The Next Three Days

Synopsis: Life for John and Lara Brennan (Russell Crowe, Elizabeth Banks) is miserable after she is convicted of a murder she says she did not commit. Three years later while struggling with the demands of work and raising his son alone, John is still trying to establish her innocence. When her final appeal is rejected, Lara becomes suicidal, forcing John to exercise the only option he has left: Break her out of prison.
Genre: Action, Crime, Drama
Production: Lionsgate
  3 nominations.
 
IMDB:
7.4
Metacritic:
52
Rotten Tomatoes:
51%
PG-13
Year:
2010
133 min
$21,100,000
Website
840 Views


FADE IN:

1 INT. SUV -- DAY 1

No sound. We are in a speeding SUV. The passenger, LARA,

unsnaps her seat belt and reaches for the door handle. The

driver, JOHN, sees her door open and dives to GRAB her. The

SUV spins, HORNS BLARE, TIRES SCREECH, cars swerve to avoid

collision. We aren't sure what is happening, but we know

something has gone terribly wrong. Cut to BLACK. Read:

THE LAST THREE YEARS

2 INT. STEAK HOUSE -- NIGHT 2

Two couples sit at a table, picking at dessert, JOHN and

LARA BRENNAN on one side, MICK and ERIT on the other. JOHN

is attractive in a worn kind of way, but has the eyes of a

kid with a discipline problem. You have to really know him

to understand if he is mocking you or agreeing with you. He

is a master of irony and has a true enjoyment of the absurd.

LARA looks beautiful even in her wrinkled suit. She appears

to have had a hard day at the office. She's been drinking

at dinner; it hasn't eased her nerves. John's good-looking

brother, MICK, boasts his blue collar roots and a gorgeous,

if slightly trashy, girlfriend, ERIT, who isn't ashamed of

her body or sharing her opinions. JOHN and MICK are laughing.

Lara puts cash on the tray beside Mick's credit card.

*

*

*

*

LARA:

You know what? If you were smart

you would stop talking right now.

ERIT:

Sue me. I just know that women should

never work for women.

*

John laughs and applauds. Mick buries his head. *

LARA:

How can you say that??

ERIT:

They're always threatened. Especially

if you're beautiful and they're not.

LARA:

Erit, you are so full of sh*t.

ERIT:

So, your boss isn't threatened by

you?

(CONTINUED)

WHITE 9-10-09 2.

2 CONTINUED:
2

LARA:

Because she's a b*tch! -(

as John and Mick laugh) *

--Not because she's a woman.

ERIT:

And you would describe her as

"attractive"?

LARA:

That has nothing to do with it!

ERIT:

And there is my answer.

JOHN:

Either of you like another drink?

Lara shoots John a burning look as Erit builds on her victory.

ERIT:

Women should work under men, men

under women. That's it.

JOHN:

(egging her on)

But men under men?

ERIT:

That's fine, too.

(the men burst into laughter)

They're used to it! Why are you

laughing?

MICK *

(re:
Erit)

I don't know, bro, but I think I'd

rather work under you than her.

ERIT:

(insulted, shoots back)

Oh please, I'd rather work under

him, too.

That was a dig at Mick but Lara is primed for a fight. *

LARA:

You'd rather "work under" John?

ERIT *

You have a problem with that, too? *

(CONTINUED)

WHITE 9-10-09 3.

2 CONTINUED:
(2) 2

LARA:

No, why would I have a problem with

your little sexual innuendo?

*

*

*

ERIT:

What is up your ass tonight??

*

Mick throws John a "This is all your fault and now it is

going to explode" look. John feigns complete innocence.

*

*

LARA:

So, I shouldn't take offense that

you're coming on to my husband right

in front of me.

*

*

ERIT:

(claws out now)

Lara, if I wanted your husband I

would have him.

LARA:

How? You couldn't possibly show him

more of your tits.

The men are on their feet before blows are exchanged.

ERIT:

-- You know what your problem is?!

JOHN:

That was a great meal!

MICK:

Okay--okay!

*

3 EXT. STEAK HOUSE PARKING LOT -- NIGHT 3

Mick and Erit head toward Mick's sporty pickup.

Lara step into foreground, Lara still fuming.

John and *

JOHN:

She is completely full of sh*t.

LARA:

DON'T try and agree with me now.

JOHN:

You know what? I don't even believe

she is in the dental profession.

Lara knows this game; he is trying to get her out of her

black mood, and she has no intention of letting him.

