope.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What's this?</dialogue>
    <character>JIMMY</character>
    <dialogue>Goes with the new house.</dialogue>
    <scene_description>Sullivan shakes loose a set of new identity papers, driver's license, credit cards and bank statement with a fat balance.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>So you're cutting me loose? What about Cross?</dialogue>
    <character>JIMMY</character>
    <dialogue>Let me deal with Cross.</dialogue>
    <scene_description>Sullivan looks at the identity papers.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>This is it? After all these years? Early retirement. Witness protection. Whatever this is.</dialogue>
    <scene_description>Jimmy taps the envelope.</scene_description>
    <character>JIMMY</character>
    <dialogue>Not a bad deal. You'll never have to work again.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>What if I have an itch to scratch?</dialogue>
    <character>JIMMY</character>
    <dialogue>There's no more good will to be had where that came from. You understand what I'm saying? No one's inclined to look the other way for you anymore.</dialogue>
    <scene_description>In a single fluid motion, Sullivan snatches Jimmy's sidearm and sticks it in his face. CONTINUED: (2)</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What happens if it gets out? Our dirty little partnership?</dialogue>
    <character>JIMMY</character>
    <dialogue>If I go down. So do you. It's over Michael.</dialogue>
    <scene_description>Sullivan throws the new identities in his face.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I'll tell you when it's over, Jimmyboy.</dialogue>
    <scene_description>Sullivan steps out of the car, whistling a tune. Jimmy watches him go.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CITY SCHOOL -- DAY</stage_direction>
    <scene_description>Alex watches kids walking away from a city high school. We recognize one of them as the RING GIRL.</scene_description>
    <character>ALEX</character>
    <dialogue>Vatesha, right?</dialogue>
    <scene_description>She gives him a sideways glance and keeps walking. They continue -- down a street with houses on both sides.</scene_description>
    <character>ALEX</character>
    <dialogue>I just want to talk. It's my job.</dialogue>
    <character>RING GIRL</character>
    <dialogue>You need a shave. Leave me alone.</dialogue>
    <character>ALEX</character>
    <dialogue>Just talk. Five minutes.</dialogue>
    <character>RING GIRL</character>
    <dialogue>I don't have five minutes. I gotta babysit my little brother.</dialogue>
    <character>ALEX</character>
    <dialogue>Trinity's a good high school. You going to college?</dialogue>
    <character>RING GIRL</character>
    <dialogue>Not cut out for college.</dialogue>
    <parenthetical>(indicating the city all around them)</parenthetical>
    <dialogue>This is me, right here.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>The woman who ran the fight club, Fan Yau, she went to Princeton.</dialogue>
    <scene_description>The ring girl pauses. Alex has piqued her interest.</scene_description>
    <character>RING GIRL</character>
    <dialogue>What she major in -- hookin'?</dialogue>
    <scene_description>Alex shows her Oy Fan Yau's graduation picture.</scene_description>
    <character>ALEX</character>
    <dialogue>You liked Fan Yau didn't you?</dialogue>
    <scene_description>The ring girl looks at the picture and bites her lip.</scene_description>
    <character>ALEX</character>
    <dialogue>I could tell by your reaction in the car that night. The way you bit your lip. Just like you're doing now.</dialogue>
    <scene_description>The ring girl stops biting her lip.</scene_description>
    <character>ALEX</character>
    <dialogue>The guy who killed her is a really bad man.</dialogue>
    <scene_description>They arrive at a run down rowhouse.</scene_description>
    <character>RING GIRL</character>
    <dialogue>Not my problem.</dialogue>
    <character>ALEX</character>
    <parenthetical>(softly, almost embarrassed)</parenthetical>
    <dialogue>He killed my wife.</dialogue>
    <scene_description>The ring girl bites her lip. Alex hands over his card.</scene_description>
    <character>ALEX</character>
    <dialogue>Call me anytime. Even if it's just about school.</dialogue>
    <scene_description>Alex waits. She stops in the doorway and calls after him.</scene_description>
    <character>RING GIRL</character>
    <dialogue>Mister po-lease... Butcher of Sligo. That's what he called himself.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC ROOM, NANA CROSS HOUSE -- DAY</stage_direction>
    <scene_description>Alex stares at the Chinese symbol for "Butcher" He opens his laptop and runs a search for "BUTCHER OF SLIGO." He scrolls down a list of hits and stops on an address in Brooklyn.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BUTCHER SHOP, BROOKLYN -- DAY</stage_direction>
    <scene_description>Alex stands outside the butcher's shop with the faded green white and gold awning. He looks around him at all the Italian stores and the ballpark across the street.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BUTCHER SHOP, BROOKLYN -- DAY</stage_direction>
    <scene_description>Alex pulls back the board barricading the front door. He looks around. Then he smashes the lock and lets himself in. A LOCAL walking past, turns and stares. Alex smiles.</scene_description>
    <character>ALEX</character>
    <dialogue>It's ok... I'm a cop.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BUTCHER SHOP -- DAY</stage_direction>
    <scene_description>Alex scans the interior. The floor is covered in sawdust. An old cash register sits on the counter beside a glass meat display. Everything is covered in dust. A family photo hangs on the wall depicting the owner in a butcher's apron with his arm around a skinny little boy. The boy leans protectively close to a frail woman.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>Ryan's cell phone rings. She sees Alex's name on caller I.D. and answers.</scene_description>
    <character>ALEX (V.O. ON PHONE)</character>
    <dialogue>Ryan, it's Alex. I need your help with something, but I need you to keep it on the down low.</dialogue>
