Prisoners Page #7

hysterical; denial given way to manic terror.

GRACE:

The zipper on her coat was broken,

and I told her it didn't matter,

that we were just going up the

street.

(to Keller)

Why hasn't she come home? It’s

been three days. Why can't you

make her come home? I don't

understand. It's been too long!

Keller motions to Ralph to get up and sits down next to

Grace. Ralph flees the room. She motions to a bottle of

Xanax on the bedside table.

GRACE (CONT’D)

Give me two, I just want to be

knocked out. I can't be awake

anymore.

Keller complies and she swallows the pills with trembling

hands. She lies back. Keller strokes her hair. She

calms for a moment, then looks up at him accusingly.

GRACE (CONT’D)

You made me feel so safe. You

said you could protect us from

anything.

He starts to answer, but nothing comes out. He looks

sickened with shame, turning away from her stare, his

eyes finally resting on a ticking clock...

62 INT. HALLWAY - THE DOVERS' HOUSE - MOMENTS LATER 62

Keller comes out of the bedroom. Grace is sleeping.

Ralph stands awkwardly in the dark hallway.

KELLER:

I'm going out to help the police.

Keep an eye on your mother.

Ralph's been crying. His eyes beg his father not to

leave.

(CONTINUED)

KELLER (CONT’D)

Come on now, your sister needs us

to be brave for her. You gonna be

brave -- be a grown-up for me?

Ralph doesn’t answer. Keller holds his stare for second,

then just rushes past him. But as Keller reaches the

stairs, he stops, guilt creasing his face...he turns

around, goes back and hugs his son.

KELLER (CONT’D)

I know you’re scared. It’s gonna

be OK.

Crying now, Ralph holds on to his father for dear life.

63 EXT. DRIVEWAY - THE DOVERS' HOUSE - DUSK 63

Keller walks out the door and gets in his truck.

64 INT. KELLER’S TRUCK - PARKED - CONTINUOUS 64

Keller turns the ignition key. The Everyday Testament

starts up. He sits there, looking unsure of where he’s

going, a darkness clouding his visage...

EVERYDAY TESTAMENT

He reminds him that trouble and

affliction are what we have all

reason to expect in this world:

Man is brought to trouble --

He hits “stop” on the tape player. Silence. He slams

the gear shift into drive and tears out of the driveway --

65 EXT. GUN HILL ROAD - NIGHT 65

A narrow lane lined with dead hedges and garbage.

Keller’s pick up truck pulls up across the street from

HOLLY JONES’ HOUSE...

66 INT. KELLER’S TRUCK - PARKED - CONTINUOUS 66

Keller turns off the engine and watches the little

house...

62 CONTINUED:
62

67 INT. KELLER’S TRUCK - PARKED - LATER 67

Keller’s eyes have lost some of their steely focus.

He starts the truck, about to turn on his headlights

when:

The front door to the house opens, Holly Jones’ dog runs

out and close behind it is Alex Jones holding the leash.

Jones walks it to the edge of the yard, checks to see if

anyone’s watching, then lifts the dog by its leash and

lets it dangle while he taunts it under his breath.

Keller looks sickened by the display, but stays in the

truck. Jones lowers the dog back to the ground. And

while it gasps for breath, Jones stares up at the sky and

whistles a tune:

Jingle Bells, jingle bells, jingle all the way --

Keller grips the steering wheel. He takes a breath.

And gets out of the truck...

68 EXT. HOLLY JONES' STREET - CONTINUOUS 68

Jones doesn’t notice Keller stalking up behind him as he

walks beyond the last working street light into the

darkness.

KELLER:

Alex.

Startled, Alex turns around to see Keller aiming a pistol

at his head.

KELLER (CONT’D)

That song you were just whistling,

where did you hear it?

Jones drops the dog’s leash to the ground and it runs

off. He doesn’t look scared as much as quizzical, even

when Keller presses the gun to his head.

69 INT. JOY’S ROOM - THE BIRCHES' HOUSE - DAWN 69

Joy’s gerbil runs through a habitrail. Through the

window:
Keller’s truck pulls up, HONKS. Franklin jogs

out of the house carrying a back pack and gets in the

truck --

70 INT. KELLER’S TRUCK - CONTINUOUS 70

Keller drives. Franklin sits in the passenger seat, the

backpack on his lap, looking supremely confused.

KELLER:

Did you bring a change of clothes

like I told you?

FRANKLIN:

Yeah, are you going to tell me

why?

He notices Keller looks like grim death, eyes red.

His knuckles are wrapped in gauze.

KELLER:

It’s better if I just show you.

Moments later. They turn down a narrow side street lined

with slummy two story apartment houses.

Keller parks the truck and gets out. Franklin doesn’t

move.

KELLER (CONT’D)

Let’s go.

Franklin reluctantly gets out of the truck...

71 EXT. APARTMENT HOUSE - CONTINUOUS 71

Franklin follows Keller to the front door of a two story

apartment house. NO TRESPASSING. LEAD POISON.

CONDEMNED. There’s a padlock on the front door. Keller

has a key.

FRANKLIN:

You used to live here, didn’t you?

Keller nods and Franklin follows him inside...

72 INT. SECOND FLOOR APARTMENT - APARTMENT HOUSE -CONTINUOUS 72

Keller and Franklin walk inside. Wires hanging out of

the ceiling. Bare rafters. Cold air blowing through.

Franklin waits for an explanation. Keller is looking

around the place, like he sees things lurking in the

shadows that Franklin can’t.

A sound -- something CLANGING AGAINST A PIPE.

(CONTINUED)

FRANKLIN:

What’s that?

Keller walks to the closed bathroom door. He opens it,

then steps aside, beckoning Franklin. Franklin

approaches...

A gutted bathroom. JONES SITS IN THE SHOWER STALL, tied

to a pipe jutting from a hole in the wall, his head down,

duct tape over his mouth...

Franklin backs out of the room, pale-faced, he looks at

Keller, shocked.

FRANKLIN (CONT’D)

What the hell is this? What did

you do, Keller?

Keller pulls him into the next room and gets in his face.

KELLER:

I heard him whistling the same

song they were whistling on

Thanksgiving. I swear to God,

Franklin, the same f***ing song.

And I told you what he said in the

parking lot.

FRANKLIN:

So we take him back to the cops.

KELLER:

He’ll just clam up and act crazy

like he did last time. Someone

has to make him talk.

FRANKLIN:

What if you’re wrong? What if you

just heard what you wanted to

hear? I want my daughter back as

much as you do, but this isn’t

right.

KELLER:

We hurt him until he talks or

they’re going to die. That’s the

choice. I know what I heard.

Franklin looks back inside at Jones, perhaps thinking on

what horrible things he might have done to his daughter,

rage starting to take hold --

72 CONTINUED:
72

(CONTINUED)

KELLER (O.S.) (CONT’D)

He’s not a person anymore.

He stopped being a person when he

took our daughters.

Franklin turns to Keller, looking painfully conflicted.

FRANKLIN:

What about us?

Keller starts wrapping a rag tight around his knuckles.

KELLER:

I’ll do whatever it takes.

Franklin’s still face as he listens: Keller moving into

the bathroom, then...SMACK. Franklin winces, his face

quivering -- SMACK -- SMACK --

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