Breakout Kings - Zen 134237

BREAKOUT KINGS"Pilot"byMatt Olmstead and Nick SantoraJanuary 1, 2010

BREAKOUT KINGS“Pilot”By Matt Olmstead and Nick SantoraTEASER/ACT ONEINT. PRISON - DAYCHYRON: Fishkill Correctional Facility -- Beacon, N.Y.Cons play cards, lift weights, buy drugs. Everyone’s justriding out their time. Everyone except...INT. PRISON CELL - SAME TIME... AUGUST TILLMAN (28). We’re TIGHT ON this bad-ass con’sface as it grimaces, sweats, becomes a shade of CRIMSON.REVEAL: from the bottom bunk he grips the bars of the bedframe above -- holding himself parallel like a gymnast.After he can’t hold on any longer, he drops to his mattress.He checks his watch, then removes a pencil stub and piece ofpaper from under his bunk. We get a good look at the STARTATTOO on his neck. He unfolds the paper to reveal a list ofincreasingly-longer times. This one... 3 mins. 45 sec.INT. PRISON INDUSTRIES - DAYTatted-up cons work for 12 cents an hour. Tillman puncheslicense plates. On the QT, he uses a sheet cutter to sliceoff the corner of a plate. He approaches a GUARD, shows the“defective” plate. Guard eyeballs it for a sec, then nods toa Recycle Bin behind him. Tillman approaches it, but doesn’ttoss the plate away; he slides it into a small, imperceptibleslit in the drywall. A stash spot.EXT. PRISON REFUSE COLLECTION - DAYCHYRON: One Month LaterTillman exits the Prison Industries building to empty a scrapmetalbin in a dumpster. As soon as he’s outside, he looksover at a FOOD SERVICE TRUCK across the area.ANGLE ON: Two food service EMPLOYEES bullshitting with thethree GUARDS on duty. This is it. Tillman reaches insidethe bin and removes a thick stack of 30 license plates.He hustles to the service truck. Once there, he unfolds thelicenses. They’ve been hinged together and painted dark grey.

2.Shoulder/ankle straps enable him to slip on this crudelyfashionedhalf-suit of armor. He hits the ground and slidesunder the truck. TIME CUT TO:EXT. PRISON FRONT GATE - DAYThe food service truck slows at the gate. A GUARD uses anextended mirror to inspect the truck’s undercarriage.ANGLE ON Tillman, holding himself parallel under the truck,just like he practiced. But the Guard sees nothing but metal.He waves the truck on. The driver beeps goodbye, drives off.EXT. RURAL ROAD - DAY - 4 MINUTES, 12 SECONDS LATER.The truck stops at a light. The MALE DRIVER whistlespleasantly. His FEMALE COWORKER rides shotgun. They hear aloud CLANG outside, look at each other curiously.MALE DRIVERWhat the hell was that?He reaches for the door handle to check it out just as thegrease-covered Tillman busts through the window. As thefemale employee SCREAMS we MATCH CUT TO:INT. U.S. MARSHAL SITUATION ROOM - DAYTillman’s MUGSHOT is front and center on a wall-sized screen.REVEAL 10 frustrated U.S. MARSHALS of varying rank staring atthe image. DIRECTOR KNOX, 50, addresses the room.KNOXNothing on this bottomfeeder?Deputy Director CRAIG BOLANDER, 40, steps forward.BOLANDERWe’ve got every local lawenforcement agency on alert --KNOX(pissed off)-- He’s broken through the initialperimeter, Craig. He’s down theroad by now.(to everyone)Room full of U.S. Marshals whocan’t find their asses with bothhands and a flashlight --(points to Tillman photo)This guy is Omaha all over again.CHARLIE (O.S.)I can get him.

