The Next Three Days Page #15

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


219 INT. GRACE AND GEORGE'S LIVING ROOM -- CONTINUOUS 219

George slips the tickets and passports out of the side pocket.

We do not see the destination, but he does. He opens the

passport and reads each of the false names.

WHITE 9-10-09 78.

220 INT. JOHN'S OLD ROOM -- CONTINUOUS 220

John brushes away tears, no idea how he could be acting like

this. He tries to wake Luke.

JOHN:

Hey. Hey, buddy.

Not a chance. John checks the old alarm clock: it's just

after three AM. He lies down beside Luke for just a moment.

221 INT. JOHN'S OLD ROOM -- NIGHT 221

John WAKES to the sound of a whistle. He checks the clock.

It's almost five. How could that have happened?

222 INT. GRACE AND GEORGE'S KITCHEN -- NIGHT 222

John helps a sleepy Luke with his jacket, pancake rolled in

his hand. John stands from the table strewn with food.

JOHN:

What do you say?

LUKE:

Thank you.

JOHN:

Give Grandma a big kiss.

LUKE:

I'm too tired to kiss.

JOHN:

Luke...

GRACE:

I'll get lots of kisses next weekend.

(to John)

We want to take him to the Harvest

Festival in Kutztown, where they

have the Clydesdales.

John thinks about saying something, can't. He watches Luke

give Grace a kiss.

LUKE:

Thank you, Grandma.

John turns to his father, who stands in the doorway.

His father holds out the jacket in silence. John takes it.

The airline tickets stick out from the inside pocket.

(CONTINUED)

WHITE 9-10-09 79.

222 CONTINUED:
222

John realizes the tickets have been moved from the bag. He

looks at his father, who gazes back at him in silence. John

can tell by the look in his father's eye that he knows.

JOHN:

Bye Mom.

They kiss. John's father stands behind him.

GEORGE:

Goodbye.

George grabs his son in an awkward hug. John is shocked.

He pats his father's back. They break.

JOHN:

(to Luke)

Let's go.

John leaves. The front door closes. Grace walks away.

223 EXT. DOWNTOWN STREET -- PRE-DAWN 223

John stands in the brightly lit, glass-walled kiosk of a

rental car company, the Prius parked at the curb, as the sun

threatens to break over the horizon.

224 EXT. STREET NEAR ALEX'S HOUSE -- PRE-DAWN 224

Nabulsi kneels beside a fire hydrant, using a shard from a

taillight to scrape at a smudge of flaking black paint.

Harris comes running up, out of breath, from the alley.

SGT. HARRIS

Neighbors saw a guy and a dog chase

a black car down the alley, so that's

probably his. We'll have the

taillight debris at the lab by the

time it opens.

LT. NABULSI *

Before. *

Nabulsi stands and hands him the large shard of glass. *

225 INT. JOHN'S BEDROOM -- MORNING 225

John packs a backpack -- two white lab coats, wire cutters,

a large screwdriver, two rolls of duct tape, the handgun,

insulin vials, etc.

WHITE 9-10-09 80.

226 INT. BRENNAN HOUSE -- MORNING 226

Luke sits on his bedroom floor, trying to cram a firetruck *

into his already full rollerboard. *

LUKE:

(calls)

Can I carry it?

John appears with a box of trash bags.

JOHN:

No. Just what fits in your bag. *

John hurries off.

LUKE:

....What about my pockets?

JOHN (O.S.)

Or your pockets.

Luke gives up on the truck and moves to his bedside table.

He digs his hand into the small jar of coins his dad gave

him and starts stuffing them in his pants pocket.

A quarter falls and rolls to the middle of the floor.

227 INT. JOHN'S BEDROOM -- MORNING 227

John takes a thick felt marker and writes two numbers on his *

wrist, right beside the watch. 15, and under it, 35. *

He then turns and stares at his wall, all the photos,

sketches, notes, wondering if he's forgotten anything. He

decides it is too late to worry. He loosens an edge of

wallpaper and starts tearing it all down.

228 EXT. BRENNAN HOUSE - GARAGE AND ALLEY -- MORNING 228

Luke sits in the back seat with their carry-on bags. John

tries to stuff all the garbage bags full of paper into the

back.

He picks the last off the floor and turns and walks out to

the alley. He looks around, then stuffs this final bag into

his neighbor's trash can.

229 EXT. RESIDENTIAL STREET -- MORNING 229

John tosses the last trash bags over the side of the dumpster *

that sits in front of a demolished house. As he closes the

tailgate we get a good look at the broken taillight. *

WHITE 9-10-09 81.

230 INT. PRIUS - DRIVING 230

He checks the clock on the dashboard and drives faster, taking

a quick glance at his son to see if he is okay back there.

231 EXT. REAR OF P.M.H LAB -- MORNING 231*

John sits in his car in the back alley, watching the parking

lot. The driver comes out carrying trays of test results

and puts them in the back of his van. John grabs the large *

wire cutters and screwdriver from his car and hops out. He *

takes a few steps to the rear of the one-story building,

pries open the phone box and snips the phone wires.

232 INT. P.M.H. LAB -- AT THAT MOMENT 232*

A clerk on the phone is cut off. She jabs the connection

key, does not get a dial tone -- looks to the lights on the

other phone lines and sees them go out as...

233 EXT. REAR OF P.M.H LAB -- AT THAT MOMENT 233*

John snips the last wire and hops back into the car. He is

moving before the van exits the parking lot.

234 EXT. NURSING HOME -- MORNING 234

The van driver hops out and heads into the nursing home as

the Prius pulls into the foreground. John turns to Luke.

JOHN:

Daddy will just be a minute.

John grabs his tennis ball.

235 INT. LABORATORY VAN -- MORNING 235

John holds his lab results between his teeth as he flips

through the envelopes. He finally finds Lara's envelope,

removes her report and replaces it with this one.

236 EXT. NURSING HOME -- MORNING 236

We watch through the windshield of the Prius as the lab van

drives off in the direction of the prison.

John tugs Carrie's birthday invitation from his pocket, flips

it open, checks the handwritten address.

237 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 237

Harris enters Lt. Nabulsi's cubicle to find him standing.

(CONTINUED)

WHITE 9-10-09 82.

237 CONTINUED:
237

SGT. HARRIS

Taillight matches any 2004-2009 Prius.

LT. NABULSI

(with a certain disgust)

What kind of a criminal drives a

Prius?

SGT. HARRIS

A socially responsible one?

(avoids Nabulsi's searing

look by reading the report)

Over a thousand of them registered

in the city, seven thousand in the

state.

LT. NABULSI

How many registered to felons?

SGT. HARRIS

Six in the state. Four of them to

embezzlers or white collar criminals,

one to a rapist, one to a murderer.

LT. NABULSI

Guess we start with the murderer.

SGT. HARRIS

She's in prison for life.

is out.

The rapist

Find him.

LT. NABULSI

238 EXT. NICOLE'S HOUSE -- MORNING 238

John stands with Luke, who holds a hand-wrapped gift.

knocks at the front door of a lovely small house.

Luke *

*

Hello?

NICOLE (O.S.) *

*

They see Nicole in the side yard, spreading a paper tablecloth. *

...Hi.

JOHN *

*

They move to help keep the tablecloth from blowing away. *

Thanks.

NICOLE:

Good to see you.

*

*

(CONTINUED)

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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…

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