UNDERTOW

by

Pablo F. Fenjves

Adam Kolbrenner & Chris Cook

Madhouse Entertainment
8484 Wilshire Blvd #640
Beverly Hills, CA 90211
310.587.2200

UTA
9560 Wilshire Blvd #500
Beverly Hills, CA 90212
310.273.6700
FADE IN:

EXT. NEW JERSEY TURNPIKE - DAY

A beat-up Jeep Cherokee makes its way through the Garden

State: Across crumbling bridges; past billowing smoke-
stacks; along the busy turnpike and the surrounding urban
sprawl. Not a pretty picture.

MICHAEL (O.S.)
I hate New Jersey. It reminds me
of Southern California.

INT. JEEP CHEROKEE - CONTINUOUS

ZOE CAULFIELD, late twenties, attractive, edgy, is behind

the wheel, weaving effortlessly in and out of traffic.

ZOE
Take that back. I was born here.

Her friend MICHAEL, 30, rough around the edges, is in the

passenger seat. He turns to look at her. She’s smiling.

MICHAEL
A Jersey girl? I didn’t know that.

ZOE
There’s a lot about me you don’t
know.

MICHAEL
That’s probably a good thing. The
better I got to know my ex-wife,
the less I liked her.

ZOE
(another smile)
That’s love for you.

EXT. TRACT HOUSE - LATER

A DOBERMAN, chained, struts back and forth like a sentry,

looking for trouble.

INT. TRACT HOUSE - CONTINUOUS

Michael packs bags of uncut heroin into a large duffel.

Zoe helps him, but she doesn’t look happy -

ZOE
I thought we were doing this
together.
 2.

MICHAEL
If it were up to me, we would be.
But Eddie’s calling the shots on
this one.

He ZIPS the bag shut. Looks at her. He has a face that’s

hard to trust.

ZOE
I don’t like it.

He gives her a quick kiss on the lips.

MICHAEL
I’ll be back for you within the
hour.

He slings the duffel over his shoulder; exits.

Zoe sits at the table. Lights a cigarette. Looks even

less happy.

The sun moves across the sky, lengthening her shadow on

the far wall.

She HEARS noises out front, stubs her tenth cigarette

into the overflowing ashtray, and crosses to the window.

She doesn’t like what she sees.

EXT. DILAPIDATED WAREHOUSE (TRENTON AREA) - DUSK

Desolate as hell, in sharp contrast to the Porsche and

Mercedes that are parked out front.

INT. DILAPIDATED WAREHOUSE - CONTINUOUS

Zoe is strung up by her wrists. She’s being tortured by

three thugs: EDDIE, FRANK and PAULIE.

EDDIE
I’m going to ask you one more
time, Zoe: Where’s my money?

Zoe is a broken woman. She whimpers and shakes her head.

ZOE
(barely audible)
I don’t know.

Frank ZAPS her with a cattle-prod and she CRIES out in

pain.

Paulie reaches for the familiar duffel and starts pelting

her with bags of uncut heroin.
 3.

Some of the bags rip and cover her in white powder and
clouds of feathery dust, so clearly it’s not heroin.

When he finally stops -

EDDIE
Cut her down.

Frank does as he is told and Zoe slumps to the ground;

there’s no fight left in her.

Eddie approaches; towers over her; looks into her tear-

stained face.

EDDIE (CONT’D)
You know, I think I actually
believe you, but I’m out three
million dollars.

He takes out his gun; cocks it.

EDDIE (CONT’D)
In your next life, pick your men
more wisely.

Zoe knows it’s over -

ZOE
Fuck you.

He looks down at her like a disappointed father:

EDDIE
Zoe Zoe Zoe... I was going to make
this fast and painless, but I just
changed my mind.

BOOM! He shoots her in the gut.

The men leave.

Zoe, in great pain, reaches into the side of her boot for
a hidden cell-phone. She dials 9-1-1.

INT. HOSPITAL EMERGENCY ROOM - DAY

Zoe is brought inside on a gurney, the double-doors

EXPLODING open as she’s rushed down the hallway by a
MEDICAL TEAM.

The gurney’s small wheels SPIN and SKITTER on the

linoleum floor.

INT. HOSPITAL CORRIDOR - FIVE DAYS LATER

An ARMED GUARD is seated just outside the locked room.

 4.

INT. HOSPITAL ROOM - CONTINUOUS

Zoe, much improved, opens the door and looks out at the
Armed Guard.

ZOE
Officer?

He turns to look at her. That little gown doesn’t leave

much to the imagination; Zoe is showing an awful lot of
leg.

ZOE (CONT’D)
Can I ask you a favor?

ARMED GUARD
I can’t leave my post, miss.

ZOE
I think someone’s trying to break
through the connecting door.

The Armed Guard stands, curious and a little nervous, and

approaches, unbuckling his holster.

As soon as he’s close enough, Zoe grabs him by the shirt,

yanks him into her room, and proceeds to kick the shit
out of him.

She punctuates each blow with -

ZOE (CONT’D)
There... is... no... connecting...
door...

One final blow and he’s out cold.

Zoe takes his gun and exits.

EXT. HOSPITAL - EMERGENCY ENTRANCE - MINUTES LATER

A SHAPELY NURSE makes her way outside. She moves toward

an ambulance -

INT. AMBULANCE - CONTINUOUS

- and climbs inside. It’s Zoe, of course.

There’s no key. She SNAPS the inside passenger-door

handle and uses it to CRACK the steering-wheel housing,
then crosses the wires and starts the engine and pulls
out.
 5.

EXT. NEW JERSEY TURNPIKE - NIGHT

The ambulance races along, LIGHTS FLASHING and SIREN

BLARING. Zoe drives like a guy. Cars make way.

INT. SUBURBAN HOME - LATER

Zoe is standing over Paulie. He’s lying on the kitchen’s

tile floor, bleeding from a gunshot wound to the thigh.

ZOE
Let’s try that one more time:
Where’s Eddie?

PAULIE
(crying)
I don’t know! I swear! The Feds
are after him. He’s laying low.

She SHOOTS him in the knee and he SCREAMS.

ZOE
Now you’ll walk with a limp for
the rest of your life.

PAULIE
Please, Zoe! I’m telling you the
truth. Maybe Frank knows.

ZOE
So give me Frank.

He thinks about this, grimacing with pain; it’s not easy,

but -

PAULIE
A friend of his has a yacht at
Parson’s Wharf.

She gives him a look -

PAULIE (CONT’D)
Third slip on your right, Berth
Seventeen.

ZOE
Thank you for your cooperation.

She exits; lets him live.

EXT. PARSON’S WHARF - NIGHT

A collection of yachts, big and small, bob peaceably in

the moonlight. The water laps against the pylons.
 6.

INT. SMALL YACHT - CONTINUOUS

Frank walks in with his GIRLFRIEND and gets WHACKED in

the back with a baseball bat. It sends him flying across
the cabin.

The Girlfriend tries to run but Zoe grabs her by the hair
and holds tight and she SCREAMS in pain and terror.

ZOE
Shut up!

She shuts up.

ZOE (CONT’D)
Now lock yourself in the bedroom
like a good little girl, okay?
I’ll let you know when it’s safe
to come out... No, not the purse.
The purse stays with me.

The Girlfriend, terrified, hands Zoe her purse and does

as she is told.

Zoe turns to look at Frank. He is in agony.

FRANK
(grimacing)
I thought you were dead.

ZOE
Some people bleed slower than
others. Where’s Eddie?

FRANK
I don’t know.

She pistol-whips him.

ZOE
Don’t turn this into an
interrogation, Frank. I only have
one question for you, and that was
it.

FRANK
For Christ’s sake, Zoe, he’ll kill
me.

ZOE
Well if you don’t tell me, I’ll
kill you. So talk to me and you’ll
live a little longer.

This is really difficult. He’s signing his own death-

warrant.
 7.

FRANK
He’s in Bordentown. Hiding in some
cousin’s basement.

ZOE
Why is everyone so goddamn vague?
I need an address, Frank.

FRANK
(beat)
Two-oh-seven Oakmont Drive.

ZOE
If you’re lying to me, I will come
back and kill you. And if you tell
Eddie I’m coming, I will come
back, torture you, and then I’ll
kill you.

She exits; lets him live, too.

EXT. COUSIN’S HOUSE (BORDENTOWN, N.J.) - NIGHT

A modest place on an overgrown half-acre, quickly falling

into disrepair.

INT. BASEMENT APARTMENT - CONTINUOUS

Zoe is confronting Eddie. Judging from the bloody nose

and the visibly broken arm, she’s already administered
quite a beating.

EDDIE
(in great pain)
Stop. Please.

She cocks the gun.

EDDIE (CONT’D)
I’ve got a lead on Michael!

She uncocks the gun.

ZOE
I’m listening.

EDDIE
He’s in Southern California.

ZOE
Southern California? Really?

EDDIE
(nods)
My guys spotted him in Santa
Barbara.
 8.

ZOE
(beat)
Couldn’t have been Michael. He
hates Southern California.

She cocks the gun again -

ZOE (CONT’D)
And I don’t need your help. I’ll
find Michael on my own.

EDDIE
Come on, Zoe. Have a heart.

ZOE
I was born without one.

EDDIE
I can have a million cash here in
less than an hour.

ZOE
Tempting, but I don’t trust you -
and I want this more.

She SHOOTS him in the stomach, right where he shot her.

ZOE (CONT’D)
Hurts like hell, doesn’t it?

She’s smiling. Revenge makes this girl very happy.

EXT. COUSIN’S HOUSE - MOMENTS LATER

Zoe emerges from the apartment and finds herself looking

at a veritable army of FEDERAL AGENTS. There must be
twenty of them there, all armed, and all pointing their
weapons at her.

She raises her hands above her head, surrendering. She

seems mildly amused.

EXT. FBI BUILDING (WASHINGTON, D.C.) - DAY

Big PRESS CONFERENCE. Dozens of REPORTERS. CAMERAS

everywhere. NEWS VANS providing live feeds.

And at the podium -

FBI HONCHO
We are pleased to announce that
this past weekend, in separate
incidents, two high-ranking
members of the Bonfiglio Crime
Syndicate were apprehended by
Federal agents.
(MORE)
 9.
FBI HONCHO (CONT'D)
We are proud of the dedicated men
and women who worked so tirelessly
to make this happen.

INT. INTERROGATION ROOM - DAY

KEN FROEHLICH, the division chief, 50, seasoned, is

sitting across from Zoe. Her file is on the table in
front of him, open.

FROEHLICH
Dr. Bergin describes you as a
“high-functioning sociopath.”

ZOE
Who am I to argue with the eminent
Dr. Bergin?

Froehlich studies her, trying to figure her out. Despite

her grim situation, she seems amused. He takes another
look at her file.

FROEHLICH
It says here you’ve never had a
regular job.

ZOE
Dr. Bergin said I was a sociopath;
he didn’t say I was crazy.

He takes another beat, stymied. Then -

FROEHLICH
I’d like you to think about coming
to work for us, Miss Caulfield.

She listens without interest -

FROEHLICH (CONT'D)
Not officially, of course. You’d
be operating on the periphery,
with no actual connection to the
Bureau, but from time to time we
might ask you to bend the laws a
little on our behalf.

ZOE
You guys are pathetic.

FROEHLICH
(beat)
We could really use you.
(MORE)
 10.
FROEHLICH (CONT'D)
In the space of twenty-four hours
you managed to track down a pair
of fugitives who’d been eluding an
entire Task Force for the better
part of a year. Forgive me if I’m
impressed.

ZOE
I’m thin-skinned. They pissed me
off. I get motivated when I’m
pissed off. I’m surprised Dr.
Bergin missed that; it’s one of my
defining characteristics.

Froehlich takes a deep breath and presses on -

FROEHLICH
Twenty thousand a month, in cash,
and -
(indicates the file)
- I’ll wipe the slate clean.

She’s waiting for more -

FROEHLICH (CONT’D)
It’s either that or Green Rock.
Big place, Green Rock. I hear the
guards can be exceedingly
unpleasant.

Okay. She gets the message.

ZOE
This “regular job” thing - maybe
I’m being childish. People should
be open to new experiences, right?

EXT. COLORADO RIVER - DAY

WHOOSH! We’re in an avalanche of raging WHITE WATER,

moving dangerously fast, the current ROARING, the wind
RIPPLING and SNAPPING.

THREE KAYAKERS in single file negotiate their way through

the chaotic current, giving each other plenty of room.

JACK MATHESON is out front. He’s in his thirties, rugged,

wearing a life-vest and helmet - and intensely focused at
the moment. He tucks and rolls, going under, and surfaces
a few moments later, GASPING.

Now he paddles into the strong current, running a maze of

giant boulders, and guides the small craft into a narrow
chute of raging water.
 11.

Once past the final boulder, Jack ‘boofs’ his way over a
flat-topped rock, catches air, and lands with a terrific
SPLASH.

In the clear now, and grinning euphorically, he paddles

his way into calmer waters, then turns to look upriver at
his friends.

INT. FBI OFFICES - CONFERENCE ROOM - DAY

Froehlich, along with agents JOE VEASEY and BOB CLARK,

both in their early thirties, and TWO OTHERS, are
watching a GRAINY VIDEO on the giant monitor:

Jack, wearing a wig and mirrored Ray-Bans, is making his

way through a bank lobby, toward the exit. He’s pulling a
black, ballistic nylon carry-on. Froehlich FREEZES the
frame -

FROEHLICH
That’s Jack Matheson. August
sixteenth, First National, Iowa
City. He’s in charge. Mr. Detail.
Leaves absolutely nothing to
chance.

EXT. COLORADO RIVER - DAY

The next kayaker is ALEX NOVAK. Handsome, sweet-faced,

driven, he also moves fast, maybe too fast, and the
current spins him around and drags him under.

The ROARING water holds him for several heart-stopping

moments, and Jack begins to worry, but a moment later
Alex literally POPS to the surface.

He continues fighting his way down river, bobbing and

scraping against the rock walls, ploughing through
surging boils of eddies, then flies through that final,
narrow chute.

As he reaches Jack’s side, pumped, grinning, he also

turns his craft around to look upriver, at the next man.

INT. FBI OFFICES - CONFERENCE ROOM - DAY

Alex, also wearing a wig and mirrored Ray-Bans, arrives

at a different bank. He is wheeling an identical black
carry-on. The frame FREEZES -

FROEHLICH
Alex Novak; CitiBank, Des Moines.
November fourth. He’s got a long-
time girlfriend and an infant
daughter, and they’re building a
big house just north of Boulder.
 12.

EXT. COLORADO RIVER - DAY

PHIL PEYRO, thin, beady-eyed, intense, tackles the same

harrowing stretch. He catches a surge and gets flipped,
but bounces back and keeps coming.

At the next turn, he miscalculates and draws too close to

one of the boulders, audibly DINGING his helmet.

He makes it through the narrow, frothing chute without

further incident, and reaches his waiting friends - still
mildly stunned by that close call.

The three men CHEER and HOLLER and pump their fists. They
are flying.

INT. FBI OFFICES - CONFERENCE ROOM - DAY

Phil makes his way through the lobby of yet another bank.
He’s wearing the same thin disguise and pulling an
identical black carry-on. The frame FREEZES -

FROEHLICH
Phil Peyro, the little hot-head to
whom we should be eternally
grateful. Bank of America, Fort
Lauderdale, April second. Married;
house in downtown Boulder; no
kids.

He turns to look at his agents, frustrated and angry -

FROEHLICH (CONT’D)
Three years of this shit; north of
sixty million dollars, gone. And
what do we have to show for it? An
hour’s worth of grainy video and
one lousy fingerprint.

INT. GREEK COFFEE SHOP - DAY

Zoe and Froehlich are sitting across from each other in

this unlikely dive, far from HQ.

FROEHLICH
These guys are very, very good,
and I have enough to bring them
in, but not enough to make it
stick. I’m looking for a case I
can’t lose.

ZOE
I’m listening.
 13.

FROEHLICH
In a perfect world, I’ll be
waiting for them at the next bank.