    <scene_description>Ryan glances around the bullpen to see if anyone is watching.</scene_description>
    <character>RYAN</character>
    <parenthetical>(hesitant)</parenthetical>
    <dialogue>Okay, I guess...</dialogue>
    <character>ALEX (V.O. ON PHONE)</character>
    <dialogue>I need you to pull up a business license. Butcher of Sligo. S-L-I-G-O.</dialogue>
    <scene_description>Ryan logs onto a computer and runs a search. CONTINUED:</scene_description>
    <character>RYAN</character>
    <dialogue>I'm Irish, Alex. Sligo... okay, I got a business in Brooklyn. But it's defunct.</dialogue>
    <character>ALEX (V.O. ON PHONE)</character>
    <dialogue>The owner?</dialogue>
    <character>RYAN</character>
    <dialogue>Michael Sullivan. He's defunct too. As in deceased.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BUTCHER SHOP -- DAY</stage_direction>
    <scene_description>Alex stares at the skinny little boy in the photograph.</scene_description>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>What about a son?</dialogue>
    <character>RYAN (V.O. ON PHONE)</character>
    <dialogue>Michael, Jr. D.O.B. 10-17-76.</dialogue>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>What have you got on him?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- DAY</stage_direction>
    <scene_description>ANGLE ON COMPUTER: A prison record appears on screen.</scene_description>
    <character>RYAN</character>
    <dialogue>Plenty. This cat had six counts of aggravated assault before he turned fourteen. Two year stint in youth authority. Extended for cutting a kid in the throat with a box cutter.</dialogue>
    <scene_description>Sullivan's mugshot appears on screen.</scene_description>
    <character>RYAN</character>
    <dialogue>Two years in Sing Sing-- another assault... That's weird, he got released early. Barely six months into his sentence.</dialogue>
    <character>ALEX (V.O.)</character>
    <dialogue>Wasn't for good behavior.</dialogue>
    <scene_description>Ryan runs a check on the computer. CONTINUED:</scene_description>
    <character>RYAN</character>
    <dialogue>Slipped off the grid after that. No DMV record. No credit cards. Tax returns. Nothing.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BUTCHER SHOP, BROOKLYN -- DAY</stage_direction>
    <scene_description>Alex explores the meat freezer. All kinds of hooks and cutting instruments hang from the walls.</scene_description>
    <character>ALEX</character>
    <dialogue>Someone else is paying for everything.</dialogue>
    <character>RYAN (V.O.)</character>
    <dialogue>Maggione?</dialogue>
    <character>ALEX</character>
    <dialogue>Maybe. Maybe someone else.</dialogue>
    <scene_description>Alex's flashlight sweeps a dusty bedroom. He fingers through a box of junk and finds a photograph of a LITTLE LEAGUE BASEBALL TEAM. He flips the photo and reads the names of the players...</scene_description>
    <character>ALEX</character>
    <dialogue>Sonofabitch.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SWANK APARTMENT -- NIGHT</stage_direction>
    <scene_description>Jimmy Hats kicks back, drinking a Scotch and watching a game. He hears a knock at the door and peers through the eye hole. He grabs his gun, tucks it behind his back and cracks the door.</scene_description>
    <character>JIMMY</character>
    <dialogue>Doctor Cross -- ?</dialogue>
    <scene_description>Alex head buts him in the face. Jimmy stumbles backward, clutching his nose. Alex pushes the little league photograph in his face.</scene_description>
    <character>ALEX</character>
    <dialogue>WHERE IS HE?</dialogue>
    <character>JIMMY</character>
    <dialogue>What the fuck -- ?</dialogue>
    <scene_description>Alex levels a gun at his head.</scene_description>
    <character>ALEX</character>
    <dialogue>Sullivan. Where is he?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>JIMMY</character>
    <dialogue>Have you lost your mind?</dialogue>
    <character>ALEX</character>
    <dialogue>SIT DOWN!</dialogue>
    <scene_description>Alex shoves Jimmy onto the couch.</scene_description>
    <character>ALEX</character>
    <dialogue>I know all about you, and your private little war.</dialogue>
    <character>JIMMY</character>
    <dialogue>I don't know what the hell you're talking about.</dialogue>
    <scene_description>Alex throws a heavy murder book in his lap.</scene_description>
    <character>ALEX</character>
    <dialogue>Read it.</dialogue>
    <scene_description>Jimmy flips through a report detailing every homicide.</scene_description>
    <character>ALEX</character>
    <dialogue>It's not hard to prove you're the architect. Every murder has your fingerprints all over it. Yours and Sullivan's.</dialogue>
    <scene_description>Jimmy doesn't seem particularly worried. Alex takes in the swank apartment and the spectacular view of D.C.</scene_description>
    <character>ALEX</character>
    <dialogue>Nice place. Dominic Maggione pay for it?</dialogue>
    <scene_description>He notices the framed commendations hanging on the wall.</scene_description>
    <character>ALEX</character>
    <dialogue>I hope the commendations were worth all the blood.</dialogue>
    <character>JIMMY</character>
    <dialogue>I joined the FBI after I came back from Afghanistan. Two tours. I'd take Afghanistan any day over my old neighborhood. My boss wanted me to reconnect with old friends. I grew up with these guys. They trusted me. Sure, I wanted to make a name for myself. I was a rookie agent trying to climb the ranks.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>JIMMY</character>
    <dialogue>Then Maggione offered to help. Said he'd make me a star.</dialogue>
    <character>ALEX</character>
    <dialogue>So you fed him intel on his rivals and then you took credit at the Bureau when he shut them down.</dialogue>
    <character>JIMMY</character>
    <dialogue>Why are you surprised by all this? Haven't you learned by now how the world really works?</dialogue>
    <character>ALEX</character>
    <dialogue>Not my world.</dialogue>
    <scene_description>Jimmy sizes him up. Alex is exhausted, haggard, fueled by rage and barely recognizable.</scene_description>
    <character>JIMMY</character>
    <dialogue>Don't be so sure.</dialogue>
    <character>ALEX</character>