4.Shea.SING SING GUARDSHEAI’m conducting business.SING SING GUARDYou’re being transferred.Off Shea. That got his attention.EXT. PRISON YARD - DAYCHYRON: Rahway State Prison - Avenel, N.J.Four TOUGH CONS play cards while a SLIGHTLY-BUILT CON acts asa cabana boy. Emptying their ashtrays and filling theirdrinks. One con taps his ash onto the slight con’s forearm.TOUGH CON #1Raise you two.The slight con shakes his head. Bad bet. A GUARD approaches.Lowery.RAHWAY GUARDANGLE ON the SLIGHT CONVICT: LLOYD LOWERY, 38, White, formerchild prodigy.RAHWAY GUARD (CONT’D)Pack it up. You’re shipping out.LLOYDOut of here?The guard nods. A beat, then Lloyd DUMPS the bucket of sandand cigarette butts in the middle of the poker table.LLOYD (CONT’D)Ciao, bitches.The TOUGH CONS jump up, pissed. As Lloyd is escorted off bythe Guard, we PRE-LAP a rough but enthusiastic rock band --CHRISTIAN PRISON BAND (O.S.)This train don’t carry no gamblers...INT. PRISON - MUSIC ROOM - DAYCHYRON: Coxsackie Correctional Facility - W. Coxsackie, N.Y.Five CONVICTS bash away at their instruments. KERRYGUNDERSON, 35, white, shifty, plays bass and “sings.”GUNDERSON..liars, thieves nor big shotramblers, this train is bound for...

5.A DOOR OPENS O.S. and the band immediately LURCHES to a stop.COXSACKIE GUARDGunderson.The Guard beckons with his finger. Off Gunderson, perplexed.INT. PRISON - CELL - DAYCHYRON: Muncy Correctional Institution - Muncy, PA.PHILOMENA “PHILLY” ROTCHLIFFER, 30, White, a Siren if thereever was one -- is packing up her belongings. A MALE GUARD,slightly panicked, enters the open gate.MUNCY GUARDI just heard. Where are theysending you?PHILLYI don’t know.MUNCY GUARDBut... when will we see each other?PHILLYEvery night when we close our eyes.As she finishes packing...MUNCY GUARDYou forgot the perfume. The one Irisked my job sneaking in for you.She stares at the perfume near the toilet.PHILLYRight. I wanted you to keep that.She turns to move out.MUNCY GUARDPhilly, if this is it, can I please-- finally -- kiss you?He leans in -- as Philly deftly slips to the side.PHILLYIt would just make it harder, Eric.She heads out. The Guard is left empty-handed -- once again.INT. UNDERGROUND GARAGE - DAYCHYRON: New York, N.Y.Shea, Lloyd, Gunderson and Philly stand, cuffed in 4-pieces,still in prison blues.

7.CHARLIEThis offer expires in 5 seconds.Now who’s in?Philly, Shea and Lloyd raise their right hands -- as far asthe four-piece irons will allow. SMASH TO:INT. TASK FORCE OFFICE - BULLPEN - MORNINGTillman’s MUGSHOT is up on The Board in this old warehouse inNYC’s Meat Packing District. Scores of unpacked boxes denotethat they’re still moving in. The whole gang has files onTillman - the cons, now uncuffed, peruse the documents.CHARLIEAugust Tillman. Six months into a25-year bid for killing a biker ina bar who called his wife a bitch.LLOYDThe biker called his own wife abitch, or Tillman’s wife a bitch?GRAHAMYeah, Tillman went around thecountry killing guys who insultedtheir own wives.(beat)It was Tillman’s wife you idiot.Y’know, I’d forgotten what a painin the ass you are.LLOYDI can’t ask questions?CHARLIE(plowing onward)Yesterday Tillman hid under a foodservice truck, beat the hell out ofthe two employees, stole the ride,dumped it a few miles away - nowhe’s in the wind.PHILLYAny lifelines? What aboutTillman’s wife?CHARLIEGwen Tillman... Got a restrainingorder the day after the murder,then a divorce when Tillman wassentenced. She’s since re-married.LLOYDThis Tillman’s got a full blowncase of PDC...(looks to Philly)Don’t worry, sweetheart, it’s not avenereal disease.