EXT. JACK’S HOUSE - EARLY EVENING

Suburban Boulder. Modest houses in a tidy, middle-class

development. A Ford Explorer with a roof-rack is in the
driveway.

INT. JACK'S HOUSE - CONTINUOUS

Spare, uncluttered, organized, almost Zen.

Jack opens the freezer, which is neatly stacked with

microwavable meals. He takes one off the top, without so
much as looking at it, then removes the cover and pops it
into the microwave.

INT. BOOKSTORE (BOULDER) - DAY

Jack is in the biography section, browsing. He’s wearing

his trademark blue jeans and black T-shirt.

He looks up and sees Zoe studying a copy of Sigmund

Freud’s Interpretation of Dreams.

JACK
Don’t waste your money.

ZOE
You talking to me?

JACK
I’ll interpret your dreams; three
for a dollar.

ZOE
You read this book?

JACK
Why do you say it like that? Do I
look like I’m illiterate?

ZOE
(laughs)
No. But you don’t look like the
type of guy who goes home and
curls up with a good book.

JACK
You’re right. I can hardly read. I
just come here to pick up girls.
 14.

ZOE
(with a smile)
Good luck.

JACK
(also smiles)
Thanks.

ZOE
(moves off)
It was nice flirting with you.

JACK
I’m not too good at it, am I?

ZOE
(another smile)
Not really.

She leaves.

Jack goes back to browsing, but then reconsiders - What

the hell is wrong with me? - and hurries after her.

INT. COFFEE SHOP - LATER

Jack and Zoe are sitting across from each other in a

booth. A couple of psychology text books are on the table
to Zoe’s left, and the busy outdoor PROMENADE is visible
through the room-length window.

JACK
I haven’t been on a date in two
years.

She smiles. She’s got a smile to heat up a room.

ZOE
Hate to break it to you; this
isn’t a date.

JACK
Maybe not for you.

ZOE
(laughs)
You really are bad at this.

The WAITRESS stops by to refill their mugs, but Zoe stops

her -

ZOE (CONT’D)
No thanks.

- and glances at her watch.

 15.

ZOE (CONT’D)
I’ve got a class in twenty
minutes.

JACK
(beat)
How soon till you get your degree?
I’ve never given much thought to
psychotherapy, but I feel I could
tell you anything... Doc.

ZOE
(amused)
That was awful.

They are being watched: Someone fires off a series of

MOTOR-DRIVEN PHOTOGRAPHS, freezing the frame five times
in quick succession.

Still smiling, Zoe reaches into her pocket for a pen. She
slides it across the table, along with a clean paper
napkin.

ZOE (CONT’D)
Give me your number. Maybe I’ll
call you in a moment of weakness.

JACK
I look forward to it.

He writes his name and number down.

ZOE
We’ll probably both regret it,
right? But what the hell; misery
is part of the package.

She takes back the pen and the napkin, stuffs them into
her pocket, and gets to her feet.

JACK
Sometimes it’s worth the risk.

ZOE
Sometimes... But most times not.

She moves off. Jack watches her go. She’s got a great
pair of legs.

EXT. ALEX’S PROPERTY - DUSK

Two full acres with spectacular views of the distant,

snow-capped mountains. The house is really just a cabin,
but beyond it, a hundred yards away, we see the frame of
the new house, the dream house, and it looks like it’s
going to be a beauty.
 16.

INT. ALEX’S CABIN - CONTINUOUS

Jack is having a home-cooked meal with Alex, Alex’s

girlfriend, BECCA, and their infant daughter, KATIE.

JACK
I feel like a teenager. I keep
checking my cell to see if I
missed her call.

ALEX
(with warmth)
So... How screwed up is this one?

JACK
(laughs)
Hey! I resent that.

BECCA
Well, I hope she calls. I’m tired
of worrying about you, Jack.
(with feeling)
And I hate the thought of you
lonely.

Katie GURGLES and COOS and reaches for Jack, and he lifts
her out of her high-chair and sets her on his lap.

JACK
You’re right. I’m sick of coming
home to an empty house.
(smiles)
I miss all the slammed doors and
shouting.

EXT. SHOPPING PROMENADE - DAY

Jack is sitting on a park bench, within view of the

bookstore, the familiar coffee-shop, the marijuana
dispensary, and a number of quaint, over-priced stores.

There’s a fountain nearby. KIDS throw pennies and make

wishes while their MOTHERS stand around wondering why
their lives turned out the way they turned out.

And then there she is, Zoe. Moving toward the bookstore,
oblivious. (Or maybe not so oblivious.)

Jack gets to his feet and hurries over, cutting her off.
She stops dead, surprised to see him. (Or maybe not so
surprised.)

JACK
Lie to me. Say you lost my number.
I’ll believe anything you tell me.
 17.

She looks impressed -

ZOE
That was actually pretty good.

INT. CESSNA - DAY

Jack is behind the controls.

Zoe is next to him, and she loves the view from up here -
the Colorado Rockies in high-summer, with only the
highest peaks still covered in glacial snow.

ZOE
I figured you were married. You
look married.

JACK
No, not married. Never married.

ZOE
Not even close?

JACK
(beat)
Maybe once.

ZOE
What happened?

JACK
Nothing good... Look.

She looks. They’re approaching the Aspen airfield, dotted

with private planes.

ZOE
I taught skiing here my first two
years at college, but I’ve never
seen Aspen in the summer. You ski?

JACK
I only like snow when it melts and
feeds the rivers.

He looks at her - that perfect, smiling face, those

perfect blue-blood features - and smiles back.

JACK (CONT’D)
You look like the kind of girl
whose people came over on The
Mayflower.
 18.

ZOE
They did, actually. But they’ve
done nothing to distinguish
themselves since.

He laughs, then turns his attention to the looming

airfield.

JACK
Here we go.

As they come in for a landing -

EXT. RIVER - LATER

WHOOSH! Jack and Zoe are in one-man kayaks in Level 2

white water, which is to say - not much white water at
all. She’s wearing a life-vest and a helmet, and she’s
loving it - LAUGHING and WHOOPING and HOLLERING as she
follows him down the gentle river.

JACK
Hey! Focus...

A moment later, Jack rolls his kayak, then pops up on the

other side, dripping wet.

Zoe does the same, but Jack has to quickly paddle back to
her side to help her complete the roll.

She surfaces, GASPING, a little frightened even, but a

moment later her face is transformed by a giant grin:

ZOE
This is crazy!

EXT. ANOTHER RIVER - ANOTHER DAY

Jack and Zoe arrive in his Explorer. Two kayaks are

strapped to the roof-rack. Jack parks and they get out.

Once again, with that familiar WHIR-AND-CLICK, the FRAME

FREEZES five times in quick succession.

Jack and Zoe approach the river, climbing for a better

look at what lies ahead. It’s stunning. They stand there
side by side for a few moments, breathing hard from the
climb, and study the ROARING Level 3 rapids in the near-
distance.

JACK
You always want to try to get a
look at what’s ahead. You never
really know, of course, because
the river is full of surprises,
but it pays to study the terrain.
 19.

ZOE
I don’t like surprises.

He looks at her - maybe a little concerned; Was that

directed at me? - then back at the roaring river.

JACK
See that stretch there? There’s a
stretch like that on the Wenatchee
River, up in Washington State. No
shoreline. A river with no
shoreline is a one-way street.
Once you’re walled in, there’s no
way out or back.

ZOE
What happened on the Wenatchee?

JACK
(evasive)
I’m here, right?

ZOE
How about we go for a nice bike
ride instead?

INT. THE RIVER - LATER

Zoe is up front, but not too far ahead, with Jack close
behind, keeping watch.

The water is getting progressively faster -

JACK
(over the roar)
To your left... That’s good, a bit
more... Dig your paddle in a
little deeper... You’re doing
fine... Watch the eddy on your
right... That’s it, keep your
line...

She’s freaking, but not in a bad way, and on the next

turn she sideswipes a jutting rock and flips over and
goes under.

A moment later she surfaces, GASPING, and turns to look

at Jack, grinning to beat the band -

ZOE
Holy shit - I LOVE this!
 20.

INT. JACK'S HOUSE - NIGHT

They are sitting at the dining table, drinking red wine

and poring over a photo album, with Jack turning the
pages. The pizza box is empty.

JACK
This is the Futaleufu, in Chile.
In the local Mapuche dialect, that
means “Great River.”
(turning pages)
The Sun Kosi, in Nepal... The
Zambezi... The Cotahuasi, in
Peru... The Rio Sacre...
(pointing)
A guy went over that 127-foot
waterfall and lived.

ZOE
Not of sound mind, obviously.

Jack smiles and turns the page.

JACK
The Tsango, in Tibet - you’re
looking at the deepest river gorge
in the world, three times deeper
than the Grand Canyon.

There’s only one word to describe this place -

ZOE
Wow.

He shuts the book; smiles at her.

JACK
I’m going to run them all before I
die.

For a moment there, it looks like they might kiss, and we

want them to - but the moment passes.

ZOE
I’ve got an early class tomorrow.

JACK
I’ll take you home.

EXT. MODEST APARTMENT BUILDING - NIGHT

Zoe unlocks the glass front door that leads to the small
lobby.
 21.

ZOE
Well, you’re here. You might as
well see where I live.

They step through.

INT. ZOE’S PLACE - MOMENTS LATER

Jack looks around. It’s small, modest. Lots of psych

books. A bicycle on a wall-rack. A PHOTOGRAPH of Zoe and
her mother.

JACK
Very nice.

ZOE
Well, it’s cheap. And I can ride
my bike to school.

JACK
Who’s this?

There’s another PHOTOGRAPH on the fridge, held in place

by a small, heart-shaped magnet. We recognize Michael,
the drug-dealer from the opening sequence.

ZOE
Nobody.

He looks at her, says nothing.

ZOE (CONT’D)
I’m sure you have a sad story,
too.

JACK
You want to hear it?

ZOE
No.

JACK
Good. I wasn’t going to tell you
anyway.

ZOE
Smart man. People shouldn’t share
everything.

JACK
If it’s such a sad story, why’s he
still there?

ZOE
To remind me not to fall in love
again.
 22.

JACK
Is it working?

ZOE
Like a charm.

He looks at her. Really wants her.

JACK
Okay. Early class. I better let
you sleep.

She grabs him and kisses him and they rip at each other’s
clothes as she drags him toward the bedroom.

INT. ZOE’S BEDROOM - LATER

Jack and Zoe lie next to each other in a post-coital

haze, breathing hard.

ZOE
Was I loud?

JACK
Not too bad.

ZOE
(beat)
You were pretty loud.

JACK
Really?

ZOE
Uh huh.

JACK
That was nothing. Near the end
there, not knowing you very well,
I had to fight the urge to scream
like a little girl.

She laughs.

Jack props himself up on one elbow and they smile at each

other, both of them sated and happy.

He runs his hands over her perfect thighs, perfect

hips...

He comes across a not-so-perfect injury in her lower

abdomen; it’s round and about the size of a quarter, and
we know exactly what it is.
 23.

JACK (CONT’D)
What’s that? Looks like you took a
bullet.

ZOE
Every guy I sleep with says that.

She’s kidding about the “every guy” part. He smiles; he

gets it.

ZOE (CONT’D)
Happened on the slopes. I took a
nasty spill at the end of a hard
run and fell on the wrong end of
my pole.

JACK
Ouch.

ZOE
It was freezing out; I hardly felt
it.

JACK
Who are you?

ZOE
(smiles)
All right. Get dressed. You’re out
of here.

INT. RESTAURANT - NIGHT

Jack and Zoe, Alex and Becca, and Peyro and Tanya are out
to dinner, LAUGHING at something Jack just said. They
look like they’re having a great time.

Okay, correction: Tanya looks sad as hell; the defeated

wife.

And Peyro seems itchy and ill-at-ease. He keeps stealing

dirty looks at Zoe, and Jack notes it.

We again HEAR the CLICK-AND-WHIR of that motor-driven

Nikon, freezing the frame five times in quick succession,
then PULL BACK -

EXT. RESTAURANT - CONTINUOUS

- to find ourselves looking at a white van that’s parked

directly across the street.

INT. VAN - CONTINUOUS

Veasey, Clark and a PHOTOGRAPHER are studying the

restaurant.
 24.

Veasey is watching Zoe’s beautiful, smiling face through

a pair of BINOCULARS, but not with any great joy -

VEASEY
That bitch isn’t human.

He sets the binoculars down, clearly in a foul mood.

VEASEY (CONT’D)
I’m going down the street to grab
a coffee. You guys want anything?

The Photographer shakes his head -

CLARK
I’m good, thanks.

Veasey leaves the van.

PHOTOGRAPHER
What’s eating him?

CLARK
He spent close to a year looking
for the Bonfiglio Brothers; she
found them in a day.

The Photographer winces: That’s gotta hurt!

CLARK (CONT’D)
(grinning)
Back at the Bureau, they call him
“Wonder Boy”... Stevie Wonder Boy.

The Photographer and Clark bust out laughing.

INT. RESTAURANT - CONTINUOUS

Another round of LAUGHTER, then -

PEYRO
(to Zoe)
You know, I do a little skiing
myself. I actually survived the
Hour-Glass Run at Vail.

Zoe looks at him; half-smiles.

ZOE
I’ve done it many times, but
you’ve got the wrong mountain:
Hour-Glass is in Crested Butte.
 25.

INT. RESTAURANT - MEN’S ROOM - LATER

Jack enters, with Peyro close behind. Then, WHAM! - he

turns and grabs Peyro by the front of the shirt and slams
him up against the wall.

JACK
What the hell is wrong with you?!

PEYRO
Jesus, Jack! Back off.

Jack backs off, still pissed, glaring -

JACK
You’ve been giving her dirty looks
all night!

PEYRO
Hey! I’m sorry. I have a bad
feeling about her, okay? My mother
was -

JACK
- a psychic! I know! I’ve heard
that goddamn story a thousand
times.

PEYRO
Jack -

JACK
Wait a minute!

Jack puts his hands to his temples, like a psychic in mid-

trance -

JACK (CONT’D)
I’m getting a Message from The
Other Side: “Peyro is a bitter,
angry little man. Peyro’s marriage
is in trouble because he treats
his lovely wife like shit. Peyro
is unhappy and wants to make sure
everyone around him is unhappy,
too.”

PEYRO
Fuck you.

JACK
No. Fuck you. If not for me, you’d
still be working construction in
Greeley.
 26.

There’s a moment there; Jack’s right and Peyro knows it.

Jack moves toward the door -

PEYRO
I’m sorry, Jack. Honest. I just
have a bad feeling about her. It’s
a gift. It’s not something I can
explain.

JACK
Do me a favor: Keep the mumbo-
jumbo to yourself.

PEYRO
Everything’s cool, right? We’re
still on schedule for Palm
Springs?

Jack nods, still pissed, and exits.

EXT. NEAR THE RIVER - DUSK

Following another day in the water, Jack and Zoe finish

strapping the kayaks to the Explorer’s roof-rack. Jack
tests the bungee cords, making sure they’re secure.

At the far end of the make-shift parking lot, beyond the

mud-caked SUVS and assorted vehicles, we see the familiar
white van, parked within view of the Explorer.

INT. EXPLORER - CONTINUOUS

Jack and Zoe get in and he goes to start the engine -

ZOE
Wait.

Jack turns to look at her. She hands him a small jewelry

box.

He takes it and opens it. There’s a silver necklace

inside, with a little hand-forged silver kayak dangling
from the end.

JACK
Wow. I don’t know what to say.
This is beautiful.

ZOE
(with a smile)
Don’t read too much into it.

JACK
(returns the smile)
Okay.
 27.

ZOE
I had to have it custom-made. I
couldn’t find any kayak pendants
at the 7-Eleven.

She reaches over and takes it from his hands and tenderly
puts it around his neck.

ZOE (CONT’D)
(with humor)
We’re going “steady” now. The day
you take that off, we’re finished.

He looks at her. She’s gorgeous. An angel. She’s the

woman he’s been waiting for his whole life. Suddenly he
looks very somber.

ZOE (CONT’D)
What?

JACK
(beat)
I have to tell you something.

ZOE
If you tell me you’ve got a wife
and kids, I‘ll kill you.