    <dialogue>And Sullivan? How does an Irish kid like him end up in the mafia?</dialogue>
    <character>JIMMY</character>
    <dialogue>Sullivan's old man had to pay "Maggione Tax" to run his shop. His wife got sick. Bills mounted up. Michael Sr. was too proud to ask for help. Took all his frustration out on Sullivan. One day he couldn't pay. Everyone pays. Maggione sent his goons to give the old man a friendly reminder. Sullivan sees the goombahs beating on his old man. Goes berserk. Shoves one of 'em into the deli slicer. Carved him up like a Christmas ham.</dialogue>
    <character>ALEX</character>
    <dialogue>Maggione couldn't have liked that?</dialogue>
    <character>JIMMY</character>
    <dialogue>Shows up and finds this crazy kid. The sliced-up goombah got a .38 caliber retirement.</dialogue>
    <character>ALEX</character>
    <dialogue>And Sullivan got his job.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>JIMMY</character>
    <dialogue>Look what we achieved. Four crime families. Finished. These guys were the worst scum on the earth and we buried them. All this might be too much for your sensitive ears, Serpico, but trust me, no one got killed who didn't have it coming.</dialogue>
    <character>ALEX</character>
    <dialogue>What about my wife?</dialogue>
    <character>JIMMY</character>
    <dialogue>It wasn't supposed to happen. It was a mistake.</dialogue>
    <character>ALEX</character>
    <dialogue>A mistake?</dialogue>
    <character>JIMMY</character>
    <dialogue>My mistake. I'm sorry your wife got killed. I really am.</dialogue>
    <character>ALEX</character>
    <dialogue>If that's true then give me Sullivan.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TOMMY'S HOUSE -- NIGHT</stage_direction>
    <scene_description>Tommy is out of hospital and recuperating at home. He sits up, with a lot of effort, as Alex walks in.</scene_description>
    <character>TOMMY</character>
    <dialogue>You look like hell.</dialogue>
    <character>ALEX</character>
    <dialogue>Yeah. You look pretty terrific yourself.</dialogue>
    <scene_description>Tommy sits and points out a tray of cookies.</scene_description>
    <character>TOMMY</character>
    <dialogue>Home-made.</dialogue>
    <scene_description>Alex helps himself to a cookie and tastes it.</scene_description>
    <character>ALEX</character>
    <dialogue>You should get stabbed more often.</dialogue>
    <character>TOMMY</character>
    <dialogue>Funny. So what's up?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>Still got your toys? Let's go downstairs.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT -- NIGHT</stage_direction>
    <scene_description>Tommy uses a crutch to hobble down the basement stairs. He opens a closet, revealing a collection of guns. Tommy hesitates as the realization sinks in.</scene_description>
    <character>TOMMY</character>
    <dialogue>What are you doing? What are you up to?</dialogue>
    <scene_description>Alex doesn't answer.</scene_description>
    <character>TOMMY</character>
    <dialogue>You know where he is, don't you? You found the cocksucker?</dialogue>
    <scene_description>Alex selects a couple of guns and drops them into a hold-all.</scene_description>
    <character>ALEX</character>
    <dialogue>Yeah, I found him.</dialogue>
    <character>TOMMY</character>
    <dialogue>Listen. You go down this road, there's no coming back.</dialogue>
    <character>ALEX</character>
    <dialogue>I can't let him stay out there. He'll just kill again.</dialogue>
    <character>TOMMY</character>
    <dialogue>You want back-up, I'm ready to roll.</dialogue>
    <scene_description>Alex looks at Tommy hobbling around on crutches and smiles. They bump fists and slap backs.</scene_description>
    <character>TOMMY</character>
    <dialogue>Be careful, partner.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CEMETERY -- DAY</stage_direction>
    <scene_description>TIGHT ON Alex's face - a stunning portrait of a relatively young man's grief. PULL BACK to see that he's at Maria's grave site.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NANA'S HOUSE -- NIGHT</stage_direction>
    <scene_description>Nana comes outside and stands on the porch. She walks down the steps toward Alex's car, which is parked off-kilter in the driveway. Nana looks inside. Alex is fast asleep, sprawled across the seat. He never made it inside the house.</scene_description>
    <character>NANA</character>
    <parenthetical>(mutters)</parenthetical>
    <dialogue>Oh Alex. Alex.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA'S HOUSE -- DAWN</stage_direction>
    <scene_description>Alex kisses his kids goodbye.</scene_description>
    <character>ALEX</character>
    <dialogue>You watch her. You watch him.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MARYLAND ROADS -- DAY</stage_direction>
    <scene_description>Alex's BMW races through Hillendale. Pretty scenery. Fast car. Alex is really pushing it. The car passes a sign for Rivers Edge, Maryland.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW -- DAY</stage_direction>
    <scene_description>Alex pulls the car over, along the side of the road.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRY ROAD -- DAY</stage_direction>
    <scene_description>ALex gets out of the car and goes to the rear. He opens the trunk and selects his hardware. He's ready for war.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SULLIVAN HOME -- DAY</stage_direction>
    <scene_description>The Sullivan family is packed for some kind of trip. Luggage is set up in the foyer. Sullivan is closing an over-stuffed suitcase. He hears a HIGH-PITCHED SCREAM, leaps up and retrieves his handgun.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. YARD -- DAY</stage_direction>
    <scene_description>Sullivan enters his yard with the gun. His pretty, copper- haired wife, CAITLIN is distraught. His youngest son, Seamus is crying. The dogs are running loose, the rabbit hutch is gaping open and the kids' pet rabbit has been massacred. Sullivan tucks the gun in his pants, chains up the dog and turns to Seamus.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Sorry, Seamus. That's just the way life goes sometimes.</dialogue>