9.JULIANNEJon Phelps. Tillman ran with himin high school - they got poppedfor a D&D when they were 18...(a beat, then...)He was found at his home in Baltimorean hour ago -- beaten to death.Off Charlie and Graham sharing a look.EXT. RESIDENTIAL NEIGHBORHOOD - DAYSquad and unmarked cars parked in front -- police tape holdsback the neighbors. A rental SUV pulls up. Our team hopsout -- Shea, Lloyd and Philly now dressed in ND clothes.CHYRON: Baltimore, MarylandINT. PHELPS’ HOUSE - DAYCharlie leads the pack. DET. BENZYK, 35, spots Charlieapproaching and meets him -- palm first -- at the entry way.DET. BENZYKWhoa whoa whoa. Crime Scene’sabout to get started in there.CHARLIEU.S. Marshals.DET. BENZYKYou gotta wait a half hour.GRAHAMDid Maryland secede from the Union?Cause you think we would’ve heard.CHARLIEDetective... unless you want to addInterfering with a FederalInvestigation to your resume -- whichI promise you’ll be dusting off bymorning -- you’ll let us in. Now.A beat, then Benzyk points at Shea, Lloyd and Philly.DET. BENZYKAlright... but don’t tell methey’re U.S. Marshals.Charlie considers the cons a 1/2 beat, then...CHARLIEThey’re Special Deputies.

10.INT. PHELPS’ HOUSE - KITCHEN - MOMENTS LATERIt’s been ransacked. Our Team looks at the blood-smearedlinoleum where Phelps expired as Benzyk refers to his notes.DET. BENZYKNeighbor lady heard some yelling.In particular of note was the name“Shirley.” She also noticed ablack pick-up truck parked in frontfor a brief period of time.GRAHAMAny problems here prior toyesterday?DET. BENZYKNegative. We’ve never responded tothis address before.(beat)But we’ll get the perp crossinginto Mexico. A description of thetruck, along with a partial platenumber are out to the U.S./MexicanBorder agents.CHARLIEWhat makes you think he’s headedthere?DET. BENZYKThe dead guy told us.Benzyk reaches out, slams a cabinet door shut. There,scrawled on the door in Phelps’ own blood, is P.Vallarta.DET. BENZYK (CONT'D)Puerto Vallarta. A haven forfugitives. You’d know better’n meI guess.GRAHAMWhy not write the assailant’s name?DET. BENZYKGoin’ out on a limb here, but maybehe didn’t know it.GRAHAMHe did. They went to school together.DET. BENZYKWho cares why he wrote it? We got thelead, we’re following up.LLOYDIf I may... there’s a directcorrelation between mental acuityand physical strength. If Phelps wasable to process and write P.(MORE)

LLOYD (CONT'D)Vallarta, that would indicate he hadenough energy to crawl ten feet tothat phone and call 911. Survivaltrumps vengeance every time.(to Benzyk)Special Deputy Lloyd Lowery, U.S.Marshals. How ya doing.PHILLYIt’s a shade. A misdirect.Tillman wrote that, hoping it wouldthrow us off... He’s smart.SHEAConvicts, baby. Nothing to do butsit around all day and scheme it out.CHARLIESpeaking of sitting around all day,how ‘bout you three get to it.11.The group fans out as WE SLOWLY PAN DOWN to see a cell phone(with extended battery attached) duct-taped under an endtable. SMASH TO --INT. TILLMAN’S TRUCK - MOVING - SAME TIMETillman - having cleaned up since we saw him - has his cellphone on speaker as it rests on the console. A jammingdevice is attached to thwart detection.He listens to everything they’re saying, and he’s not happyhis Mexico misdirect didn’t take.DET. BENZYK (O.S.)Well... we got an alarm out on hisplate number, regardless.Hearing this, Tillman checks the rear-view mirror for cops,then pulls off onto a side road. SMASH TO --EXT. SIDE ROAD - MOMENTS LATERTillman reaches behind the front seat, pulls out the licenseplates he used to escape. They serve a second purpose. Heclips one free with tin snips, grabs a screwdriver, thenreplaces his license plate with a “new” one.EXT. PHELPS’ HOUSE - BACK PATIO - LATERGraham reviews the police report at an outdoor table. Charliepaces, on hold with Julianne. Lloyd reclines on a chaise,searching Phelps’ laptop. Philly exits the house ...PHILLYThis is a hustler’s house. Plainon the outside -- top-of-the-lineeverything on the inside.