He smiles a tight smile. He wants to tell her, he really

does, but this isn’t the time or place:

JACK
I’ve got to go out of town
tomorrow - company stuff - but
when I get back we need to talk.

INT. VAN - CONTINUOUS

Veasey, Clark and the Photographer are listening -

ZOE (O.S.)
Now you’re making me nervous.

JACK (O.S.)
Don’t be. It’s all good.

INT. EXPLORER - CONTINUOUS

Jack studies her with feeling, the poor bastard -

JACK
I don’t want to spell it out or
anything, but I can tell you
unequivocally that I have never in
my life felt this way about
anyone.
 28.

ZOE
(beat)
What does “unequivocally” mean?

She’s just messing with him, of course. They kiss. It

gets out of hand. They make love right there in the front
seat, literally steaming up the windows.

INT. VAN - CONTINUOUS

The men listen to the NOISY LOVE-MAKING.

Clark and the Photographer are amused, but Veasey is

disgusted.

EXT. PALM SPRINGS AIRPORT - DUSK

An American Airlines jet lands with a SQUEAL of tires.

INT. TERMINAL - DUSK

The PASSENGERS deplane. We see Peyro. A moment later,

Jack comes into view. And a moment after that, Alex.

Three friends, traveling on the same flight, but not

together.

EXT. AVIS LOT - LATER

Jack pulls out in a Taurus. He’s wearing driving gloves.

EXT. HERTZ LOT - CONTINUOUS

Peyro pulls out in a Prius. He is also wearing gloves.

EXT. TERMINAL - CONTINUOUS

Alex is relegated to the bus. We see him looking out the

window as it moves toward the vast desert, shimmering in
the late-afternoon heat.

EXT. PALM SPRINGS - LATER

Peyro remains behind the wheel of the Prius, alone. He

looks in his REAR-VIEW MIRROR. He thinks he’s being
followed.

At the next corner, he turns into the Palm Springs Mall

and disappears into the huge parking lot.

MAN’S VOICE
(filter)
I think he spotted me.
 29.

2ND MAN’S VOICE

(filter)
Let him go. We lost Alex, too, but
the Big Man’s a lock.

INT. HOTEL ROOM - NIGHT

Jack is brushing his teeth, looking out the window at the

twinkling lights of downtown Palm Springs. He’s wearing
his silver kayak. His Blackberry RINGS. He quickly rinses
his mouth and answers it.

JACK
Why the hell are you calling me on
this line?

PEYRO’S VOICE
I have a bad feeling, Jack. On the
flight down, I was sick to my
stomach the whole way. And on the
drive in, I’m almost sure I was
being followed.

JACK
I thought I told you to keep that
psychic bullshit to yourself.

Jack hangs up, pissed.

INT. TAURUS - LATER

Jack drives through downtown Palm Springs, doing exactly

25 MPH. He looks at the STOPWATCH in his left hand; seven
minutes and counting.

EXT. SUBURBAN STREET (PALM SPRINGS) - DAY

ELLEN WEYBURN, 45, attractive, fit, dressed like an

executive, backs out of her two-car garage in her family-
friendly Honda Odyssey.

She pulls past the small front yard with its swing-set
and assorted children’s toys, heading for work.

EXT. NEIGHBORHOOD STREET - LATER

The Odyssey pulls up to a stop sign.

The familiar Taurus, following close behind, bumps into

it.

Jack parks against the curb and gets out of the Taurus.
He’s wearing gloves and a wig and mirrored Ray-Bans.

Mrs. Weyburn gets out of the Odyssey, justifiably upset.

 30.

JACK
I’m sorry. I was on my cell.

MRS. WEYBURN
(with an edge)
That’s wonderful. I’ll be sure to
share that information with my
insurance company.

JACK
(flat)
Let’s try to calm down, Mrs.
Weyburn. It’s just a little
scratch.

Her head snaps round -

MRS. WEYBURN
How did you know my name?

She notices the gloves, which further worries her -

JACK
Please get back in the van.

MRS. WEYBURN
Who are you? What do you want from
me?

JACK
(flat, calm)
I think I just told you.

INT. HONDA ODYSSEY - CONTINUOUS

Mrs. Weyburn climbs behind the wheel, visibly shaken.

JACK
Would you be good enough to move
over?

Mrs. Weyburn climbs over the console, into the passenger

seat, hyperventilating a little, and Jack gets behind the
wheel.

JACK (CONT’D)
Relax. I’m not going to hurt you.

Jack starts the van; pulls out.

INT. BANK LOBBY (PALM SPRINGS) - LATER

Peyro enters, wheeling a ballistic-nylon carry-on. He’s

wearing a wig and mirrored Ray-Bans, just like Jack.
 31.

He moves past the oblivious SECURITY GUARD; pays no

attention to the security cameras.

The MANAGER, very nervous, sees him coming and nods.

Peyro approaches. He follows the Manager to the closed

door of his office and the Manager unlocks it and ushers
him through.

INT. MANAGER’S OFFICE - CONTINUOUS

The Manager shuts the door. He’s perspiring heavily.

Peyro barely notices because he’s looking at the tidy
stacks of money waiting for him on the desk.

PEYRO
One-point-two million in fifties,
three hundred thousand in
twenties?

MANAGER
Yes sir.

Peyro crosses the room and opens the carry-on and

carefully, methodically, begins to fill it with money.

MANAGER (CONT’D)
Is Mrs. Weyburn okay?

Peyro ignores him. He continues filling the bag, but each

stack gets the once-over.

MANAGER (CONT’D)
Y-you promised you wouldn’t hurt
her. You said you’d let her go as
soon as you got the money.

Peyro continues to ignore him, then something stops him

dead: Pressed between this latest pile of fifties he
notices a stack that doesn’t match the others.

He removes it and looks up at the Manager, angry. It’s a

tracking device, designed to resemble a stack of fifty-
dollar bills.

Peyro drops it on the floor and CRUSHES it with the heel

of his shoe, revealing its electronic innards.

PEYRO
Very clever.

Without any warning, he PUNCHES the Manager, bloodying

his nose. The startled man stumbles backward and almost
falls.
 32.

He holds his hand to his bleeding nose to stanch the

flow, then watches in silence as Peyro inspects the
remaining packets and finishes loading them into the
carry-on.

The last stack fits precisely into the last slot, and it
occurs to us that this is by design.

Peyro ZIPS the bag shut.

MANAGER
(nasal)
Please tell me Mrs. Weyburn is
going to be okay.

Peyro isn’t even listening. He walks out, rolling the bag

behind him.

INT. BANK LOBBY - CONTINUOUS

Peyro makes his way toward the exit, past oblivious

CUSTOMERS and the still-oblivious Security Guard.

The automatic doors slide open and he walks out.

EXT. BANK - MOMENTS LATER

Peyro makes his way to the curb, where Alex, in a similar

disguise, waits behind the wheel of the Prius.

Peyro puts the carry-on in back and climbs into the

passenger seat.

INT. PRIUS - CONTINUOUS

Alex negotiates his way into traffic. Neither he nor

Peyro say anything, but Peyro does not look happy.

PEYRO
I still have that bad feeling.

ALEX
Would you shut up with that
already?! We’re not girlfriends. I
don’t care about your feelings.

PEYRO
Hey! News flash! I don’t care
about your feelings either, girly
man. If I hear one more story
about your cute little baby, and
some cute little shit she pulled,
I will goddamn puke.

Alex shakes his head, disgusted.

 33.

ALEX
If you had a baby, you’d eat it.

EXT. SCENIC LOOKOUT - CONTINUOUS

The Honda Odyssey is parked at one end, with a panoramic

view of glittering Palm Springs and the desert beyond. It
is an unusually crisp, clear day.

INT. HONDA ODYSSEY - CONTINUOUS

Jack admires the view for a few moments; sees a RED-

TAILED HAWK overhead, soaring gracefully.

He then turns to look at Mrs. Weyburn. She’s nervous;

stiff; still frightened.

JACK
How long you been married?

She turns to look at him, wary.

MRS. WEYBURN
Nine years.

JACK
Happy?

She takes a deep breath; tries to get those nerves under

control; she’s not going to answer that.

MRS. WEYBURN
You?

JACK
Married? No. I was engaged once.

MRS. WEYBURN
What happened?

JACK
She left me for a guy with money.

She looks a him, taken aback -

MRS. WEYBURN
That’s why you rob banks?

He shrugs and smiles: What’s a guy to do?

JACK
She was wrong for me on every
level, like every woman in my
life, going all the way back to my
mother.
 34.

In the background, on the road behind them, a black

Cadillac Escalade glides slowly past. We get the distinct
impression that Jack is being watched.

JACK (CONT’D)
On the other hand, she did inspire
me to make something of myself,
which goes to show that even a bad
woman can do a guy some good.

MRS. WEYBURN
(beat)
You seem like a nice man.

JACK
You seem pretty nice yourself.
Tell your husband to try harder.

MRS. WEYBURN
You know, I might just do that.

Jack looks at his watch.

JACK
We should be done any second now.

Right on cue, his cell phone CHIRPS.

INT. BUS STATION (PALM SPRINGS) - LATER

Jack crosses to the lockers. He fishes the key out of the

pocket of his blue jeans and opens #862 and reaches
inside for a small duffel.

INT. HOTEL (PALM SPRINGS) - DAY

Jack walks in with the small duffel. He sets it on the

bed, next to an empty Fed Ex box, two unopened rolls of
aluminum foil, and a couple of dozen used paperbacks.

Jack takes the money out of the duffel - his share,

exactly one third - and stacks it neatly. He then wraps
the individual stacks in aluminum foil and carefully sets
them inside the Fed Ex box.

There’s a two-inch space between the stacks of cash and

the inside edge of the box, all the way around - this is
also by design - and Jack fills that space with the used
paperbacks. He then tapes the box shut.

Suddenly he notices something on the hotel phone; a hint

of white powder, as if someone had been dusting for
prints.

He reaches into his pocket for a different cell, a cheap,

disposable one, and dials -
 35.

ALEX’S VOICE
What’s up?

JACK
I think someone’s been in my room.

CRASH! The front door bursts open and Veasey barges in,
gun drawn, with TWO AGENTS right behind him -

VEASEY
Hands on your head! NOW!

Jack drops the phone and raises his hands. The phone
falls in SLOW MOTION...

VEASEY (CONT’D)
Turn around and face the goddamn
wall!

INT. ALEX’S MOTEL ROOM - CONTINUOUS

Alex is still on his cell, white as a ghost -

VEASEY’S VOICE
I’m not going to tell you again!

The call cuts out -

EXT. HOTEL - MINUTES LATER

Jack, cuffed, is hustled into the back of the familiar

black Escalade. Veasey gets in beside him.

INT. ESCALADE - CONTINUOUS

The Two Agents get in front; they pull away, tires

SQUEALING.

Veasey looks over at Jack, smug, gloating.

VEASEY
Party’s over, asshole.

Jack says nothing.

VEASEY (CONT’D)
We’ve been watching you since
April. Want to know what gave you
away?

Jack does, of course, but he’s not going to give him the
pleasure.
 36.

VEASEY (CONT’D)
That job in Fort Lauderdale. Your
buddy Peyro slapped the bank
manager for “looking at him
funny;” left a near-perfect
fingerprint on the guy’s glasses.

EXT. PALM SPRINGS INTERNATIONAL - TARMAC - LATER

The sun is low in the darkening sky.

That Escalade makes it ways along the tarmac, with an

unmarked car close behind. It pulls to a stop in front of
a small, private jet.

Veasey gets out. He opens the back door.

Jack gets out in handcuffs. As they move toward the jet,

he sees a horrible sight:

Zoe is waiting by the jet’s retractable stairs. She’s

armed and wearing a badge.

Jack gets closer and closer. They can’t take their eyes
off each other. Hers, his, hers, his - CLOSER with each
successive cut.

Veasey hustles him past her and up the stairs.

INT. JET - LATER

Jack is in the far front, still cuffed. Veasey and two

other agents are in the rows beyond, fast asleep.

Zoe, in the very last row, gets out of her seat.

There’s an empty seat in front of Jack and she swivels it

round to face him.

ZOE
(whispering)
I’m sorry.

He doesn’t say anything. He’s still in shock.

ZOE (CONT’D)
I mean it. That was the hardest
thing I’ve ever done in my life,
and I’ve done some pretty hard
things.

JACK
(beat)
That day is here.
 37.

She takes a moment, not happy, then reaches up and

unclasps the necklace.

She unscrews the tiny silver kayak to reveal the

transponder inside.

Jack and Zoe look at each other for a long time. Jack is
trying very hard not to be angry. Finally -

JACK (CONT’D)
I’ve always been a terrible judge
of women.

ZOE
You don’t know that. You don’t
know anything about me.

JACK
I know enough.

He turns away: This conversation is over.

Zoe stands and makes her way back to her seat. She finds
Veasey staring at her, oozing hatred.

INT. MARRIOTT (PALM SPRINGS) - DAY

Alex and Peyro are sitting on the edge of the bed, glued
to the TV NEWS. In a SERIES OF CUTS, we see FEDS and COPS
arriving at each of the men’s Boulder homes:

First stop, Jack’s place, where the investigators emerge

with -

NEWS ANNOUNCER (O.S.)

- his computer, along with several
boxes filled with what is probably
more evidence.

Next, Alex’s place, where Becca and little Kate are

helped into an unmarked car.

NEWS ANNOUNCER (O.S.) (CONT’D)

At Mr. Novak’s place, authorities
took a woman and small child into
custody. We are assuming these are
Mr. Novak’s wife and daughter.

Alex is heart-broken. He’s wondering if he’ll ever see

them again.

Now we cut to Peyro’s place, where Tanya is in custody

and FEDERAL AGENTS are walking out with giant Hefty bags
that are quite clearly stuffed with money.
 38.

NEWS ANNOUNCER (O.S.) (CONT’D)

As for Mr. Peyro, apparently he
didn’t trust banks; he kept his
money in an old freezer in his
basement.

PEYRO
Those sons of bitches.

Just then, the image changes:

We find ourselves on the tarmac at a D.C. airport: Veasey

is the first one off the jet, followed by Jack -

NEWS ANNOUNCER (O.S.)

Meanwhile, with two of the bank
robbers still at large, the man
who is credited with running the
operation touched down in
Washington earlier today.

ALEX
Jesus Christ!

Behind Veasey and Jack, we see Zoe, making her way down
the stairs. She’s almost unrecognizable under that
baseball cap and dark glasses, but not quite.

The two men stare at her, in shock -

ALEX (CONT’D)
It can’t be.

NEWS ANNOUNCER (O.S.)

Coming up next, the big Powerball
winner in Boca Raton, Florida.

The IMAGE CHANGES to a shot a very old man, grinning

directly at the camera -

NEWS ANNOUNCER (CONT'D)

Nick Galati is ninety-two years
young and rich beyond his wildest
dreams. The line forms to the
left, ladies.

Peyro bolts to his feet and kills the picture, suddenly

furious.

PEYRO
Did I tell you?!

Alex is still trying to process what they just saw -

 39.

PEYRO (CONT’D)
Did I tell Jack? “I have a bad
feeling about her.”

ALEX
What the hell does that matter
now, moron?! Our lives are over.

Peyro shakes his head, not wanting to believe it -

PEYRO
I had over twenty million saved. I
worked really hard for that money!

He says this without irony.

ALEX
They can’t touch Becca. She
doesn’t know anything.

PEYRO
We’re going to Washington, you and
me. We’re going to hunt that bitch
down.

Alex gets to his feet, lost in thought, and Peyro gets in

his face -

PEYRO (CONT’D)
Did you hear what I said?

Alex pushes him away, hard, and Peyro stumbles against

the TV, knocking it off its perch and sending it CRASHING
to the floor.

ALEX
Get a grip, would you? We never
hurt anyone. We never walked into
a bank with weapons. If we’re
smart, we could be out in a few
years.

PEYRO
A few years? Right! Becca loves
you. She’ll wait. Katie won’t know
who the hell you are, but so what?
And boy - think of all the great
jobs you can get as a convicted
felon! I bet if you change your
name to “Alejandro” you could be a
busboy at Denny’s.