    <scene_description>CONTINUED: Seamus clings to his mom, too scared to move.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SULLIVAN HOME -- DAY</stage_direction>
    <scene_description>Sullivan grabs a trash bag and winks at his wife.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Rabbit stew tonight?</dialogue>
    <scene_description>Caitlin comforts her distraught son.</scene_description>
    <character>CAITLIN</character>
    <dialogue>It's not funny, Michael. I want those dogs out of here.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Can't blame the dogs, Caitlin. It's just their nature.</dialogue>
    <scene_description>Sullivan ruffles Seamus's hair.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>We'll bury your pet, okay? Me and you.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- SUNDOWN</stage_direction>
    <scene_description>Sullivan lifts the rabbit by the ears and drops it in the trash bag. The dogs bark in the direction of a forest on the outskirts of their yard. Sullivan scans the treeline.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TREELINE-- SUNDOWN</stage_direction>
    <scene_description>Alex moves through the treeline toward Sullivan's house. His gaze is stone cold; devoid of emotion.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- SUNDOWN</stage_direction>
    <scene_description>Michael Jr. exits the house with the Louisville Slugger in his grip. He senses something is wrong.</scene_description>
    <character>MICHAEL JR.</character>
    <dialogue>What is it, Dad?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Nothing son. Go back inside.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TREELINE -- SUNDOWN</stage_direction>
    <scene_description>Alex reacts to the kid's presence. He brings up his other hand to steady his grip... sights locked on his prey.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- SUNDOWN</stage_direction>
    <scene_description>Sullivan pulls his gun and approaches the treeline... Alex has a clear shot... A GUNSHOT RINGS OUT! The Louisville Slugger splinters in Michael Jr's hands. Sullivan whirls around toward the direction of fire... Not in Alex's direction, the opposite way! Sullivan sees TWO of MAGGIONE'S MEN emerging from the tree line... BLASTING away. Then TWO MORE GUNMEN appear. Psychopathic-looking killers. Not unlike Sullivan.</scene_description>
    <character>MICHAEL!</character>
    <dialogue>GET DOWN, MICHAEL!</dialogue>
    <character>CAITLIN</character>
    <dialogue>OH MY GOD, MICHAEL!</dialogue>
    <scene_description>Michael Jr. is caught in the line of fire. Sullivan returns fire... He hits one of the gunmen in the cheek.</scene_description>
    <character>SULLIVAN</character>
    <parenthetical>(to Caitlin)</parenthetical>
    <character>GET IN THE CAR!</character>
    <dialogue>Alex can see the ambush unfolding...</dialogue>
    <dialogue>The GUNFIRE is relentless... chaos and bedlam...</dialogue>
    <dialogue>The boy is trapped and frozen with fear. He's a sitting duck.</dialogue>
    <dialogue>Alex bolts from the woods, exposing his position...</dialogue>
    <dialogue>Sullivan sees him... raises his gun...</dialogue>
    <dialogue>Alex opens fire. AWAY FROM HIM! Toward the gunmen, drawing fire away from the boy.</dialogue>
    <dialogue>Sullivan scoops up his son and runs and guns for the SUV...</dialogue>
    <dialogue>Caitlin and Seamus stare out, eyes wide with terror...</dialogue>
    <dialogue>The GUNMEN close in...Alex shoots one of them. A chest shot.</dialogue>
    <dialogue>An ENGINE IGNITES...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- CONTINUOUS</stage_direction>
    <scene_description>Sullivan hits the gas...</scene_description>
    <character>GET DOWN!</character>
    <dialogue>DOWN!</dialogue>
    <character>EVERYBODY! SEAMUS, GET</character>
    <dialogue>There's an explosion of glass as bullets rips through the windows... The in-car entertainment system powers on and a KID FLICK blasts on the DVD screens.</dialogue>
    <dialogue>Sullivan spins the SUV to face his assailants...</dialogue>
    <character>SULLIVAN</character>
    <dialogue>SEAT BELTS! FATHER KNOWS BEST!</dialogue>
    <scene_description>He drives with one hand and unloads out the window... His wife and kids watch him in complete shock.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- CONTINUOUS</stage_direction>
    <scene_description>The ASSASSINS open up on the SUV thundering down... Sullivan's DOGS bound toward them... One of the assassin's gets off a shot killing one dog... the other one leaps... fangs snap on his forearm... taking him down... Right into the path of the SUV! His partner sees him desperately trying to fight off the vicious attack... he sees the truck bearing down... The sudden impact propels him headfirst into the windshield and flips him over the roof...</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You're welcome.</dialogue>
    <scene_description>His partner glances up as... Sullivan yanks the SUV into a tight spin toward him... He springs to his feet and bolts for his life, zig-zagging for the woods, praying and spraying...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- CONTINUOUS</stage_direction>
    <scene_description>Sullivan swerves as bullets stitch the bodywork... CONTINUED: The tires blow... The SUV swerves dangerously and bulldozes through the trees...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- CONTINUOUS</stage_direction>
    <scene_description>The assassin keeps up the blazing assault. The SUV is getting shredded. Alex drops him with a bullet to the head.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- CONTINUOUS</stage_direction>
    <scene_description>The gunfire stops. Sullivan hears his wife's pained voice.</scene_description>
    <character>CAITLIN</character>
    <dialogue>Oh Michael --</dialogue>
    <scene_description>He looks over and sees that she's been shot. In his moment of distraction, the SUV hits large rock. Sullivan and his family hang on as the car swerves into a fast flowing river.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SULLIVAN HOME -- CONTINUOUS</stage_direction>
    <scene_description>Alex races to the scene and sees the car in the river.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- CONTINUOUS</stage_direction>