Shut up.

LARA:

(CONTINUED)

WHITE 9-10-09 4.

3 CONTINUED:
3

JOHN:

I bet she can't even spell

anesthesiologist. Woman's a complete

fraud.

LARA:

We went to her office party, idiot.

JOHN:

I think she hit on me that night,

too.

Lara opens the back door of their black Prius and tosses in

the raincoat she was carrying. They climb in, under....

LARA:

You are completely delusional. She

wasn't even hitting on you in there;

I just don't like her.

JOHN:

I understand. People who look like

that should not be allowed anywhere

near oral surgery.

She feels a smile coming to her lips and tries to force it

away.

LARA:

You are such an a**hole.

JOHN:

You're in the chair trying to stay

calm; how are you supposed to do that

with those things hanging over your--

She can't stand how attractive he is in this moment -- she

stops him short by kissing him passionately. His hands slip

under her blouse; she tugs at his sweater.

JOHN (CONT'D)

Someone's going to --

Her hand goes to his pants. He yanks at the seat lever and

it goes crashing back, Lara landing atop him.

After a moment he sits up quickly and pushes down the visors.

She laughs and kisses him and they disappear into each other.

4 INT. BRENNAN HOUSE - BACK DOOR -- NIGHT 4

Lara and John enter, Lara carrying her raincoat, her hair

sticking up in the back, John's shirt untucked.

(CONTINUED)

WHITE 9-10-09 5.

4 CONTINUED:
4

Hello!

LARA:

JENNA, the teenage baby-sitter, sees right through them.

Did he cry?

LARA (CONT'D)

JENNA:

Only when I dropped him down the

stairs.

*

*

Lara shoots her a look, hangs up her coat and exits upstairs.

5 INT. BRENNAN HOUSE - UPSTAIRS HALLWAY 5

She peeks in her son's room, sees him sleeping soundly.

6 INT. BRENNAN HOUSE - FOYER 6

Lara comes down to find John paying Jenna. John nods for

her to check the mirror. She tugs at the knot in her hair.

Thanks.

JOHN:

See you next weekend.

Jenna exits. Lara shows him that his sweater is inside out.

John reacts:
"Oh God." Lara's smile broadens; she kisses

him. He pins her to the wall and they start all over again.

He feels for the light switch. He finds it; we cut to BLACK.

7 INT. JOHN AND LARA'S BEDROOM -- NIGHT 7

Lara wakes, troubled. It's the middle of the night.

8 INT. LUKE'S ROOM -- NIGHT 8

Lara finds Luke's window closed but unlocked. She locks it

and looks out. Satisfied, she sits and watches her son sleep.

9 INT. KITCHEN -- MORNING 9

Three year-old LUKE holds a knife and fork as he sits at the

table watching his dad cut up his pancakes.

JOHN:

Okay, your turn.

Luke skewers a piece with his fork.

to get to work.

Lara passes, hustling

JOHN (CONT'D)

Very good, very good...

(CONTINUED)

WHITE 9-10-09 6.

9 CONTINUED:
9

Luke puts it in his mouth.

JOHN (CONT'D)

No, no, no; you feed me.

(to Lara)

Your son is hopeless.

Lara grabs her phone and leans over them to take a photo.

LARA:

Squeeze in tight.

JOHN:

You can't do this every morning. It

is way too corny.

LARA:

Smile. It's just until he's eighteen.

It flashes. Lara kisses John, puts an alien-looking electric

toothbrush on the table & walks off to pour coffee to go.

LARA (CONT'D)

Present.

JOHN:

(examining it)

Sweetie, you have to stop believing

everything you read in a catalogue.

LARA:

You hate brushing your teeth; this

one brushes them in thirty seconds.

Rate this script:4.0 / 1 vote

Paul Haggis

Paul Edward Haggis (born March 10, 1953) is a Canadian director, screenwriter, and producer. He is best known as screenwriter and producer for consecutive Best Picture Oscar winners, 2004's Million Dollar Baby and 2005's Crash, the latter of which he also directed. more…

All Paul Haggis scripts | Paul Haggis Scripts

0 fans

Submitted by acronimous on July 26, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Next Three Days" Scripts.com. STANDS4 LLC, 2024. Web. 24 Nov. 2024. <https://www.scripts.com/script/the_next_three_days_254>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Next Three Days

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "MacGuffin" in screenwriting?
    A A subplot
    B A type of camera shot
    C An object or goal that drives the plot
    D A character's inner monologue