This hurts, but only because it’s accurate.

ALEX
Get away from me.
 40.

PEYRO
Tell me I’m wrong.

Alex crosses the room and grabs his duffel.

PEYRO (CONT’D)
Where the hell are you going?!

He moves toward the door.

PEYRO (CONT’D)
Hey! You walking out on me?!

Alex exits: Yes.

Peyro picks up a glass and throws it across the room. It

SHATTERS against the wall.

INT. TRAIN - NIGHT

Alex is on his way out of Palm Springs, heading east.

He’s carrying five hundred thousand dollars in a duffel;
not much else.

INT. FEDERAL CORRECTIONAL FACILITY - NIGHT

Jack strips. Showers. Changes into a crisp, orange jump-

suit.

INT. CELL - LATER

Jack lies on his bunk, on his back, staring at the

underside of the empty bunk above him, unable to sleep.

INT. FEDERAL COURTHOUSE - DAY

Jack, cuffed, wearing that same orange jumpsuit, is

standing next to a FEDERAL PROSECUTOR, who is addressing
the JUDGE -

FEDERAL PROSECUTOR
He’s an obvious flight risk, Your
Honor, and his two colleagues
remain at large.

INT. FBI HEADQUARTERS - TECH DIVISION - SAME TIME

Agents Veasey and Clark are conferring with BILLY

EDWARDS, 26, boyish, geeky - the resident tech whiz.

He’s looking at footage from the Palm Springs heist -

Peyro crossing the lobby with that carry-on, wearing that
wig and those Ray-Bans - and FREEZES the frame.
 41.

He then isolates Peyro’s face and superimposes it on one

of those surveillance shots from the fancy restaurant.
It’s a perfect match, of course.

BILLY
These guys are so nailed.

INT. ZOE’S PLACE (BOULDER) - DAY

Zoe dumps the psych books into the garbage. She does the
same with the mother-daughter photograph. (They’re just
props, clearly.) She empties the fridge.

When she shuts the fridge, she finds Michael staring dead
at her - well, his photograph, anyway. She pockets both
the photograph and the heart-shaped magnet. (These are
not props, clearly.)

INT. TRAIN STATION - DAY

A WEASEL of a guy, thin, shifty, makes his way through

the station, looking for his next mark:

A WOMAN walks past, clutching her purse. A TEENAGE BOY

stands in front of the giant TV, his wallet visible in
his back pocket. A BUSINESSMAN sets his briefcase down
and fishes for his cell.

Then the Weasel sees Alex at one of the fast-food

concessions, buying himself a sandwich. He’s paying with
a crisp, hundred-dollar bill.

The Weasel’s eyes light up: Bingo!

INT. TRAIN STATION MEN’S ROOM - LATER

Alex relieves himself at the urinal.

The Weasel enters.

Without warning, he slams Alex into the urinal and grabs

the duffel.

Alex refuses to let go and gets dragged across the floor.

The Weasel kicks and CURSES him, but Alex fights his way
to his feet, hoisting himself on the duffel and PUNCHING
the guy hard.

The Weasel stumbles against the wall but recovers quickly

and comes back for more, POPPING a switchblade.

Alex gets stabbed in the gut, but before it even

registers he knocks the Weasel off his feet and pounces
on him and repeatedly SLAMS his head against the hard,
tile floor.
 42.

Then he notices the blood. It’s his blood. He gets to his

feet and grabs some paper towels and shoves them under
his shirt, trying to stanch the flow.

He looks at the Weasel. The guy isn’t moving. He looks

closer. He’s dead.

Alex drags him into a stall.

INT. TRAIN - LATER

Alex, wearing the Weasel’s shirt, doesn’t look too good.

He has lost a lot of blood.

He is sitting on the train, with the duffel on his lap,

across from a YOUNG MAN, his YOUNG WIFE, and their
sleeping BOY, age three. They are working-class people
who have fallen on hard times, but she remains full of
optimism:

YOUNG WIFE
We have friends in Iowa. It’s farm
work, and it doesn’t pay much, but
we don’t mind, do we, honey?

YOUNG MAN
I’ll take anything.

She reaches for her husband’s hand and they smile at each
other, full of hope.

YOUNG WIFE
My daddy - God rest his soul - my
daddy used to say the secret of
life was simple: You fall down,
you get up. And that’s what we’re
going to do, right?

YOUNG MAN
Right.

The Boy wakes, rubbing the sleep from his eyes.

ALEX
Cute kid.

Alex winces. Every little motion hurts.

YOUNG WIFE
You have children?

ALEX
(nods, grimaces)
A little girl; Katie. Just turned
two.
 43.

YOUNG WIFE
You don’t look so hot, mister. Can
I give you some water? You hungry?
We got a couple of sandwiches
here.

The train slows as it approaches the next station. Alex

looks like hell.

ALEX
Listen, this is my stop. I want
you to have this.

He sets the duffel on the Young Man’s lap.

ALEX (CONT’D)
Please don’t open it till the
train’s moving again.

ON THE LOUDSPEAKERS
Bullhead City! Next stop, Bullhead
City!

YOUNG MAN
I don’t understand.

ALEX
You seem like good people. I hope
you have a terrific life.

YOUNG WIFE
Mister -

But he’s already moving away, in pain, supporting himself

against the seat backs as he makes his way toward the
front of the car, with the train now SQUEALING into the
station.

INT. GROCERY STORE - NIGHT

Zoe shops for groceries. Lonely Woman portions: One of

this, one of that.

INT. ZOE’S CONDO - LATER

Modest place devoid of personal touches; almost unlived

in.

Zoe walks in. Sets the mail and the groceries on the
table.

She removes her belt and gun and sets her leg on the
counter and lifts her pants and removes the nine-inch
stiletto that’s holstered to her ankle.

Now she puts away her single-person groceries.

 44.

When she shuts the fridge, there’s Michael again - that

familiar photograph behind the heart-shaped magnet.

Her cell RINGS. She answers it -

ZOE
I hope it’s good news. Billy.

BILLY’S VOICE
I don’t think so, personally, but
I figured you’d want to take a
look.

INT. UNDERGROUND PARKING STRUCTURE - NIGHT

A beat-up Honda is parked in the shadows.

INT. HONDA - CONTINUOUS

Billy, the familiar FBI tech geek, is in the driver’s

seat, looking wary and a little frustrated.

BILLY
I read the accident report, Zoe.
You want my opinion? You’re
chasing a ghost.

Zoe is next to him, studying a PHOTOGRAPH of a man who

looks suspiciously like Michael, the guy on her fridge.
Michael is behind the wheel of an SUV and the markings
indicate that the shot was taken by a red-light camera.

ZOE
When and where was this taken?

BILLY
Three weeks ago, in St. Sauveur,
just north of Montreal, but it
only surfaced yesterday.

She looks at him. She seems very pleased.

ZOE
I owe you, Billy. Big-time.

BILLY
(with a sigh)
Zoe, I’m telling you; it’s not
him. It’s some French-Canadian guy
who looks like him. I wish you’d
let it go.

ZOE
I can’t let it go.

She lets herself out -

 45.

ZOE (CONT’D)
It’s not in my nature.

- then shuts the door and walks off.

INT. BAR - NIGHT

Zoe is in a booth, sitting across from CARLOS RAMIREZ, a

beefy Latino who looks like he used to be in law
enforcement.

Carlos is studying the red-light PHOTOGRAPH of the man

who might be Michael.

CARLOS
I can’t tell from this, Zoe. It
could be anyone.

ZOE
Look harder.

He looks harder.

CARLOS
Okay. Not anyone. He has Michael’s
hairline; maybe his eyes, too. But
it’s not Michael.
(with weight)
Michael’s dead.

ZOE
They found his teeth in the
wreckage, Carlos. His teeth.

She reaches into her pocket and slides a boarding-pass

across the table.

ZOE (CONT’D)
Air Canada has a flight to
Montreal at eight tomorrow
morning. Don’t forget your
passport.

He looks at her and smiles. She’s incorrigible.

CARLOS
Usually, when you ask someone to
do you a favor, you ask. That’s
what a favor is, asking.

EXT. NEAR BULLHEAD CITY (ARIZONA) - CRACK OF DAWN

A DEER stands at the edge of the woods. Looks up, alert.

It makes its way across a pleasant meadow. We follow.
 46.

Alex is lying on his back, amid the grass and

wildflowers, dying. His forehead gleams with sweat.

The Deer approaches cautiously. Alex smiles at it.

The Deer licks Alex’s salty forehead.

Alex smiles again. It feels nice.

INT. JAILHOUSE VISITING ROOM - DAY

Jack is sitting on a small wooden chair, in front of a

small wooden table, cuffed. There’s a ONE-WAY MIRROR
along the far wall, and a SECURITY CAMERA overhead.

Veasey enters, grinning a shit-eating grin.

VEASEY
How you doing, asshole?

Jack says nothing. Veasey sits across from him, still

grinning.

VEASEY (CONT’D)
I have some very bad news.
(grins harder)
Your friend Alex is dead.

That hurts, but Jack says nothing.

VEASEY (CONT’D)
They found him this morning in
Bullhead City, Arizona. He bled to
death in a field near the train
station.

Still nothing from Jack.

VEASEY (CONT’D)
So how about that little
girlfriend of yours? I bet you
went home that first night and
fell to your knees. “Oh thank you,
God!”
(clasps his hands
together)
“Thank you for answering my
prayers! Thank you for sending me
this magnificent creature!”

Jack still says nothing, but he comes awful close.

EXT. JAILHOUSE ENTRANCE - MINUTES LATER

Veasey, on his way out, sees Zoe pulling into the parking
lot.
 47.

He watches her get out of her car and approach, actively

loathing her.

She reaches the door -

ZOE
Excuse me.

- but he bars her way, hostile.

VEASEY
Visiting the boyfriend?

ZOE
(beat)
You know, Veasey, I’ve been
working on my anger issues with
Dr. Bergin. He’s surprisingly
perceptive. You might want to book
a few sessions.

He spits at her feet -

VEASEY
You belong in a fucking psych
ward.

ZOE
Really? Dr. Bergin thinks I’ve
been completely rehabilitated.

VEASEY
You doing him, too?

She looks more disappointed than angry -

ZOE
Everyone but you, Wonder Boy.

VEASEY
(under his breath)
Cunt.

She kicks him in the nuts and he goes down hard, then she
steps over him and makes her way into the prison.

INT. JAILHOUSE VISITING ROOM - MINUTES LATER

Jack is sitting at that same wooden table, cuffed.

The door opens. Zoe enters.

Jack watches as she approaches and takes the chair across

from him. They look at each other for an eternity, saying
nothing, both of them unreadable. Then, finally -
 48.

ZOE
You hate me. I get it. Can’t say I
blame you.

Jack says nothing.

ZOE (CONT’D)
You can talk, you know? They can
see us but they can’t hear us. The
lawyers won that one.

Still nothing.

ZOE (CONT’D)
I could say something really deep,
like, “I was just doing my job,”
and it would be true. But what
good would that do you?

Nothing.

ZOE (CONT’D)
I’m messed up, Jack. Inside, I’m a
very messed up person. But I’m not
completely without feelings.

Nothing.

ZOE (CONT’D)
Orange isn’t a good color for you.

Then, finally -

JACK
Your friend was just here. Is this
going to turn into some kind of
good cop / bad cop thing? Because
if it is, you should know: I don’t
like him, and I really don’t like
you.

ZOE
(sighs, then -)
No, Jack. Nothing like that. I’m
here because I want to be here...
I assume he told you about Alex?

JACK
(beat)
Who the hell are you?

ZOE
You don’t want to know.
 49.

He stares at her; he wants to know.

TIME CUT:

INT. JAILHOUSE VISITING ROOM - LATER

Zoe and Jack, as before. He’s heard her story, and he

looks mildly stunned -

JACK
(her line)
“People should be open to new
experiences”?

She smiles that Zoe smile -

ZOE
I spent four months at an off-the-
grid facility in Kentucky, in so-
called training, then I flew home
and waited for the phone to ring.

JACK
I don’t get it. What do you do for
them exactly?

ZOE
Unapproved surveillance. Illegal
wire-taps. Breaking-and-entering.
Entrapment... Nothing too
challenging.

He takes a beat -

JACK
So the guy on your fridge - that
was Michael?

She nods.

JACK (CONT'D)
What happened to him?

She owes him and she knows it.

ZOE
He’s dead, Jack. He died in a car
wreck in Albuquerque a year ago
August.

Jack shakes his head. He doesn’t know what to believe. We

know better.

ZOE (CONT’D)
Like I told you, I keep his
picture there -
 50.

JACK
(with an edge)
Yeah, yeah - I remember: To keep
you from falling in love again.

ZOE
(with feeling)
You don’t have to be nasty.

JACK
(Screw you)
Gee. Sorry.

ZOE
(beat)
This is who I am, Jack. I’m wired
funny. I’ve been falling for bad
boys since I was twelve years old.

JACK
I wouldn’t describe myself as a
“bad boy.”

ZOE
Neither would I. Maybe I’ve
changed.

JACK
People don’t change. We’re sewn
into our skins for life.

ZOE
Who said that? Freud?

JACK
No; Kafka. I was trying to steal
it and make it my own.

DREAM SEQUENCE: EXT. WENATCHEE RIVER - DAY

Jack’s in his kayak, running this powerful river. He

rounds the next churning bend and finds himself in a
stretch with no shoreline, walled in. (This is the story
he didn’t tell Zoe.)

There’s a huge rock off to the right, with a big pulsing

wave along one side that feeds like a funnel into the
main current.

When Jack hits the wave, it surges and tosses him upside
down, and the force of the current literally vacuums him
out of his kayak.

The kayak tumbles downstream, unmanned.

 51.

DREAM SEQUENCE: EXT. WENATCHEE RIVER - BELOW THE SURFACE -

CONTINUOUS

Jack is stuck in a whirlpool, held in place by the

powerful undertow.

He can see light and air bubbles at the surface, but he

can’t break free.

On the verge of blacking out, he stops fighting, and

that’s when the rapids let him go.

He claws his way toward the surface -

INT. CELL - CONTINUOUS

Jack’s eyes pop open; he GASPS, waking.

VOICE FROM UPPER BUNK

Hell’s going on down there, man?

Jack is still breathing hard, sweating.

JACK
Nothing. Sorry. I was dreaming.

VOICE FROM UPPER BUNK

(beat)
This dream got a name?

EXT. ZOE’S NEIGHBORHOOD - NIGHT

Zoe makes her way home on foot.

She’s being followed.

It’s Peyro. He’s nervous, excited. He’s got his hand

buried in his jacket pocket, gripping a gun.

She senses him behind her.

In one deft move, she draws her gun and turns to fire -

But somehow - a three-second REWIND here, people - Peyro

sees her reaching for her gun before she even knows she’s
reaching for it (so maybe there is something to those
psychic abilities) and he FIRES first.

The shot grazes Zoe’s hand and she drops the gun. It
CLATTERS along the sidewalk and skitters out of reach.

Peyro comes at her again, FIRING.

She leaps out of the way and jumps through the nearest
door -
 52.

INT. MINI-MART - CONTINUOUS

Zoe barrels inside, looking for cover. There are aisles

of groceries and assorted junk food, but not much place
to hide.

Peyro enters, SHOOTING. He misses and the blast SHATTERS

the glass in the upright cooler.

CUSTOMERS scream and run for cover.

Zoe rounds the corner, with Peyro close behind, and he

SHOOTS again - a box of cereal EXPLODES - and again he
misses.

Then - magically - she’s gone.

People are still SCREAMING; running for the exits.

Peyro’s starting to get pretty nervous. He can feel his

heart PUMPING in his ears.

He looks down the next aisle. Nothing. The one after

that. Still nothing.

Then he steals a look into the last aisle, an inch at a

time, and suddenly stumbles backward... His back is to
us, so we don’t quite know what’s going on...

He drops the gun and keeps coming, stumbling backward

like a drunk, one uncertain step at a time...

And there’s Zoe now, moving toward him, unruffled,

unhurried, unarmed...