    <scene_description>Sullivan and his family are trapped inside the car. Caitlin is bleeding badly. The kids are terrified. Water SURGES through the shattered windows. Sullivan kicks the door open against the force of water. He looks up and sees Alex coming toward them...relentless. He searches frantically for his gun... He can't find it. He stares at his wife and kids, then back at Alex...and then, in a stunning and shockingly callous move -- HE DESERTS THEM.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HUNT COUNTY, MARYLAND -- CONTINUOUS</stage_direction>
    <scene_description>Alex closes in on the SUV. Caitlin is semi-conscious. The kids are struggling like crazy against the deluge of water submerging the car. Alex scans the river and spots Sullivan in the distance. He's wading toward the opposite bank. Wounded. Limping. Putting as much ground as possible between them. Sullivan looks back at Alex...and at his own helpless family. CONTINUED: Alex levels his gun... Sullivan is in range, but only for a second... Alex's vision snaps to the SUV and the distraught faces, trapped and running out of time... He glances back at Sullivan. His rage propels him to chase after his prey but his humanity stops him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV -- CONTINUOUS</stage_direction>
    <scene_description>Alex fights his way inside and struggles mightily to get the boys free from their seat belts. Then he grabs Caitlin in his arms.</scene_description>
    <character>ALEX</character>
    <dialogue>I've got you.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HUNT COUNTY, MARYLAND -- CONTINUOUS</stage_direction>
    <scene_description>Alex wades through the river with Caitlin. Seamus makes it to the riverbank but Michael Jr. struggles to keep his head above water.</scene_description>
    <character>ALEX</character>
    <dialogue>Hold onto me, son. Hang tight.</dialogue>
    <scene_description>He wades through the river carrying Caitlin with Michael Jr. riding piggy back. He scans the opposite bank. Sullivan is long gone. He lays Caitlin gently on the riverbank. She's lost a lot of blood and is barely conscious. He dials his cell for help.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HUNT COUNTY, MARYLAND -- NIGHT</stage_direction>
    <scene_description>A full moon. A massive crime scene. POLICE and FBI sweep the area. A chopper's searchlight penetrates the woods. Alex stays with Sullivan's family as Caitlin is loaded into an ambulance. Michael Jr. grips her hand and won't let go. Seamus is detached. Distant. He stares at Alex with his father's cold stare.</scene_description>
    <character>SEAMUS</character>
    <dialogue>Fuck you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SWANK APARTMENT -- NIGHT</stage_direction>
    <scene_description>Jimmy Hats has heard the news and is completely panicked. He scrambles to pack a bag and get the hell out of there. He reaches for his gun and holster. CONTINUED: A PLASTIC BAG is yanked over his head!</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Hey Jimmyboy. Going somewhere?</dialogue>
    <scene_description>Jimmy struggles like a mad man. Sullivan tightens the bag viciously.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>YOU. SET. ME. UP.</dialogue>
    <scene_description>Jimmy tries to buck Sullivan off and sends them both crashing through the French doors onto the balcony. Sullivan grinds Jimmy's face into the broken glass, then pulls him up. A SHADOW crosses behind them... Sullivan catches movement in his peripheral vision and whirls around... ALEX IS THERE with a gun leveled at him. Sullivan smiles to mask his surprise.</scene_description>
    <character>ALEX</character>
    <dialogue>You know something Sullivan, you think you're so smart and in control. It's your lack of control that makes you predictable.</dialogue>
    <scene_description>Sullivan grins and edges closer to the rail.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Any closer and he's going to make a big splash down below. I promise.</dialogue>
    <character>ALEX</character>
    <dialogue>Go ahead.</dialogue>
    <scene_description>Alex stares at him, poker faced, gun locked. Sullivan snaps and shoves Jimmy half-way over the rail... but Jimmy holds him off-barely. Alex opens fire... Sullivan drops... shot in the side.... Jimmy is clinging to the rail... his grip slipping... Alex grabs Jimmy before he plummets to his death... He turns back... Sullivan is gone inside the apartment.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGROOM, APARTMENT -- CONTINUOUS</stage_direction>
    <scene_description>Alex moves through the apartment, which is in semi- darkness... He sees Jimmy's GUN HOLSTER on an end table. The SERVICE WEAPON is gone! He whips around... Sullivan clicks a gun against his head.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I should warn you about that empathy, Cross. Fatal flaw.</dialogue>
    <character>ALEX</character>
    <dialogue>The thing about psychopaths, you have no conscience. So asking you to put down the gun out of any sense of remorse for murdering my pregnant wife, or deserting your family is wasting my breath.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>First smart thing you've said.</dialogue>
    <character>ALEX</character>
    <dialogue>Since the only thing you care about is self-preservation, I'm going to give you one last chance to give yourself up.</dialogue>
    <scene_description>Sullivan laughs in his face.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Mighty white of you... since we're being so honest with each other, I'll let you in on a secret. I shot your wife to torture you. I could've gunned you down instead.</dialogue>
    <scene_description>Only Alex's eyes reveal his torment at this.</scene_description>
    <character>ALEX</character>
    <dialogue>You think I didn't see that gun on the side table when I walked in?</dialogue>
    <scene_description>Sullivan throws a glance at the table. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>I took out the clip. I thought with all your experience, you'd recognize how light it is.</dialogue>
    <scene_description>Sullivan feels the weight in his hands.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Let's test it, shall we?</dialogue>