12.LLOYDMight be right. Nothing on hislaptop shows any kind of employment.GRAHAMWow, that’s some expert insight.Thank God you guys were pulled outof the pen for this --CHARLIE(calm down, pal)-- Graham --GRAHAM-- The con-woman says DOA’s ahustler, but has no idea what hewas into. The Professor can’t findsquat on the computer --Graham spots Shea emerging from the house, holding a BIG BOX.GRAHAM (CONT’D)-- oh, and the gang-banger hasstarted looting the joint. What’sthat? A stereo?As Shea drops the box on the outdoor table...SHEANail polish remover.What?CHARLIESHEAFound it in the back closet.Unless Phelps was a tranny, he wasusin’ this for the acetone to takeoff ink from the dye pack they putin the cash when you rob a bank.Works like a charm. We need to belookin’ into bank robberies.(to Graham - fuck you)You’re welcome.CHARLIE (INTO PHONE)You get all that, Julianne?Shea takes a small plastic sleeve of cookies from the top ofthe box, pops one in his mouth.GRAHAMWhat the hell is that?SHEATasty goodness.GRAHAMPut ‘em back.

13.SHEAAll the times I got raided and copsstole from me -- cash, jewelry,product -- I can have a couple ofthis dead fool’s cookies.GRAHAMPut ‘em back or I’ll stick my handdown your throat and get ‘em myself.CHARLIE (O.S.)Shirley, New York.All four turn to Charlie, who holds his finger up for them towait for more as he listens to Julianne on the line.CHARLIE (INTO PHONE) (CONT’D)I’m going to put you on speaker.Charlie puts the phone on the table. Silence. Graham snapshis fingers twice.GRAHAMYou’re on, Jules.JULIANNE (O.S.)...right. Tillman used his debitcard to buy gas in Shirley, New Yorksix months before he was arrestedfor that bar fight. This was a yearand a half ago. Right around thetime of an unsolved bank robbery inShirley for 100 thousand dollars.Three suspects. Never caught.(beat)That’s-it-I’m-going-to-hang-up-now.CLICK. After a beat --PHILLYThree suspects in the robbery. Weknow two are high school buddies.We need a yearbook.(beat)But you were about to say the samething, right Graham?She takes one of Shea’s cookies, bites it with a flourish.INT. TASK FORCE OFFICE - JULIANNE’S OFFICE - DAYShelves covered with books/research; walls draped withmaps/schematics. On the TV is a paused image of a BREAKINGNEWS REPORT on Tillman’s escape. Julianne is cocooned inhere as she watches 5 monitors for tips/data all while on thephone with a NJ High School.JULIANNE (INTO PHONE)Yes, Class of ‘99.

14.SCHOOL OFFICIAL (OVER PHONE)We archive all of our yearbooks,Ms. Simms. We could mail you one --JULIANNE (INTO PHONE)-- oh, no, I need it immediately --SCHOOL OFFICIAL (OVER PHONE)Well from New York you can be herein less than 20 minutes if you takethe tunnel - or you can grab thePATH train...ON Julianne’s face as she inhales deeply.INT. GREASY SPOON DINER - DAYThe whole team. Post-meal. Charlie has his briefcase open --reviewing Tillman’s rap sheet. Graham’s at the next tableover, on the phone, staring at his laptop screen. Lloydpoints up at the wall-mounted TV where a news channel is on.LLOYDAnother shooting at the Hip Hopawards. Strange that there alwaysseems to be a firearms mishap at thisparticular awards ceremony, Shea.(hands out like a scale)Hip Hop awards? Shootings.Country Music awards? Noshootings. What’s the variable?SHEAKeep it up white shoes, you’ll seewhat the variable is.A WAITRESS drops the bill right in front of Charlie,continues on. He glances at it, looks to Philly...CHARLIESoup and salad?PHILLYWasn’t sure which I wanted; turnsout neither.LLOYDHigh maintenance, are we? Comparedto prison chow this is the FourSeasons.PHILLYIf you’d ever been to the FourSeasons you’d know there’s littledifference between this and prisonfood.CHARLIEOne starter and one entree, turds.Department’s watching every pennyon this thing.