We switch to her POV to find her nine-inch stiletto

lodged in Peyro’s throat. He GURGLES, trying to pull it
out, drowning in his own blood, then he falls sideways
through the store window, SHATTERING the glass as he
tumbles into the street.

People continue to SCREAM and run away in hysterics, but

Zoe is the picture of quiet cool.

INT. ZOE’S CONDO - DAY

Zoe is parked in front of her computer, a small bandage

on her hand. She looks like she’s seen a ghost, because
she has seen a ghost - and is in fact looking at it right
now:

A SERIES OF TELEPHOTO SHOTS of Michael, in St. Sauveur,

Quebec. He’s buying bread at the local bakery; picking up
the morning paper; getting into his SUV.
 53.

He’s very much alive and he has a nice new set of shiny
teeth.

Zoe can barely contain her excitement.

ZOE
(barely audible)
Jesus.

Now she types: CARLOS, DESTROY YOUR HARD DRIVE. YOU ARE
SLOPPY BUT STILL THE BEST!

She sends it. Turns off her computer. She then flips the
computer over and removes the hard drive and takes it
into the kitchen.

She wraps the drive in a dish-cloth and gives it a good

WHACK with a hammer. It splits into several pieces.

EXT. ZOE’S NEIGHBORHOOD - LATER

Zoe leaves her building.

Halfway down the block, she passes a trash bin and dumps
the first chunk of her shattered hard drive. She crosses
the street and dumps a second chunk. At the next corner,
she slips a third one into the storm drain.

INT. JAILHOUSE VISITING ROOM - DAY

Zoe is visiting Jack again. She still has that small

bandage on her right hand.

ZOE
(with feeling)
I’m sorry. He didn’t give me much
choice.

JACK
(beat)
It was never supposed to be like
this.
(visibly upset)
We weren’t greedy. We weren’t
violent. We weren’t careless.
That’s why it worked.

She takes a moment, then -

ZOE
We need to talk, Jack. You’re
being arraigned Thursday. How’re
you’re going to plead?
 54.

JACK
How the hell am I supposed to
plead? I had the money on me.

ZOE
Where’s the other twenty million?

He says nothing.

ZOE (CONT’D)
You’re looking at eight years.

JACK
Even if I give up the money?

ZOE
Six, maybe.

JACK
Walk in the park.

ZOE
You think so?

JACK
I’ve been here eight days and I’m
already going out of my mind...
And thanks very much, by the way.
You can sit there, looking as
pretty and innocent as you like,
but you’re the reason I’m here.

ZOE
So what are we going to do about
it?

She seems suddenly vulnerable.

JACK
Don’t look at me like that. You
remind me of someone I thought I
knew.

That actually hurts. She studies him in silence -

JACK (CONT’D)
What?

ZOE
(beat)
I was wondering what you’re going
to look like in forty years;
whether I’d want to wake up next
to that face every morning for the
rest of my life.
 55.

Jack doesn’t say anything. What can he say?

ZOE (CONT’D)
I have some ideas, but they’re not
without risk.

JACK
Ideas? Didn’t you have any ideas
before you put me in here?

ZOE
They were watching us, Jack.
Listening to every word.
(with a smile)
And nobody told me how rich you
were. I liked you fine back in
Boulder, but now I find you
irresistible.

JACK
(not amused)
Money does that, I guess.

ZOE
(beat)
Were you ever going to quit?

It’s a fair question.

JACK
After the first job, we told
ourselves we’d quit at ten million
- though of course none of us
believed we’d ever get there. When
we did, we adjusted the goal
upward, to twenty-five.

She smiles knowingly -

ZOE
You couldn’t quit, could you?
(no answer)
The banks; the rivers. You’re an
adrenaline junkie.

JACK
Now we’ll never know.

ZOE
I would have quit at ten.

JACK
Some people dream bigger than
others.

She takes a beat, then -

 56.

ZOE
How’s Thursday work for you?

JACK
Thursday?

ZOE
You’re not busy, are you?

JACK
(beat)
You’re a piece of work, Zoe. We
are done here. My head hurts from
trying to figure you out.

ZOE
How long are you going to stay mad
at me, Jack?

JACK
How long? What part of this are
you not getting?! You ruined my
life.

ZOE
First of all, I didn’t ruin your
life. You ruined your life. I
didn’t tell you to become a bank
robber. Second, shit happens -
even in the best of marriages. You
either get over it or you don’t.
Choose.

JACK
Why am I even talking to you?

ZOE
Because we both know you’re not
going to survive in here.

They stare at each other, then -

ZOE (CONT’D)
Futaleufu. Zambezi. Sun Kosi.
Tango.

JACK
It’s Tsango. With an “S”.

ZOE
(beat)
Thursday, then.

He stares at her -
 57.

JACK
You’re crazy.

ZOE
But you love me. You told me so...
(yet another smile)
Not in so many words, maybe, but I
can read between the lines.

JACK
I’m not doing this. Stay away from
me.

ZOE
Lots of guys get cold feet at the
last minute, Jack.
(standing)
But don’t worry. I’m committed
enough for both of us.

She turns, crosses the room, and summons the guard with a
KNOCK.

INT. JAIL - DAY

Jack, in cuffs and his orange jumpsuit, makes his way

down the corridor, an OFFICER at his side.

They walk through a series of gates; GUARDS behind glass

check the papers and, one sliding gate at a time, usher
them toward to freedom.

EXT. JAIL - LATER

Jack squints in the sunlight.

A FEDERAL GUARD signs for Jack and cuffs him to his own
wrist for the fifteen-yard walk to the transport van.

INT. TRANSPORT VAN - CONTINUOUS

Jack boards, with the Federal Guard right behind him.

They move past the DRIVER, who shuts the door. It closes
with a PNEUMATIC HISS.

The Federal Guard unlocks the metal gate and leads Jack
to a seat in the back of the van. He cuffs him to the
center pole.

He then returns and slips back through the gate, locking

it again, and takes one of the two seats behind the
Driver.

The Driver starts the engine and begins pulling out, but
just then someone BANGS on the door.
 58.

It’s Zoe. She holds a badge up against the glass and the
Federal Guard stands and takes a closer look.

FEDERAL GUARD
Open it.

The door opens with that same HISS and Zoe reaches the
first step -

FEDERAL GUARD (CONT’D)

That’s far enough, lady.

ZOE
I need a ride to the courthouse.

FEDERAL GUARD
You know I can’t do that, ma’am.

ZOE
Pretty please?

FEDERAL GUARD
Ma’am, get off the bus - now.

Zoe TASES the poor bastard and he goes down hard.

ZOE
I like a man who takes his job
seriously.

She then turns her attention to the terrified Driver -

ZOE (CONT’D)
Drive.

He shuts the door and drives.

There’s a tracking device on the ceiling above the

Driver’s head. Zoe SMASHES it with the heel of the Taser.

Now she turns to look at Jack; smiles.

ZOE (CONT’D)
Hi, honey. I’m home.

The Federal Guard begins to recover and goes for his gun.
Zoe kicks it out of his hand and sends it SKITTERING
along the van’s rubberized floor.

She pulls him to his feet, cuffs him, then takes his keys
and unlocks the gate and escorts him to the back and sits
him next to Jack, securing him to the center pole.

She kisses Jack full on the lips and removes his cuffs.
 59.

ZOE (CONT’D)
I have a little surprise for you.

DISPATCHER’S VOICE
Fifty-seven, this is dispatch. We
lost you. Everything okay?

The Driver looks in his REAR-VIEW MIRROR: Zoe is glaring

at him -

DRIVER
Everything’s fine. We’re right on
schedule.

ZOE
(to the Driver)
Make a left at the bridge.

She now gives Jack her undivided attention, taking two

gold wedding bands from her pocket.

ZOE (CONT’D)
Look.

She takes Jack’s hand and slips the larger band onto his
finger. It fits perfectly.

ZOE (CONT’D)
“I do.”
(smiles at him)
Now it’s your turn.

He takes the smaller ring from her hand, a bit

uncertainly, of course.

JACK
Does it have a transponder in it?

With a fake-hurt look -

ZOE
Jack!

He slips it onto her finger.

ZOE (CONT’D)
Now say “I do”.

JACK
“I do.”

ZOE
That wasn’t so hard, right? What
the hell were we afraid of? So
far, marriage is fun.
 60.

INT. COURTHOUSE - LATER

Veasey, Other Agents, are milling around the hallway,

getting restless. Veasey glances at his watch again.

EXT. SHOPPING MALL - LATER

The transport van is there, surrounded by squad cars and

unmarked sedans and maybe THREE DOZEN LAW ENFORCEMENT
TYPES.

INT. ZOE’S CONDO - LATER

Veasey and Other Agents tear the place apart. They walk
out with her two computers.

Down the street, AGENTS in gloves and protective gear are

going through the neighborhood trash bins. Uh oh.

INT. FBI LAB - LATER

Billy, the resident geek, looks concerned.

He watches as a fellow TECHIE tries to reassemble the

pieces of Zoe’s hard drive. He has four of the five and
they fit together like an infant’s jigsaw puzzle (except
for the one missing piece, of course).

BILLY
I don’t think we’re going to get
much off that drive.

TECHIE
I’ve seen worse.

INT. FROEHLICH’S OFFICE - DAY

Billy and the Techie are reporting their findings to

Froehlich and Veasey.

TECHIE
An e-mail from Carlos Ramirez,
sir.

FROEHLICH
(to Veasey)
Carlos Ramirez? Our Ramirez?

VEASEY
I don’t know, sir. I’m hearing
this for the first time myself.

FROEHLICH
(to the techies)
And?
 61.

BILLY
It looked like photographs, sir,
but they were destroyed beyond
recognition.

FROEHLICH
That’s it? That’s all you’ve got?

TECHIE
Not entirely. We were able to
determine that they were sent from
Montreal.

FROEHLICH
That still tells me nothing.
(to Veasey)
Bring Ramirez in.

TECHIE
There’s one more thing, sir.

FROEHLICH
Yes?

TECHIE
She accessed your hard drive.

FROEHLICH
Who accessed my hard drive?

TECHIE
Zoe Caulfield.

FROEHLICH
I don’t know what that means.

TECHIE
She had a copy of your hard drive
on her computer.
(indicating)
Everything you have on that
machine, she had on hers.

Froehlich tries not to lose it -

FROEHLICH
How did that happen?

BILLY
We’re not sure, but I can walk you
through various possible
scenarios.

FROEHLICH
No.
 62.

Froehlich is about to explode, but he keeps it together -

FROEHLICH (CONT’D)
That’ll be all. Thank you.

Billy and the Techie exit.

As soon as the door closes behind them, Froehlich looks

across at Veasey, seething. But before he can say
anything, his Blackberry DINGS.

He looks at it. It’s a message from Zoe: “IF YOU TRY TO

STOP US, I’LL DESTROY YOU.”

INT. FBI INTERROGATION ROOM - LATER

Veasey is questioning Carlos Ramirez.

VEASEY
What was in the e-mail, Carlos?

CARLOS
What e-mail?

VEASEY
Wrong answer. You sent Caulfield
some photographs from Montreal.
What were they?

CARLOS
I don’t know where you idiots are
getting your information these
days, but I have not seen or
talked to or in any way
communicated with Zoe Caulfield
since I left the agency.

VEASEY
Correction: Since the agency left
you.

CARLOS
(beat)
I want my phone call.

VEASEY
Phone call? You’re not here,
Carlos. How can you make a phone
call?

Carlos is pissed now -

CARLOS
By the way, great job on the
Bonfiglio Brothers. I hear you’re
the toast of the Bureau.
 63.

Veasey tries not to lose it -

VEASEY
When you’re ready to talk, I’ll
let you out of that shit-hole in
the basement where we’re not
holding you.
(stands)
Guard!

EXT. COUNTRY ROAD (NEW YORK STATE) - DUSK

A Ford Escort heads north.

ZOE (O.S.)
So, Jack...

INT. FORD ESCORT - CONTINUOUS

Zoe is driving. Wires hang from the steering column. Jack

is in the passenger seat.

ZOE (CONT’D)
Let’s talk money.

He looks at her -

JACK
I must have a gift for self-
delusion. I was beginning to
believe this wasn’t about money.

ZOE
(big sigh)
Come on, Jack. I didn’t give up a
quarter-million a year, under the
table, tax-free, to break you out
of Federal custody and turn myself
into a fugitive and a felon.

He thinks about this...

ZOE (CONT’D)
And didn’t we sort of get married
back there? Doesn’t the wife have
a right to know?

JACK
(her line)
“People shouldn’t share
everything.”
 64.

ZOE
Okay. Have it your way. But if you
want to be reunited with your
money, you’re going to need my
help.

Point taken. After a beat -

JACK
Liechtenstein.

ZOE
Liechtenstein? Switzerland’s right
next door - that wasn’t good
enough for you?

JACK
Their banking system puts the
Swiss to shame. It is a marvel of
impenetrable loopholes.

ZOE
How’d you move the cash?

JACK
I had a banker in Denver who took
care of me for fifteen per cent.

ZOE
He took fifteen per cent each time
you made a deposit?

JACK
Seemed fair to me.

ZOE
So what was the plan, exactly?
Long term?

JACK
Kind of vague, to be honest. I was
going to go abroad and run rivers
for seven years.

ZOE
It wasn’t a capital offense, Jack.
Statute of Limitations is five.

JACK
I know, but the law varies from
state to state, so I gave myself a
buffer.

ZOE
I guess that makes me Plan B.
 65.

JACK
Why are we going to Canada,
anyway? I thought for sure we’d
head for Mexico.

ZOE
Everyone goes to Mexico. It’s full
of fugitives. As a social group,
fugitives are unbelievably boring.

INT. MOTEL ROOM (PENNSYLVANIA) - NIGHT

Jack and Zoe make love in a tacky, heart-shaped bed, with

a steaming hot-tub just beyond the sliding glass doors.

JACK
(on the verge)
I think I’m about ready here, Zoe.

ZOE
Will you do something for me?

JACK
What?

ZOE
Scream like a little girl.

EXT. I-95 - DAY

A Mustang heads north, passing a church.

INT. MUSTANG - CONTINUOUS

Zoe is driving. Jack is in the passenger seat.

ZOE
That reminds me: We’re going to
need orange robes. And a good hair-
trimmer.

JACK
Okay. I give up.

ZOE
We’re flying to Paris as Hare
Krishnas. How do you think I’ll
look with a shaved head?

JACK
I’m not shaving my head.

ZOE
Jack, it grows back.
 66.

JACK
I don’t want to be a Hare Krishna.

ZOE
Even for one day?

JACK
Even for one day.

ZOE
It’s easy. Look. All you have to
do is smile like this.

He looks at her. She’s smiling like a dork.

JACK
What’s that? Your Inner Peace
Smile?

ZOE
Exactly! Let me see yours.

JACK
I’m not an Inner Peace kind of
guy.

ZOE
We’ll see.

They pass a slow-moving river. Jack notes it. She notes

him noting it.

ZOE (CONT’D)
(Jack's line)
“A river with no shoreline is a
one-way street. Once you’re walled
in, there’s no way out or back.”

He thinks about that. She’s dead right. They are

committed to this run.

EXT. MOTEL (UPSTATE NEW YORK) - NIGHT

The Mustang is parked out front.

INT. MOTEL ROOM - CONTINUOUS

Jack and Zoe are on the bed, eating pizza and watching
the TV NEWS. The FBI Honcho is facing a battery of
REPORTERS, looking straight into the cameras -

FBI HONCHO
To repeat: It was a drill. There
has been no escape.
(MORE)
 67.
FBI HONCHO (CONT'D)
The entire incident was an
exercise, staged by the Federal
Task Force, but somebody forgot to
tell Metro.

Zoe kills the picture.

ZOE
Promise me you’ll never lie to me,
Jack.

Jack is staring at her -

ZOE (CONT’D)
What?

JACK
(Re: the TV news)
Did you do that?

ZOE
(beat)
Maybe.

JACK
How?

Instead of answering, she kisses him on the lips.

ZOE
You don’t taste like anyone I
know.