    <scene_description>He turns the gun on Jimmy and hits him clean between the eyes. Jimmy flips backward off the balcony. Alex dives for cover behind the couch and opens fire. Sullivan returns fire. Alex keeps his head down as bullets shred the couch. Suddenly the shooting stops. Alex glances up. Scans the room. Sullivan is gone. Alex gives chase-but it's futile.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SWANK APARTMENT -- NIGHT</stage_direction>
    <scene_description>Jimmy's body is covered with a sheet. Squad cars cordon off the area. Lt. Dawson is there. So are all kinds of FBI personnel.</scene_description>
    <character>DAWSON</character>
    <parenthetical>(to Alex)</parenthetical>
    <dialogue>Go home. I don't want you talking to anybody tonight.</dialogue>
    <character>ALEX</character>
    <parenthetical>(distraught)</parenthetical>
    <dialogue>It was him. Sullivan did this.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA CROSS HOUSE -- NIGHT</stage_direction>
    <scene_description>Alex arrives home. He's exhausted. Spent. ROCKBAND plays on TV but no one is watching Alex's instincts are suddenly razor sharp. He draws his gun and pads silently through the house. The quirks of the old house are amplified to his heightened senses. The wall clock ticks. The floorboards creak. There's blood on the floor.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN -- CONTINUOUS</stage_direction>
    <scene_description>Alex follows the blood trail to the kitchen. The door is ajar. Alex pushes it open and sees... NANA SLUMPED AGAINST THE KITCHEN CABINETS. Her head and arms are bloody like she put up a fight. She's clearly hurt and Damon is hugging her. CONTINUED: His instincts are to run to her, but she signals him with her eyes. He whips around... ready to shoot...</scene_description>
    <character>SULLIVAN HAS HIS ARM AROUND JANELLE AND A KNIFE TO HER</character>
    <dialogue>THROAT! The little girl's eyes are wide with terror. Her face is stained with tears. Sullivan grins.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Thought I'd meet the family. You met mine. Drop the gun, Doctor detective. Please and thank you.</dialogue>
    <scene_description>Alex is rocked to his core. He locks eyes with his beautiful little daughter. His heart is racing. He notices that Sullivan is bleeding from the bullet he put in his side. Sullivan nicks Jannie with the blade. A thin line of blood trickles down her throat. She cries out.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>She wants you to drop it, too. Don't you, sweetie?</dialogue>
    <scene_description>Alex ejects the clip, never taking his eyes off Sullivan.</scene_description>
    <character>ALEX</character>
    <dialogue>When did it all start? When you first moved to Brooklyn? You were ten? Eleven? Tough age to make friends, especially when you're the outsider, the Irish kid.</dialogue>
    <scene_description>Alex drops the gun. Kicks it to Sullivan.</scene_description>
    <character>ALEX</character>
    <dialogue>What did they call you? Dirty Mick? Dumb Irish? Paddy?</dialogue>
    <scene_description>Sullivan laughs.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You think you can psychoanalyze me? That's pretty funny actually.</dialogue>
    <scene_description>Alex reaches for his belt. Sullivan tightens his grip on Janelle. Alex raises his hands...</scene_description>
    <character>ALEX</character>
    <dialogue>You want the other clip, or not?</dialogue>
    <scene_description>He unhooks the ammunition clip from his belt, and nudges his PDA -- hitting REDIAL. CONTINUED: (2)</scene_description>
    <character>ALEX</character>
    <dialogue>Mostly Italians in that old neighborhood. They must've beaten you up pretty bad.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Good for you. Toughens you up.</dialogue>
    <character>ALEX</character>
    <dialogue>That what your old man told you?</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Something like that.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. D.C. HOMICIDE -- NIGHT</stage_direction>
    <scene_description>Ryan is on the phone, listening to every word.</scene_description>
    <character>ALEX (O.S. ON PHONE)</character>
    <dialogue>But hey, you took care of business. Heard you carved up Maggione's soldier pretty good.</dialogue>
    <character>SULLIVAN (V.O. ON PHONE)</character>
    <dialogue>I did indeed.</dialogue>
    <scene_description>She's immediately on the move...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN -- NIGHT</stage_direction>
    <character>SULLIVAN</character>
    <dialogue>I did indeed.</dialogue>
    <character>ALEX</character>
    <dialogue>Bet your old man didn't pay another dime after that. You did what he couldn't do.</dialogue>
    <scene_description>Alex notices the signs of anger building in Sullivan's facial expressions. Meanwhile the two of them are getting closer and closer, almost as if gravity is making this happen.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You tell me. You're the man with all the answers.</dialogue>
    <scene_description>Sullivan's grip tightens on the knife, drawing it tighter to Janelle's throat. Alex doesn't miss a beat.</scene_description>
    <character>ALEX</character>
    <dialogue>Then there's Maggione. He has all the respect. You figured if you played it right, you'd have it too.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SULLIVAN</character>
    <dialogue>Think you got it all figured out? Maybe you should take a look at yourself. Making out like you're some kind of righteous warrior. You're not. You'd like to tear me into pieces. Feed me to my pit bull.</dialogue>
    <character>ALEX</character>
    <dialogue>Maybe, but unlike you, I have some self-control.</dialogue>
    <character>SULLIVAN</character>
    <dialogue>Ah. Let's see if you do... she was pregnant, wasn't she? Your pretty little wife?</dialogue>
    <scene_description>Now it's Alex's turn to temper his rage.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>She wanted you to quit, but you needed the hunt. You need this.</dialogue>
    <character>ALEX</character>
    <dialogue>I don't need to torture and slaughter people. You're a coward. Look at how pathetic you are, hiding behind a little girl.</dialogue>