15.Philly yanks a hair from Lloyd’s head -- which earns a wincefrom Lloyd -- and drops it in her soup. Philly signals toget the waitress’s attention.PHILLYThat’s someone else’s hair.Waitress shoots her a skeptical look.PHILLY (CONT’D)You want a DNA test?WAITRESS(half-buying it)I’ll take it off the bill, Ma’am.WAITRESS walks off. Philly looks at Charlie and winks.PHILLYAlways the boy scout. Y’know, whenyou declined my very generous offerwhen you finally caught me -- I’m notgonna lie -- that stung.CHARLIESave it for the 80-year-oldmillionaires in Boca, Philly.ANGLE ON Graham on the phone with Julianne.GRAHAMWhat’s taking so long? We’reburning minutes we don’t have.JULIANNE (O.S.)I, uh, had them scan the yearbookand email it to me...GRAHAMWhy didn’t you go get it?INT. TASK FORCE HQ - JULIANNE’S OFFICE - SAME TIMEAs a Progress Bar fills on her computer monitor signaling thedownload of the yearbook data, Julianne has her forehead onher palm. She doesn’t answer Graham’s question.INTERCUT THEIR CONVERSATION.A beat, then, Graham exhales, softening...GRAHAMC’mon, I recommended you for thisbecause you’re great at what youdo. Remember, you were top of yourclass at Glynco for a reason.JULIANNEThey threw me out for a reason too.

16.GRAHAMJules, me and Charlie’ve got to dealwith these three clowns, don’t gosouth on us --JULIANNE-- File’s sent. Check your inbox.Click. She hangs up, ashamed.SMASH TO - ONE MINUTE LATER. Charlie, Shea, Philly and Lloydall stand over Graham as they view the yearbook images.SHEANice mullet.LLOYDNice quote: A good plan, violentlyexecuted now, is better than aperfect plan executed next week.CHARLIEA coward like Tillman quotingPatton. Makes me want to puke.LLOYDHe fancies himself an Alpha Male.And if there’s one thing Alpha’sdon’t like; it’s when Beta’s defythem.GRAHAMSays here his only activity is AutoClub.Graham quickly scrolls through pages; comes across...SHEAThere, Auto Club. Three members.GRAHAMThere’s Tillman.... Phelps ... isthat our guy?CHARLIE(reads “the guy’s” name)James “Jimbo” Cantrall.Off Jimbo’s yearbook photo to --INT. JIMBO’S HOUSE - DAY-- the man himself. JAMES “JIMBO” CANTRELL (28, white) hasbeen knocked around and he’s terrified.CHYRON: Atlantic City, New JerseyCurtains are pulled. The TV is on O.S. Jimbo has his wristsand ankles tied to the arms and legs of a wooden chair.Tillman enters from the garage, lugging a tool box.

17.TILLMANI rubbed elbows with some sickindividuals in there, Jimbo. Hoo!Thank God for prison, that’s all Igotta say.(beat)Did learn a thing or two, though.Tillman opens the toolbox, takes out a hammer.TILLMAN (CONT’D)Now where is it?JIMBOI don’t know. I swear to God.TILLMANYou do know. And either you fess up...Tillman pulls out a large nail from the tool box and placesthe nail spike on Jimbo’s forearm. Jimbo’s eyes go wide.TILLMAN (CONT’D)...Or I turn you into upholstery.JIMBOAuggie, this is me. I’m your friend.A maniacal grimace as Tillman raises the hammer. As he bringsit down to the nail and Jimbo SCREAMS and we SMASH TO --END ACT ONE