They eat in silence for a bit. Then -

JACK
Look what I found when we checked
in.

He sets a tourist folder in front of her; an ad for

Adirondack Whitewater Tours.

JACK (CONT’D)
Apparently they’ve got some Level
Fours on the Hudson River.

ZOE
We’ve got to get across the
border, Jack. We’ve got a plane to
catch, and lots to do to make that
happen.

She kisses him again. Stares at him. She gets tears in

her eyes.
 68.

JACK
What?

ZOE
Nothing. There was a pizza crumb
on your lower lip. I didn’t think
you were saving it for later.

JACK
Come on. Tell me.

ZOE
I never knew what it meant to be
happy. I mean actually happy.

JACK
I hope you mean that.

ZOE
I do.

They kiss again and things get out of hand.

EXT. MOTEL - DAWN

First light. There are COPS everywhere, stealing

noiselessly into position. The CHIEF, late forties,
signals this way and that, choreographing the operation.

We note half-a-dozen squad cars off to one side of the

motel, not visible from Jack and Zoe’s room.

And now we find still MORE COPS around the woodsy back.

As they move quietly about, one of them steps on a twig -

CRACK!

INT. MOTEL ROOM - CONTINUOUS

Zoe sits up in bed, having heard that; she’s instantly

wide awake. Jack is fast asleep beside her.

She gets out of bed, in the buff, and crosses to the

window.

Without moving the curtain, she peers into the parking

lot. Heavily armed COPS are moving one way and another,
signalling furtively.

She crosses to Jack's side, calm, unruffled, and kisses

his forehead. He wakes up, startled.

JACK
What?
 69.

ZOE
Get dressed, honey.

He sits up, alarmed and still half-asleep.

JACK
What’s going on?

ZOE
We have to go.
(Poltergeist)
They’re here.

JACK
Who’s here?

ZOE
Come on. Time’s a wasting.

He gets out of bed and they both begin to dress - Jack

very nervously - and Zoe preps the guns: Hers, and the
one she took from the Guard in the transport van. She
makes sure both of them are loaded. The clips make nice,
testosterone-fueling sounds.

ZOE (CONT’D)
Stay right behind me, okay? I
don’t want to have to come back
for you.

JACK
I can’t do this.

ZOE
Jack.

JACK
Zoe, I’m not like you! I’m just a
regular shmo. I‘ve never even
punched anyone, except for Danny
Baron, back in middle school, and
the little bastard deserved it.

She crosses to his side. Gives him a light, maternal

kiss.

ZOE
Pull yourself together, would you?
This is married life. We’re going
to hit bumps from time to time,
but in the grand scheme of things,
on a scale of one to ten, this is
a three; maybe not even.

JACK
For me, it’s a twelve.
 70.

ZOE
Ready?

She doesn’t wait for his answer. She moves toward the
door, flings it open, and exits FIRING.

Windshields SHATTER. Lights EXPLODE.

The COPS RETURN FIRE, pocking the walls, punching holes

in parked cars, SHATTERING windows.

Zoe runs down the exterior hallway, FIRING wildly, with

Jack close behind.

The COPS are going crazy. They are still FIRING, even
when Zoe and Jack round the corner and duck behind the
stairwell, near the vending machines, out of sight.

CHIEF’S VOICE
Cease fire! Cease fire!

A late SHOT ricochets and hits one of the vending

machines, punching a hole in it, and a can of Coke
tumbles out.

Zoe grabs it. Pops the top. Has a sip. Hands it to Jack.

ZOE
You okay?

JACK
(angry)
What do you think?

CHIEF’S VOICE
(on a megaphone)
This is Chief Gorton. You are
surrounded. Put your weapons down
and come out with your hands above
your heads.

ZOE
Ready?

JACK
No.

Zoe makes a mad dash toward the motel office, FIRING,

with Jack right behind her, miserable, and the COPS
FIRING BACK.

It’s deafening. The brick walls EXPLODE, more glass

SHATTERS, car WINDOWS crumble, bullets punch holes in
steel.
 71.

Then a MIDDLE-AGED WOMAN in a nightgown comes running out

of her room, chasing her terrified CHIHUAHUA.

MIDDLE-AGED WOMAN
Mr. Pendergast! Mr. Pendergast,
come back here!

ZOE
Grab it!

Jack is nimble and quick - he scoops the tiny dog up with

one hand and follows Zoe into the next safe zone.

The COPS KEEP FIRING for a few more moments of sheer

bedlam -

CHIEF’S VOICE
Cease fire cease fire cease fire
goddamn it!

Zoe peers around the corner.

ZOE
Right here, lady! We’ve got Mr.
Pendergast! Mr. Pendergast is
safe.

She turns toward them -

CHIEF’S VOICE
Lady, no! Get back!!

But she doesn’t heed the Chief’s warning.

Tearfully, practically sobbing, in fact, she runs over.

MIDDLE-AGED WOMAN
Oh thank you thank you thank you!
My poor Mr. Pendergast!

Jack hands her the terrified, quivering dog, and as soon

as it’s in her hands Zoe grabs the Middle-Aged Woman and
steps out from behind the wall, using her as a shield.

ZOE
Put your weapons down!

She puts the gun to the Middle-Aged Woman’s temple; now

both she and Mr. Pendergast are quivering uncontrollably.

ZOE (CONT'D)
Put your weapons down or I will
blow her goddamn head off.
 72.

Jack shakes his head, horrified. He looks at Zoe and asks

himself the question that every married person has asked
himself/herself at one time or another: What was I
thinking?

A tense beat, then -

CHIEF
(on the megaphone)
Weapons down... You heard the
lady! Weapons down, damn it!

Slowly, the Cops lay their weapons on the ground.

Now, with a tight grip on her hostage - who has a tight

grip on Mr. Pendergast - Zoe makes her way toward the
cluster of cop cars and proceeds to BLOW out a tire on
each one. Except the one nearest the road.

The Cops - more than a dozen of them - look on, helpless.

ZOE
Jack!

Jack pokes his head out.

All the Cops turn in unison to look at him.

Zoe and the Middle-Aged Woman and Mr. Pendergast are also
staring. The parking area looks like a battlefield.

ZOE (CONT’D)
Come on!

He hurries over, understandably nervous.

ZOE (CONT’D)
Take the wheel.

Jack does as he is told. He gets in and starts the squad

car.

ZOE (CONT’D)
(to the cops)
If anyone comes after us, she
dies.

Zoe eases the Middle-Aged Woman into the back seat -

ZOE (CONT’D)
Watch you head...

- and follows her in.

 73.

INT. SQUAD CAR - CONTINUOUS

Jack pulls away, tires SQUEALING. He’s driving fast.

Within seconds, the motel is no more than a memory and

they’re barreling along a bumpy, country road.

Morning has broken.

ZOE
Stay off the main road, okay,
honey?

JACK
(with an edge)
Whatever you say, dear.

MIDDLE-AGED WOMAN
You didn’t really mean that, did
you? About me dying?

ZOE
(to Jack)
Pull over.

JACK
Huh?

ZOE
Just pull over.

He slows and pulls over.

EXT. COUNTRY ROAD - CONTINUOUS

Zoe gets out and signals for the Middle-Aged Woman to get
out. She does, along with her still-quivering chihuahua.
Zoe scratches the little dog’s head.

ZOE
You know, on my seventh birthday,
I asked my father for a dog, but
he said I couldn’t have a pet that
made noise, so he got me a
goldfish instead... To this day,
whenever I see a goldfish, I feel
physically ill.

The Middle-Aged Woman doesn’t say anything. What can she

say?
 74.

INT. SQUAD CAR - CONTINUOUS

Zoe climbs into the front seat, next to Jack, and they
pull away fast, leaving the woman there, by the side of
the road, getting smaller with each passing second. After
a beat -

JACK
Was that true?

ZOE
What?

JACK
About the goldfish?

ZOE
Yes.

JACK
That’s a sad story.

ZOE
Everyone has sad stories, Jack.

JACK
I don’t want to go to prison. That
would be a very sad story.

ZOE
How’re you liking married life so
far?

JACK
Honestly? Not so much.

ZOE
Make a right here.

He does. It’s going to be a crisp, clear morning. They

spin and roar along a river. In the near-distance, behind
them, we hear APPROACHING SIRENS.

Jack is really gunning it. He’s a very good driver.

JACK
Promise me you won’t hurt anyone.

ZOE
I’ll try not to kill anyone, but I
might have to hurt them.

JACK
What is that? Is that supposed to
be some kind of compromise?
 75.

ZOE
Compromise is critical to the
success of any relationship, Jack.

Jack squints: In the early-morning light, he sees

something up ahead:

A SQUAD CAR, lights flashing, is parked sideways in front

of a narrow bridge, barring their way.

Now they can hear the ROARING RIVER.

ZOE (CONT’D)
Just keep going. You’ve got plenty
of room.

JACK
I don’t think so...

He guns it anyway, picking up speed.

But it’s what they don’t see that gets them: The SPIKE
STRIP just ahead.

JACK (CONT’D)
Shit!

There’s no avoiding it - through no fault of Jack’s - and

the front tires literally EXPLODE.

Jack struggles with the steering wheel, the car fish-

tailing one way and another, kicking up dirt and gravel.

The SQUAD CAR looms ever larger, and the TWO COPS,
suddenly aware that it’s not going to stop, dive into the
woods for cover.

WHAM! Jack hits the squad star with a CRUNCH of steel and
SHATTERING GLASS.

He loses control, doing a tire-burning 360, then spins

onto the rickety two-lane wooden bridge, crashes through
the flimsy railing, and literally sails, in SLOW MOTION,
over the side.

The squad car plummets toward the ROARING RAPIDS, and we

note the sign: WARNING! ONLY EXPERIENCED BOATERS BEYOND
THIS POINT!

INT. SQUAD CAR - CONTINUOUS

They hit the water with a MIGHTY SPLASH and Zoe strikes
her head against the dashboard.

The powerful current drags them down river and the squad
car begins to fill with water.
 76.

JACK
Zoe! Zoe!

She’s unconscious.

He pops his seat-belt; pops hers.

The river spins the car around like a carnival ride.

The water gushes through the shattered windows.

Jack tries to pull Zoe out but she’s stuck. Her foot is
jammed! And he can’t get to it from there.

EXT. THE HUDSON RIVER - CONTINUOUS

Jack manages to push his door open. He literally swims

out, holding fast to the car.

He pulls himself over the car’s roof, looking for

purchase anywhere he can, but the current is so strong he
suddenly loses his grip.

He is pushed toward the rear of the spinning, swirling

car, and at the last moment reaches out and just manages
to grab hold of the back bumper.

He has to work his way back toward the front, hand over
fist, with the WHITE WATER pummeling his face. He
grimaces and looks like a fighter pilot doing battle with
brutal G-forces.

The chassis bounces and SCRAPES noisily against submerged

rocks. The metal CREAKS.

Jack reaches the passenger window. Zoe is still

unconscious.

Jack can see where her foot is trapped.

The half-submerged car continues to swirl and spin in the

churning rapids.

Jack reaches through the shattered window. His straining

fingers close over the lever and he throws back the seat
and frees her foot.

Jack pulls Zoe through the window and onto the roof of
the half-submerged squad car, with the water washing over
them.

He pounds her chest.

Nothing!

He looks ahead, toward shore.

 77.

He sees a sandy bank some two hundred yards down.

He gets a good grip on Zoe and slides into the raging

current and fights his way through the churning rapids.

They make it!

He drags her onto the wet sand and pounds on her chest.
Nothing! He gives her CPR. Still nothing!

Then, a cough. She’s alive! Another cough.

She opens her eyes. Manages a small, exhausted smile.

Jack sighs, immensely relieved.

ZOE
Had to get your way, didn’t you?
(Jack's line,
childish sing-song)
“They’ve got some Level Fours on
the Hudson River.”

INT. MOTEL (UPSTATE NEW YORK) - DAY

A HELICOPTER touches down in that battleground of a

parking area.

Veasey gets out and makes his way toward the waiting
Police Chief, the propeller-driven wind whipping up a
dust storm. He’s already heard the news and he’s beyond
upset.

VEASEY
(above the roar)
What is wrong with you people?!
Thirty cops can’t catch a girl?!

INT. FROEHLICH’S OFFICE - LATER

Froehlich is on the phone, furious.

FROEHLICH
Are you on a safe line?... Okay,
listen very closely, Wonder Boy:
Don’t come back until she’s dead.

He SLAMS down the phone.

EXT. 7-ELEVEN (VERMONT) - LATER

An Acura is parked out front.

 78.

INT. 7-ELEVEN - CONTINUOUS

Jack and Zoe moved toward the exit, loaded down with junk-
food and assorted sodas.

Jack spots a PHOTO BOOTH in the corner.

JACK
Let’s take our picture.

ZOE
No. I don’t like having my picture
taken.

JACK
Come on. Do it for me.

ZOE
(somewhat firmer)
No... But you go ahead. Here. Give
me that.

She takes the shopping bag from his hands and Jack ducks
into the booth.

EXT. 7-ELEVEN - MOMENTS LATER

Jack and Zoe come out of the store. He’s got the shopping
bag in his left hand, the PHOTO BOOTH STRIP in his right -
Jack times four.

JACK
Look how happy I am.

He shows her. He does look happy. He’s clowning, and his

expression is different in each shot.

ZOE
Are you happy?

JACK
Considerably happier than I was
two days ago. You?

ZOE
(smiles)
Why don’t you finish telling me
whatever you were going to tell me
that afternoon at Clear River -
you know, all that “unequivocally”
stuff.

JACK
In a 7-Eleven parking lot? I think
I can do better.
 79.

ZOE
(smiles)
Well don’t forget, okay? Sometimes
a girl needs to hear things.

They reach the Acura. He presses her up against the car

and kisses her on the lips.

JACK
Is this going to end badly?

ZOE
Of course it is.
(smiles)
It’s a love story. All love
stories end badly.

EXT. SHACK IN WOODS - LATER

The Unabomber would be right at home here.

INT. SHACK - CONTINUOUS

A grizzled WOODSMAN is drawing a rudimentary map for Jack

and Zoe. Two dogs are asleep nearby. The remains of a
meal - half-eaten sandwiches, coffee - are visible on the
table, on the chipped, mismatched china.

WOODSMAN
It’s less than two miles, straight
through the woods. Beyond this
point here, you’re in Quebec.

JACK
(with a look at Zoe)
It’s good to know our brave men
and women are doing such a good
job protecting our borders.

ZOE
Jack! You are so critical. That
border is fifty-five hundred miles
long!

EXT. MONTREAL - DAWN

Jack and Zoe get out of a big rig within view of the
gleaming city. They’ve been riding all night.

JACK
Thank you!

The half-seen driver waves and pulls away. Jack and Zoe
make their way along, side by side.
 80.

INT. SCHWARTZ’S DELI - LATER

Jack and Zoe dig into juicy smoked-meat sandwiches and

side-orders of poutine (French fries with cheese curd and
brown gravy).

ZOE
Do you believe in life after
death?

JACK
Oh brother.

ZOE
Hey. I’m with you. Neither do I...
Still.

He puts down his sandwich; looks at her with exaggerated

resignation -

JACK
What?

ZOE
Nothing... Only it was pretty
weird back there, on the river...
I saw something that might have
been that white light people are
always talking about... You know,
all that Reader’s Digest near-
death stuff.

JACK
Of course. Right. The white light.

ZOE
Why are you making fun of it? We
don’t know.

JACK
I’m not a White Light kind of guy.

ZOE
(smiles)
Kiss me.

JACK
Why?

ZOE
Because I hate you.

They lean over the table and kiss.

ZOE (CONT’D)
My hero.
 81.

JACK
You gonna eat those fries?

ZOE
It’s not fries. It’s poutine.

He reaches for a fry and she WHACKS the back of his hand
with her fork.

JACK
I thought married people were
supposed to share everything.

ZOE
Not poutine.

EXT. HIGHWAY 15 NORTH - DAY

A late-model Honda makes its way along. Zoe is driving.

The wires have been crossed.

Zoe sees an exit sign for ST. SAUVEUR. (The name should
ring a bell.) A second sign reads, AIRPORT / 38
KILOMETERS.