    <scene_description>Sullivan fixes Alex with his cold, unblinking stare. Alex pushes harder.</scene_description>
    <character>ALEX</character>
    <dialogue>I even know why you do that stupid bow. It was your father's trademark.</dialogue>
    <scene_description>FLASHBACK:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUTCHER SHOP -- DAY</stage_direction>
    <scene_description>TWELVE-YEAR-OLD MICHAEL SULLIVAN watches a MOBSTER rifling the cash register while his father hands him a package of meat WITH A PROUD AND HUMBLE BOW. The meat slicer BUZZES in the background. BACK TO SCENE:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN -- NIGHT</stage_direction>
    <scene_description>Sullivan tries to shake the memories from his mind. THE BUZZ OF THE MEAT SLICER ESCALATES. CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>You hated him -- and ended up just like him. Michael Sullivan Jr. Another useless punk.</dialogue>
    <scene_description>Sullivan snaps and charges him... Alex is good at this-- a real street fighter. The two of them go down. Alex avoids being cut, which is impressive in itself.</scene_description>
    <character>ALEX</character>
    <dialogue>GO JANNIE, RUN!</dialogue>
    <scene_description>The girl bolts away from Sullivan and goes to Nana and Damon. Sullivan grabs Alex's wrist, shifts his weight onto it, and drives the knife upward toward Alex's gut. The men are locked together. Inches apart. Neither of them give an inch. It's a battle of strength and will power. Sullivan breaks the stalemate by head-butting Alex. Alex staggers back... Sullivan drives Alex into the kitchen cabinets, like a linebacker... His knife hand shoots forward in a blur... Alex twists out of his way... clasps the first thing he can reach... swings it... A massive can of olive oil cracks into Sullivan's forearm, blocking the stab... The blade punctures the can, spurting oil everywhere... Sullivan flips the knife into his other palm, shifts position and comes at Alex with a downward stab... The blade slices Alex's forearm as he blocks the thrust and spins sideways out of range... He slips in the oil slick and goes down hard, slamming into an open drawer and sending kitchen utensils flying... Sullivan closes the gap... the blade coming fast... Alex grapples for anything to use as a weapon... His fingers clasp a serving fork... He stabs it right through Sullivan's foot. Sullivan yells in agony... Alex springs to his feet and drives a hard right into his face...</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I heard you could box.</dialogue>
    <scene_description>CONTINUED: (2) Alex swings a mighty roundhouse. The impact almost takes Sullivan off his feet. Sullivan grins through bloody teeth.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>That's good. That's very good.</dialogue>
    <character>ALEX</character>
    <dialogue>How's this?</dialogue>
    <scene_description>Alex grabs an iron-clad frying pan and hits Sullivan with a brutal uppercut. Sullivan's head snaps back, his knees buckle and goes down. Alex grabs his gun and levels it. He's about to pull the trigger when he sees the frightened faces of his family. The kids are huddled with Nana -- who is bleeding and helpless. Alex realizes that he's become as terrifying as his enemy. SIRENS close in. Alex keeps the gun trained on his quarry.</scene_description>
    <character>ALEX</character>
    <dialogue>ON THE GROUND NOW!</dialogue>
    <scene_description>Sullivan puts his hands behind his head and bolts! Alex can't shoot him in the back. He takes off after Sullivan.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALEX'S NEIGHBORHOOD -- NIGHT</stage_direction>
    <scene_description>Alex pursues Sullivan in a frenetic foot chase through the busy, colorful streets. Sullivan leaps a railing and drops down into the lot of a large crowded bus terminal.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUS TERMINAL -- NIGHT</stage_direction>
    <scene_description>Sullivan charges through the station with Alex right behind him. He takes down a SECURITY GUARD with a single skillful move and commandeers his sidearm. He turns the gun on Alex and opens firein the middle of the crowded station.</scene_description>
    <character>ALEX</character>
    <dialogue>GET DOWN! EVERYBODY GET DOWN!</dialogue>
    <scene_description>Total mayhem. People are SCREAMING and RUNNING in all directions. Alex ducks and weaves through the crowd. Sullivan has lost a lot of blood and is slowing up. Sullivan glances back and sees Alex closing the gap. CONTINUED: He runs out between the buses. They're very large and obscure his vision. Alex bolts after him. Buses are coming and going, moving faster than they should. The buses are noisy too. Alex sees the flash of a muzzle as Sullivan opens fire. Alex shoots back. It's a raging gun fight. Alex hears a bus coming behind him. He's almost hit! The HORN BLASTS. Alex glances back. Another bus's headlights are bearing down on him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BUS TERMINAL -- NIGHT</stage_direction>
    <scene_description>Alex sprints to one side, and right into the butt of Sullivan's gun. He is knocked off his feet and lands painfully. Sullivan kicks him viciously.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>I told you empathy was your fatal flaw. Should've killed me when you had the chance.</dialogue>
    <scene_description>Alex hears another bus coming. He looks at Sullivan and starts laughing.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>What's so funny?</dialogue>
    <character>ALEX</character>
    <dialogue>You. Both of us.</dialogue>
    <scene_description>Sullivan starts to go berserk... He swings back his foot to stomp Alex in the face. Alex grabs his ankle and twists, sending him tumbling. He dives on Sullivan and uses his sheer size and weight to pin him down. Sullivan looks at the bus coming their way. He flails like crazy but he can't escape Alex's hold. The bus driver can't see them in the dark.</scene_description>
    <character>SULLIVAN</character>
    <dialogue>You fucking psycho, you'll kill us both!</dialogue>