ZOE
This is perfect. It’s close to the
airport.

EXT. CEMETERY - DAY

Zoe and Jack make their way along, moving from stone to
stone, looking at the dates mostly.

ZOE
Here’s one.

He approaches. The deceased was born in 1975, same year

as Jack.

JACK
“Hubert LaChance”? You must be
kidding. I don’t want to be a
“Hubert”. That’s a loser name.

ZOE
Its “Ooh-Bear”.

JACK
I don’t care how it’s pronounced.
Let’s find something cooler.

ZOE
Deal with it, Ooh-Bear. We are
done here.
 82.

INT. ST. SAUVEUR CITY HALL - DAY

Jack and Zoe are standing in front of the BESPECTACLED

CLERK. She is reviewing their application forms. He is
“Hubert LaChance;” she is “Marie Levesque.”

INT. SHACK - DAY

BOOM! Veasey throws a terrific PUNCH and knocks the

grizzled Woodsman across the room.

The poor man falls to his knees, gasping. Blood drips

from the gash above his eye.

He sees his rifle. He has his back to Veasey but he

thinks he can reach it.

He goes for it and turns -

- and Veasey BLOWS a hole in his chest. The force of the

blast lifts him off his ancient feet and sends him flying
across the room, against the wall.

He slides to a sitting position on the floor, painting a

broad red swathe with his blood.

INT. ST. SAUVEUR POST-OFFICE - DAY

Jack and Zoe are conferring with the POST-OFFICE

EMPLOYEE. She is reviewing their new birth certificates
and their passport applications.

EMPLOYEE
C’est la premiere fois que vous
voyagez?

ZOE
Oui.

EMPLOYEE
Et vous partez quand?

ZOE
Mercredi soir.

EXT. ST. SAUVEUR POST-OFFICE - LATER

Jack and Zoe leave the one-story building.

JACK
Where’d you learn French?

ZOE
You don’t want to know.
 83.

JACK
No, really. I do.

ZOE
Just some guy I dated. Briefly.
This might come as a shock to you,
but I wasn’t a virgin when we met.

JACK
What guy?

ZOE
He’s not going to bother us, Jack.
He’s about three hundred miles
from here, in Sainte-Anne-des-
Plaines. It’s hands-down the worst
prison in Canada.

JACK
Okay. You’re right. I don’t want
to know.

ZOE
Maybe next time you’ll listen to
me.

JACK
Yes, dear.

They cross the street - familiar from the photographs

Carlos sent - and make their way toward the town’s only
travel agency.

INT. MANOIR ST. SAUVEUR - ROOM - NIGHT

Jack is perusing a Chinese menu, pen in hand. The motel

room is noticeably tidy: Everything is in its place; even
the tourist magazines have been lined up, flush against
the edges of the table.

Zoe is visible in the bathroom, washing her face and

tying her hair back in a tight pony-tail.

JACK
What about sesame noodles?

INT. MANOIR ST. SAUVEUR - BATHROOM - CONTINUOUS

ZOE
I love sesame noodles.

We notice an industrial-strength hair trimmer on the

bathroom counter, along with a pack of disposable razor-
blades and a bottle of liquid hair-remover.
 84.

ZOE (CONT’D)
Get two orders.

Now we see the orange Hare Krishna outfits hanging by the

bathroom door.

Zoe exits -

INT. MANOIR ST. SAUVEUR - ROOM - CONTINUOUS

- to find Jack making a little “2” next to the noodles.

ZOE
They got any mu-shu?

JACK
Yeah. Pork or chicken?

ZOE
Your call.

JACK
Pork it is.

She looks around.

ZOE
I can’t believe you.

JACK
What?

ZOE
You are so neat.

JACK
I can’t help it.

ZOE
“It’s all about detail with this
guy.”

JACK
Who said that?

ZOE
Froehlich, the division chief.
“Only a guy who is obsessive about
detail could have pulled this off
three years running.”

JACK
(beat)
It’s weird, you know.
(MORE)
 85.
JACK (CONT'D)
If Peyro hadn’t left a fingerprint
on that bank manager’s glasses, we
never would have met.

ZOE
You’d have been better off, don’t
you think?

JACK
Absolutely...

ZOE
Take it back!

JACK
...not.

She sits on the edge of the bed, satisfied, and reaches

for her shoes.

ZOE
Call that in, would you? I’ll go
pick it up.

JACK
I can pick it up.

ZOE
Honey, come on. Let me be the wife
once in a while.

JACK
What if they only speak French?

ZOE
Order in Chinese.

JACK
I suppose you speak fluent
Chinese.

ZOE
(in Chinese, with
subtitles)
I can’t believe how much I love
you.

JACK
What prison is that guy in?

ZOE
(laughs)
That was good. You’re funny.

She exits.
 86.

INT. GUN-AND-TACKLE STORE - LATER

The THIN CLERK moves toward the door and begins to lock
up, but a female hand RAPS on the glass door. He turns to
look and recoils, startled.

Then he unlocks the door, mouth agape. Zoe’s back is to

us -

ZOE
What’s the matter? Never seen a
girl with a penis before?

Now we see what he sees: Zoe has stuffed her pony-tail

under a baseball cap, which is pulled low on her
forehead, and has drawn a penis on her left cheek with
black eye-liner.

Suddenly, without warning, Zoe grabs the guy by his own

very real penis and he backs up, into the store,
grimacing in pain.

She pushes him toward the counter, still squeezing the

life out of his balls, and the pain is so intense he
can’t even scream.

He stares at her in agony; at the penis on her face,

mostly.

ZOE (CONT’D)
That’s right. Keep looking at the
penis.
(beat)
Keys.

He hands them over, hardly breathing.

She gives his balls another spectacular squeeze and he

literally passes out for a moment, CRUMPLING to the floor
at her feet.

She takes the keys and unlocks the cabinet and begins
checking out the guns, settling on a silver Desert Eagle
and a Smith & Wesson .38, both of which she loads on the
spot.

She makes her way toward the door with her guns and her
boxes of shells and SHOOTS the security camera before she
leaves.

INT. MANOIR ST. SAUVEUR - ROOM - LATER

Zoe returns with the Chinese food.

 87.

JACK
What the hell happened? I was
beginning to worry.

ZOE
I‘ll give you something to worry
about: That Chinese restaurant is
run by Hungarians.

EXT. MANOIR ST. SAUVEUR - SWIMMING POOL - DAY

Jack and Zoe bake in the sun.

IN. MANOIR ST. SAUVEUR - BATHROOM - NIGHT

Zoe crushes some pills into a white powder.

INT. HOLDING CELL - NIGHT

Carlos Ramirez is lying on a bunk, looking dirty and

exhausted. You can almost smell the stink.

He HEARS a key in the door. Looks up.

It’s Veasey.

VEASEY
I had to fly all the way back for
this, Carlos, so I hope you’re
feeling a little more talkative
this time.

CARLOS
Eat me.

VEASEY
Okay. You win.

Veasey gestures toward the corridor, a bit theatrically -

like a talk-show host.

Carlos isn’t sure what’s going on, but he gets up, a tad
unsteadily, and makes his uncertain way toward the door.

INT. CORRIDOR - CONTINUOUS

As soon as he steps out of the cell, Veasey throws a

brutal PUNCH that knocks him on his ass.

Veasey begins bouncing around like a boxer, and we notice

that’s he’s wearing brass knuckles.

VEASEY
Golden Gloves champ, baby. Two
thousand and seven. I’m going to
enjoy this.
 88.

TWO UNIFORMED GUARDS come into view, standing on the far

side of the door. They cross to Carlos’s side and lift
him to his feet.

VEASEY (CONT’D)
I guess I didn’t make myself
clear, amigo, so I’m going to
speak a little louder:
(louder)
Caulfield has become a real
priority for us.

WHAM! He hits him again, busting his lip, and Carlos goes
down hard.

INT. ST. SAUVEUR RESTAURANT - NIGHT

Jack and Zoe dine at a quiet, corner table.

JACK
What time will our passports be
ready?

ZOE
Late morning.

JACK
That’s perfect.

He reaches into his back pocket for a folder and shows it

to her. It’s for Rouge River Rafting.

ZOE
You are such a tourist!

JACK
They’ve got several Level Fives.

ZOE
(smiling)
The Hudson wasn’t enough for you?

JACK
We could be on the river at noon,
back in our motel by six, and at
the airport before nine.

ZOE
We need at least an hour to shave.

He runs his hand through his hair.

JACK
Do we really have to?
 89.

ZOE
Yes!

JACK
My ears are going to look so damn
big.

ZOE
I love your big ears, Mickey.

She leans over the table and kisses him with great
feeling. This is the real thing.

INT. MANOIR ST. SAUVEUR - ROOM - LATER

Jack and Zoe make love. Or Jack tries to, anyway.

JACK
How much did I have to drink?

Before she answers, his head hits the pillow and he’s
out.

EXT. LAC NOTRE DAME - NIGHT

A Jeep Wrangler bounces along the dirt roads, making

time, its powerful headlights barely piercing the
darkness.

Zoe is behind the wheel. We’re deep into the Laurentian

woods.

EXT. COUNTRY HOUSE - LATER

Zoe works her way through the thick woods, toward a

country cabin, dark at this late hour. She’s carrying a
flashlight.

INT. COUNTRY HOUSE - LATER

Michael comes down the stairs in his boxers and his too-
perfect teeth, wary, a gun in his right hand. He hits the
FLOODLIGHTS and looks out at the property.

He sees nothing. He kills the floodlights. He checks the

sliding glass doors; the windows.

When he turns around, he freezes.

ZOE
Looking for me?

He doesn’t speak; he can’t speak. And she doesn’t have to

tell him to drop the gun; he knows he doesn’t have a
chance.
 90.

He tosses it; it lands on the couch.

MICHAEL
It’s good to see you, Zoe.

Zoe resists the temptation to say something mean about

the new teeth -

ZOE
It’s good for me; I’m not sure
it’s good for you.

He’s in serious trouble, and he knows it.

ZOE (CONT’D)
Where’s my money?

MICHAEL
I had every intention -

ZOE
Michael -
(cut the shit)

MICHAEL
Well it’s not on me, obviously,
but -

She SHOOTS him through the fleshy upper arm, a surface

wound, and he CRIES OUT in pain.

Grimacing, he crosses to the door that leads to the

basement. She follows.

INT. COUNTRY HOUSE - BASEMENT - CONTINUOUS

Michael comes down the wooden stairs and hits the LIGHT.
The space is dank, musty; bare earth instead of a
finished floor. There are rusty tools on the wall; a
lopsided work-table with a circular saw; a circa 1960
washing-machine jammed into the corner.

Michael turns to look at Zoe, hesitating. His arm is

bleeding.

ZOE
I’m waiting.

He crosses toward the washing-machine and rocks it back

and forth, moving it aside. There’s a plank of plywood
under it, which he lifts with his good arm and props
against the wall. A big black duffel is resting in a hole
in the earth, and Michael reaches for it -

ZOE (CONT’D)
That’s far enough.
 91.

He turns to look at her. She motions with the gun.

He steps away and stands flush against the table with the
circular saw. A pair of rusty blades are lying there, big
around as frisbees, and Michael notes them.

Zoe pockets her gun and lifts the duffel out of the hole
and unzips it and looks inside. It’s full of cash. A
Walther PPK is resting on top of the bundles of money. As
she reaches for the gun -

- Michael reaches for one of the circular blades and

throws it overhand. It WHIPS through the air in SLOW-
MOTION, WHISTLING.

Zoe turns and sees it coming and raises her left hand and
the jagged edge literally tears into her palm, just
inches from her face, TWANGING there, imbedded.

The force of the blow sends her flying backward, tumbling

over the duffel, dropping the Walther PPK.

Even as she falls, still in SLOW-MOTION, landing hard,

GRUNTING, Michael throws the second blade.

She turns her head and it WHISTLES past her ear.

Michael now runs for the stairs, but Zoe - palming her
own gun - FIRES once from her perch on the dirt floor.

She hits him in the upper back and he falls against the
lowermost step.

Zoe sets the gun down for a moment and looks at that
first blade, still imbedded in her left hand. Several of
the rusty teeth having gone clean through. She yanks it
out and blood gushes from the jagged wound.

Now she retrieves the gun and gets to her feet and moves
toward Michael, who is trying to drag himself up the
stairs.

She SHOOTS him in the back of the thigh and he CRIES OUT
again, then turns to face her, grimacing. She stares at
his store-bought pearly whites.

ZOE (CONT’D)
Where’d you get the new teeth? K-
Mart?

MICHAEL
Zoe, please. You loved me once,
That’s gotta count for something.

ZOE
It would if I’d ever loved you.
 92.

That hurts -

MICHAEL
It doesn’t have to end this way.

ZOE
But you’re wrong: It was always
going to end this way.

The look on his face: Huh?

ZOE (CONT’D)
I’ve done some pretty hard things
in my life, but this isn’t one of
them.

MICHAEL
(crying)
Please. You can’t just kill me
like this.

ZOE
You’re right; I can’t. You died in
a car wreck in Albuquerque. It’s
kind of hard to kill a dead man.

She raises the gun, lets him suffer for an extended beat,
then SHOOTS him in the head.

She picks up the duffel and moves toward the stairs, her
left hand dripping blood.

INT. COUNTRY HOUSE - LATER

Zoe is in the kitchen, wrapping her injured hand in

pieces of torn sheet. She uses her teeth to tighten the
make-shift bandage, but it’s already bleeding through.

She reaches for her disposable cell phone.

INT. MANOIR ST. SAUVEUR - ROOM - MOMENTS LATER

Jack’s identical cell RINGS and RINGS, but he’s drugged

and doesn’t wake.

INT. MOTEL FRONT OFFICE - MOMENTS LATER

The phone RINGS, shrill and insistent. The SLEEPY CLERK

emerges from the back room and reaches for it -

SLEEPY CLERK
Manoir St. Sauveur.
 93.

INT. MANOIR ST. SAUVEUR - ROOM - MOMENTS LATER

Jack wakes to a RELENTLESS POUNDING at the door. He sits

up in bed, disoriented and dazed, and is surprised to
find Zoe gone.

He gets up and shuffles toward the door.

EXT. LAC NOTRE DAME - LATER

The familiar late-model Honda races along the unpaved

road.

Jack is behind the wheel, squinting into the darkness,

high-beams lighting the way. The tires spin and slide on
the dirt and gravel.

EXT. COUNTRY HOUSE - LATER

The headlights approach. Zoe watches them come. She steps

out into the road, next to the Jeep, waving, and Jack
sees her and brakes to a lurching stop.

She moves toward the passenger side door and opens it and
tosses the duffel in back and climbs in.

INT. HONDA - CONTINUOUS

Jack looks at the bloody bandage; he’s still dazed.

JACK
What the hell is going on? Where
are we? What happened to your
hand?

ZOE
I’ll explain everything. Just
please - let’s go.

He turns the car around in the pitched driveway and heads

back toward town, kicking up dirt and gravel.

He looks down at her hand again; blood is seeping onto

her jeans, slick and wet and shiny.

JACK
I saw a clinic not far from the
motel.

ZOE
(beat)
I’m going to tell you the truth,
Jack, but I need you to know
something: What I did, I did for
us. I’m finally happy;
(MORE)
 94.
ZOE (CONT'D)
I am not going to spend the rest
of my life looking over my
shoulder.

Suddenly, oncoming headlights blind them, and Jack has to

swerve wildly to avoid a fast-moving, late-model Taurus.

As it flies past, we see Veasey in the front passenger

seat.

ZOE (CONT’D)
Jesus Christ.

JACK
What the -

EXT. LAC NOTRE DAME - CONTINUOUS

The Taurus SQUEALS to a stop in a cloud of dust.

The DRIVER, late twenties, military bearing, dead eyes,

turns in the tight spot and gives chase.

Veasey leans out the window and FIRES. Glass shatters.

Zoe FIRES back.

EXT. ROUTE 289 - MOMENTS LATER

The Honda leaves the gravel road, fish-tailing, and ROARS

onto the paved stretch that leads to the freeway.