    <scene_description>The bus is almost on top of them. CONTINUED: Then all of a sudden, Alex just lets go... Sullivan is panic-stricken and disoriented. He scrambles to his feet...and dodges the bus. Then Sullivan gets struck by a second speeding bus. It's a terrible, crushing hit. Bug against a windshield stuff. Very, very satisfying.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BUS TERMINAL -- NIGHT</stage_direction>
    <scene_description>Ryan helps the beaten and bloody Alex out of the terminal and toward a waiting squad car.</scene_description>
    <character>RYAN</character>
    <dialogue>You did good. Your family's ok. They're fine.</dialogue>
    <character>ALEX</character>
    <dialogue>Thank you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRECTIONAL FACILITY -- DAY</stage_direction>
    <scene_description>The security guard and correctional officer kick back watching their 14 inch television. Images of FEDERAL AGENTS arresting Maggione and his cohorts plays on screen.</scene_description>
    <character>NEWS ANCHOR (V.O)</character>
    <dialogue>... Federal Agents arrested 19 members of the Maggione Crime Family in a sweep covering New York and Washington --</dialogue>
    <scene_description>LT. Dawson gives a press conference.</scene_description>
    <character>LT. DAWSON</character>
    <dialogue>... The success of the operation is a tribute to the actions and bravery of several Bureau agents and officers from D.C. Metro...</dialogue>
    <scene_description>Ryan can be seen with Tommy and Crawford in the background. There's no sign of Alex.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CORRECTIONAL FACILITY, SECURE HOUSING UNIT -- DAY</stage_direction>
    <scene_description>Alex is cleaned up and looking like his old self. Maybe even better. He is engrossed in a game of chess. We pull back and reveal his opponent -- BRONSON "POP-POP" JAMES.</scene_description>
    <character>BRONSON</character>
    <dialogue>You're gonna lose. You know that right, chump?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>ALEX</character>
    <dialogue>We'll see. Let your chess pieces do your talking.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NANA CROSS HOUSE -- NIGHT</stage_direction>
    <scene_description>Alex arrives home.</scene_description>
    <character>ALEX</character>
    <dialogue>Daddy's home.</dialogue>
    <scene_description>No answer.</scene_description>
    <character>ALEX</character>
    <dialogue>Anybody care?</dialogue>
    <character>NANA</character>
    <dialogue>Alex! Glad you could make it.</dialogue>
    <scene_description>Alex joins Nana and the kids at the kitchen table. They close their eyes in prayer.</scene_description>
    <character>ALEX</character>
    <dialogue>Rub-a-dub-dub thanks for the grub. Yeah God!</dialogue>
    <scene_description>Nana slaps his wrist with the back of her fork. The kids laugh. They dig in. Alex stares at his family.</scene_description>
    <character>ALEX</character>
    <parenthetical>(to Jannie)</parenthetical>
    <dialogue>I saw on the fridge that you've got choir practice tomorrow night.</dialogue>
    <scene_description>Janelle looks at her father.</scene_description>
    <character>ALEX</character>
    <dialogue>I'd like to go? May I?</dialogue>
    <character>JANELLE</character>
    <dialogue>Is there a bad guy in my singing group?</dialogue>
    <character>ALEX</character>
    <dialogue>No, sweetie.</dialogue>
    <scene_description>Alex glances at Nana fighting to suppress her laughter.</scene_description>
    <character>ALEX</character>
    <dialogue>Here's the deal. Starting tomorrow, I'm officially unemployed.</dialogue>
    <scene_description>CONTINUED: Alex looks around the table. Everyone is speechless.</scene_description>
    <character>NANA</character>
    <dialogue>You're going to resign?</dialogue>
    <character>ALEX</character>
    <dialogue>I've decided to go into private practice.</dialogue>
    <scene_description>A massive smile spreads across Nana's face.</scene_description>
    <character>ALEX</character>
    <dialogue>Bronson's my only client and he's pro bono. Since I don't have any paying clients, I'm afraid to tell you that we're practically destitute.</dialogue>
    <scene_description>Nana applauds.</scene_description>
    <character>NANA</character>
    <dialogue>Des-ti-tute! Des-ti-tute!</dialogue>
    <scene_description>The kids join in the chanting.</scene_description>
    <character>ALL</character>
    <dialogue>Des-ti-tute! Des-ti-tute!</dialogue>
    <scene_description>Alex smiles and sinks back in his seat. A weight lifted.</scene_description>
    <character>ALEX</character>
    <dialogue>Yeah. And maybe we'll be homeless too.</dialogue>
    <character>THE KIDS</character>
    <dialogue>Home-less! Home-less!</dialogue>
    <scene_description>His cell phone rings. He considers not answering and finally picks up.</scene_description>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Alex Cross.</dialogue>
    <character>MAN'S VOICE (V.O. ON PHONE)</character>
    <dialogue>There's been a murder, a bad one.</dialogue>
    <scene_description>Alex hesitates, trying to place the voice. He steps away from his family.</scene_description>
    <character>ALEX</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Who is this?</dialogue>
    <scene_description>CONTINUED: (2) No answer.</scene_description>
    <character>ALEX</character>
    <dialogue>Why are you calling me?</dialogue>
    <character>MAN'S VOICE</character>
    <dialogue>Because you're Dr. Cross. And I'm the killer.</dialogue>
    <scene_description>FADE OUT: FINAL CREDITS</scene_description>
  </scene>
</script>

Summary: Alex Cross, a detective and psychologist, is drawn into a dangerous game of cat and mouse with a cunning and ruthless serial killer named Picasso, played by Matthew Fox. As Cross and his team investigate a series of grisly murders, they become embroiled in a high-stakes battle of wits with the killer, who is always one step ahead. As the investigation progresses, Cross finds himself personally targeted by Picasso, who is not only a formidable opponent but also has a personal vendetta against Cross. The movie follows Cross as he uses his intellect and detective skills to track down the killer while navigating the escalating danger and personal sacrifices involved in the pursuit. The plot is filled with suspense, action, and psychological tension as Cross and Picasso engage in a gripping and intense battle throughout the film.