The Taurus is close behind.

More GUNFIRE is exchanged.

Both cars catch air on the hilly, two-lane blacktop.

EXT. FREEWAY - CONTINUOUS

The Honda reaches the on-ramp. Jack guns it.

The Taurus closes in on them, effortlessly.

Veasey FIRES, punching holes in the chassis.

Zoe fires back, blowing Veasey’s headrest apart.

Jack rams the Taurus... but it keeps coming.

Zoe FIRES again, aiming at a front tire this time, but

the Driver drops back, the engine PURRING.

Moments later he guns it again, approaching from Jack’s

side.
 95.

Zoe sees an EIGHTEEN-WHEELER just ahead.

ZOE
Get in front of him, Jack.

Jack gives her a look -

ZOE (CONT’D)
I’m not going to prison.

Jack speeds up, the engine WHINING.

As he noses past the huge truck, Zoe takes the wheel -

with her good right hand - and veers in front of it.

The TRUCKER turns sharply, losing control.

The Honda shoots past, safe, but the truck jackknifes and
flips onto its side, SCREECHING and raising SPARKS.

The Taurus ploughs into it as other cars SWERVE and SKID,

colliding.

A moment later, the eighteen-wheeler BURSTS INTO FLAME,

lighting up the night sky.

Veasey and the Driver leap out of the Taurus.

Jack points the speeding Honda toward the next exit.

EXT. FARMHOUSE - LATER

Jack POUNDS on the front door. Zoe is next to him, her

make-shift bandage slick with blood.

The sign say, “DARCY LABROSSE, VETERINAIRE.”

There’s a red Prius in front of the barn, and a pair of

HORSES visible in the distant corral, looking over,
curious.

DR. LABROSSE, 40, glasses, opens the door, clearly roused

from sleep.

Zoe pushes her way inside, gun in hand.

INT. CONSULTING ROOM - LATER

Dr. Labrosse finishes stitching up the various gashes in

Zoe’s hand. His handiwork lacks elegance.

LABROSSE
(French accent)
I am sorry is not so nice. Je suis
veterinaire.
 96.

INT. WAITING ROOM - CONTINUOUS

Jack is watching the news on the wall-mounted TELEVISION:

Footage of the burning eighteen-wheeler, with traffic
backed up for miles.

Half a dozen squad cars and fire trucks are on the scene.

FIREMEN are training their hoses on the truck and the

imbedded Taurus, both of which continue to burn.

A FEMALE REPORTER faces the camera, with the fire raging

behind her -

FEMALE REPORTER
- toutes les routes en toutes les
directions -

Jack changes the channel.

A MALE ANCHOR appears. There’s a map of the region on one

side of the screen, with the ROADBLOCKS clearly marked -

MALE ANCHOR
- are looking for a white Honda
Accord...

Zoe emerges from the consulting room, her hand wrapped in

clean white bandages -

MALE ANCHOR (CONT’D)

...model year two thousand eight
or two thousand nine.

JACK
How you feeling?

MALE ANCHOR
The occupants are believed to be -

Zoe kills the picture. Looks at Labrosse.

ZOE
How far’s the river from here?

LABROSSE
About five kilometers.

JACK
Where’s the nearest put-in?

LABROSSE
Excuse me?
 97.

JACK
Rafters - were do they put their
boats in the water?

LABROSSE
Is close. When you reach river,
maybe three, four hundred yards. A
gauche.

He gestures to the left.

ZOE
I need the keys to your car.

She turns to look at Jack -

ZOE (CONT’D)
How come you always get your way?

EXT. ROUGE RIVER - EARLY MORNING

The vet’s red Prius pulls to a stop next to the river.

A pair of wet-suited BROTHERS, late teens, are getting

ready for a day in the rapids. Their yellow life-raft is
still fastened to the back of their small pick-up,
spilling over, and they’re busy untying the ropes.

Jack and Zoe approach.

ZOE
Morning.

BROTHER #1
Morning.

BROTHER #2
Morning.

ZOE
(beat)
Any interest in selling that raft?

BROTHER #1
No ma’am.

She tosses a thick wad of hundred-dollar bills. It sails

through the air. Brother #1 catches it.

EXT. BANKS OF THE ROUGE RIVER - LATER

The Brothers are helping Jack and Zoe put the raft into
the quiet water. The duffel with the money is already
aboard.
 98.

BROTHER #1
There are three sets of rapids,
mostly fours and fives.

BROTHER #2
The last set is closer to a six,
actually. And it forks near the
end.

BROTHER #1
You’re going to want to take the
left fork. Left, okay? The minute
that fork comes into view, start
paddling.

ZOE
What’s on the right?

BROTHER #2
Nothing you’ll survive.

EXT. ROUGE RIVER - LATER

Jack is in back, manning the long-necked oars.

Zoe, with her bandaged hand, watches for rocks and CALLS
OUT warnings from time to time.

The water is ROARING.

The first serious drop consists of a broad left bend that

falls steeply through a series of big holes. The holes
are so deep that the raft pops in and out of view like a
whack-a-mole.

Toward the end of the brutal run, they crash through a

big wave, scamper along a narrow chute, and plummet off a
three-foot waterfall.

They reach calmer water, but they can already hear the
second set of rapids.

Jack paddles ashore and lifts the raft part of the way
out. He and Zoe climb to a nearby promontory for a look
at what lies ahead, following Jack’s own best advice.

They see half-a-mile of surging, eddying white water,

with boulders laid out along the route like an obstacle
course. A black pyramid of rock and pines is visible to
the far right.

JACK
That’s the line there. This side
of that first big boulder.
 99.

They return to the raft. Get in. Tackle the second set of
rapids in a heart-pounding sequence that makes it hard to
believe there’s worse ahead...

When they reach calmer waters, they again beach the raft.
They make their way to the top of a massive boulder to
take a look at the third set of rapids.

It’s a real beast; a wild, bucking, foaming, ROARING

beast.

But suddenly they detect a second ROAR, more mechanical

in nature -

Like magic, a CHOPPER materializes not thirty yards away,

a veritable behemoth, practically filling the screen.

It makes Jack and Zoe look like ants.

Veasey is visible through the open door, strapped into

the gunner’s seat, armed with a scoped, high-powered
rifle, and as soon as he sees them he STARTS FIRING.

Jack and Zoe run back to their raft, with bullets

RICOCHETING off the rocks around them; kicking up the
sand at their feet.

They get in and Jack rows like crazy, looking for the
river line.

Zoe reaches for the duffel and removes the Desert Eagle
and the Walther PPK.

The chopper banks hard, the blades THWACKING, and tries

to work its way into position.

We can see Veasey hollering angrily at the PILOT.

He gets Zoe in his sights and FIRES again, missing, the

bullets RICOCHETING of a nearby boulder.

Jack rows like a man possessed, trying to keep the raft

from tipping over.

They’re deep into the rapids now, fighting crashing waves

and foaming eddies and unexpected whirlpools.

The chopper banks again, so close that it forces Jack to

the right, where the overhanging trees actually give them
a bit of cover.

Veasey can’t get at them from this angle; he HOLLERS at

the Pilot again, furious.

Every time there’s a clearing in the trees below, Veasey

FIRES wildly.
 100.

WHOOSH! Water deflects off the walls and piles on top of

other water, creating a gradient - hydrology at its
craziest. Shore eddies turn into surging boils, sending
up plumes of mist.

Now Jack sees the fork up ahead and tries to fight his
way to the left, putting everything he has into the oars,
his muscles straining, his veins popping up, thick as
plough-lines, but the Rouge is unforgiving and
relentless.

The chopper banks low and gives Veasey a perfect shot.

Zoe palms the Desert Eagle and FIRES TWICE before the
river almost tips them over.

INT. CHOPPER - CONTINUOUS

The first shot goes wide but the second hits Veasey’s
shoulder belt, ripping it.

Veasey, suddenly unmoored, almost tumbles out the door,

but he grabs onto the seat with his free left hand and
with his right again brings the rifle into shooting
position.

He gets Zoe in his sights; FIRES, misses.

Jack continues to do battle with the river, but there’s

no hope.

He and Zoe watch in horror as they miss the final turn

and the current pulls them into the right fork, toward
their inevitable destinies.

They exchange a look: We’re fucked.

A hundred yards along, we finally understand exactly what

Jack meant, because we see it: This roaring section of
the river has no shoreline; it’s a one-way street; they
are walled in; there’s no way out or back.

The chopper banks and flies several hundred yards down

river, getting ahead of the raft, then turns and hovers
just above the roaring rapids.

Veasey lines up the SCOPE and waits for the perfect shot.

But Zoe FIRES first, FOUR TIMES IN QUICK SUCCESSION,

aiming at the rear rotor and punching three holes in the
metal.

The ENGINE WHINES and the chopper begins to spin in

place, out of control, gaining more speed with every
turn.
 101.

Veasey gets flung out of the chopper, crashes through the

trees, and falls into the raging water. He is swept
downstream.

A moment later, with a final, ear-splitting SCREECH, the

spinning chopper slices through the trees and crashes
into the sheer rock wall, where it hangs precariously,
its left strut partly submerged in the roaring surf.

Jack rows toward the chopper, the raft bucking like a

wild bronco.

He reaches it, spinning, and grabs the strut.

He holds tight with one hand and reaches for Zoe with the
other, locking it around her wrist and pulling her into
the up-ended chopper.

Jack passes her the duffel and follows her inside.

The messenger of death has become their salvation.

The raft, released, bounces violently down river.

We follow it to the lip of the SPECTACULAR FALLS and

watch it tumble toward the churning lagoon far below.

INT. CHOPPER - CONTINUOUS

Jack and Zoe climb through the up-ended cabin, toward the
far door and the rock wall beyond, with the metal WHINING
and SCRAPING against the rocks, and the whole chassis
swinging like a giant pendulum.

Jack has the duffel over his left shoulder.

Suddenly, the entire craft drops a few feet before

catching and lurching to a violent stop.

Water WHOOSHES into the cabin, adding weight.

Zoe and Jack again make for the far side of the flooding
cabin, pulling themselves along, climbing.

The Pilot regains consciousness. He sees the rifle. He

goes for it.

He FIRES A BURST, punching holes in the hull to Zoe’s

left, and she turns and leaps through the air, landing on
him.

She rips the rifle out of his hands with her uninjured
right hand, grabs him by the shirt, and tosses him
through the open door into the wild surf.

She rejoins Jack.

 102.

They again climb toward the rock wall, toward freedom.

Jack gets out first.

He turns to help Zoe out and the chopper GROANS, twists,

and - as the METAL SCREAMS - begins to plummet.

Jack sacrifices the duffel and pulls Zoe to safety just

as the chopper CRASHES into the river.

From their uncertain perch on the sheer rock wall, Jack

and Zoe look past the crumbling steel as the duffel make
its way down river.

The canvas tears open and the bundles of cash tumble into
the frothing water, drifting apart.

The money sails over the Rouge River Falls like so much
confetti.

INT. ORLY AIRPORT (PARIS) - DAY

Jack and Zoe, hairless, wearing their flowing orange

robes, are next in line.

The CUSTOMS AGENT beckons, trying not to betray his

loathing, and they approach.

They are both flashing their best Inner Peace smiles. It

is not a good look for either of them.

EXT. ORLY AIPORT - LATER

Jack and Zoe are in line for a cab. OTHER PEOPLE keep
their distance from the two freaks -

JACK
(with an edge)
I feel so close to God.

ZOE
Then please tell him I never want
to fly coach again.

EXT. BEACH (SOUTHERN FRANCE) - DAY

Jack and Zoe lie under an umbrella, languid, happy. Their

hair has only just started to grow back.

Jack is reading a book, Conversational French.

Zoe is flipping through a magazine. She reaches the last

page, sets the magazine down, and rifles through her bag,
looking for something.

We note the faint, jagged scars on the back of her hand.

 103.

Zoe gets up now, sits on the edge of Jack’s lounge chair,

and gives him a nice kiss, full on the lips.

ZOE
You need anything?

JACK
(terrible accent)
Pas maintenant, merci. Mais peut-
etre plus tard on va faire l’amour
comme des singes chaud.

ZOE
(smiles)
You just asked for hot monkey sex.

JACK
Did I? This book sucks. I thought
I was commenting on the fine
weather.

She gives him a long, lingering look, full of love. It

makes us wonder why we can’t be that happy.

ZOE
Be right back. I left Hemingway in
the room.

She stands and moves off, in the direction of the hotel,

and Jack sets his book down and looks out across the
beach.

It is a glorious day. There are HAPPY COUPLES here and

there; MOTHERS with YOUNG CHILDREN; TEENAGERS in the
throes of first love, groping each other in the shallow
water.

Even the SOUNDS are the sounds of happiness: A baby’s

LAUGHTER. BIRDS SINGING. WAVES lapping against the beach.
KISSES. The distant FLAPPING of a sail.

We could end here... but we won’t.

Jack waits, taking it all in, then sits up.

Suddenly the SOUNDS don’t seem so enjoyable. The baby’s

laughter turns to CRYING. A French couple ARGUE. The
sailboat overturns. Even the singing of the birds becomes
SHRILL, ANGRY CAWING.

INT. HOTEL BUNGALOW - CONTINUOUS

Zoe is changing into her clothes - rushing rushing

rushing. She quickly packs a few things into a small bag
at the foot of the bed, including her paperback copy of
The Sun Also Rises.
 104.

Now, breathless, still rushing, she sits in front of the

laptop and opens it. The screen comes to life, glowing.

She logs onto the Web and goes into the first account:
Lichtensteinische Landesbank: The balance had been
$9,892,312.46. It is now zero.

She can’t believe it. She’s in fucking shock.

Her hands race over the keys again and she logs into the
next account: Verwaltungs - und Privat-Bank: A balance of
$7,498,215.23 is now zero.

She’s fucking furious.

EXT. BEACH - MOMENTS LATER

Zoe approaches, seething.

The backs of the lounge chairs come into view.

But Jack is not there.

Now she notices the book, Conversational French, and the

PHOTO BOOTH STRIP that he had been using to mark his
place.

She takes the strip from between the book’s covers; looks
at Jack’s smiling face, times four.

She turns the strip over and finds a key to a safety-

deposit box with an address scrawled under it in Jack’s
tidy hand: IDB Bank Ltd. 323 Banhoffstrasse, Zurich,
Switzerland.

EXT. ZURICH - DAY

The bank in question.

INT. SAFETY-DEPOSIT VAULT - CONTINUOUS

A PRETTY CLERK enters, with Zoe close behind.

They find the right box.

The Clerk inserts her key, Zoe inserts her key, and they
turn the keys in unison.

ZOE
Thank you.

The Pretty Clerk nods politely -

PRETTY CLERK
(with an accent)
I’ll be just outside.
 105.

Zoe turns her attention to the drawer. She takes a beat,

wondering if this will turn out to be a sick joke, then
slides it open.

It’s full of cash - half U.S. dollars, half Euros - all

of it stacked in nice, neat rows.

There’s a note on top. Zoe reaches for it and unfolds it

and Jack’s wedding band drops out, CLATTERING along the
marble floor. She leaves it there and reads:

JACK (V.O.)
I’m afraid things aren’t going to
work out for us, Zoe. But you knew
that, of course; you knew where
this was going long before I did.

EXT. ALPINE RIVER - DAY

Jack races along the ROARING river, dodging boulders.

JACK (V.O.) (CONT’D)

There’s two million in there. One
for getting me out of jail, one
for reuniting me with my money.
Consider us divorced.

As Jack rounds the next bend, a ROARING TEN-FOOT

WATERFALL comes into view. He paddles toward it,
WHOOPING, adrenalized -

JACK (V.O.) (CONT’D)

Maybe most of us are sewn into our
skins for life, and maybe most
love stories do end badly, but
surely some people change, and
surely some love stories have
happy endings...
(Hemingway’s line)
“Isn’t it pretty to think so?”

He goes over the falls in SLOW-MOTION, flying, free.

And on that final image - Jack framed against the roaring

waterfall - we FREEZE THE FRAME, CRANK UP THE VOLUME,
ROLL THE CREDITS, and FADE OUT.