18.ACT TWOEXT. STREET - JIMBO’S HOUSE - DAYCHYRON: Atlantic City, New JerseyCharlie, Graham and Shea exit the SUV. Philly and Lloyd arestill in the car.PHILLYCan you leave the keys so we canlisten to the radio?No.CHARLIEPHILLYWe’re not gonna run, Charlie.CHARLIEI know you won’t.(to Lloyd)We’re five blocks from the casinos,Lloyd. I sent every one a photo ofyour ugly kisser. You wouldn’t makeit past the first slot machine.EXT. JIMBO’S HOUSE - MOMENTS LATERGraham rings the door bell and knocks. Charlie and Shea aretrying to get a peek inside, but no dice, shades are pulled.ANGLE: a neighborhood kid watches from the sidewalk. After abeat, he bolts away on his skateboard.SHEAThe TV’s on.GRAHAMReally? You’re sure he’s not justfriends with Pat Sajak?SHEADidn’t think it was possible, but inthe three years since you busted meyou’ve become an even bigger prick.Charlie hands Shea a lock pick.CHARLIEDoor was open. We let ourselves in.Shea starts to work the front door lock.

19.INT. JIMBO’S HOUSE - MOMENTS LATERThe door pops open. Charlie, gun out, enters slowly; nods toGraham to go around through the living room. Graham peelsoff; as Charlie and Shea cautiously move down a hall...CHARLIEJames Cantrall. My name is U.S.Deputy Charles DuChamp.No answer. Charlie steps into the kitchen archway. He findsGraham standing next to Jimbo, nailed to the chair, a hugeknife sticking from his chest, blood pool under him. AsGraham kneels near the dead body...GRAHAMBlood’s shiny. Tillman’s been goneat least an hour.OFF Charlie - damn it, they just missed their guy.INT. RENTAL CAR - SAME TIMEAs Philly and Lloyd wait for the others, Lloyd rummagesthrough papers in Charlie’s briefcase...LLOYDSlot machines? What kind of dollarbuffetrube does Charlie take me for?Before they popped me, I’d be compedin any suite in Vegas. Five grand ahand on Blackjack, 10 on a roll oncraps. And not even think twiceabout... Philomena Rotchliffer?Lloyd pulls her special deputy credentials from thebriefcase, eyes wide. Philly snatches it from him.LLOYD (CONT’D)(loving this)How creative did the kids get onthe school yard?(off her silence)Lemme see... Philomena Rottweiller?Fill-Me-Uppa Scotch-Snifter?PHILLYFeel-My-Weiner Crotch-Sniffer.Okay? Happy now, you little creep?LLOYD(dead serious)I won’t tell anybody if you let mesee them.She looks at him, disgusted. Ring. Lloyd looks at his cell’sdisplay, grimaces. He quickly answers, turning to the side abit, trying to “hide” the conversation.

20.LLOYD (INTO PHONE) (CONT’D)Hello... yes... yes... Well, I’mworking ... I don’t know when I’llbe done...Philly watches. Lloyd whispers ever softer, more intense.LLOYD (INTO PHONE) (CONT’D)I’m not supposed to be on thephone, Mother...(beat)Are you drinking?... I heard icecubes. We’ve talked about this --Click. Clearly, Lloyd was hung up on. He turns to findPhilly just staring at him - all she can say is...Wow.PHILLYVOICE (O.S.)Don’t move an inch!A GUN is pointed through the window at Lloyd. He looks up interror to see a YOUNG LOCAL COP aiming his piece at him.OFF Lloyd and Philly, hands up.INT. JIMBO’S HOUSE - MOMENTS LATERCharlie takes photos of Jimbo.GRAHAMCar was parked and ready to go. Healmost made it out of here beforeTillman got him.VOICE (O.S.)Hands where I can see ‘em!Graham enters from the garage.Charlie and Graham turn to find Philly and Lloyd being ledin, cuffed, by...YOUNG LOCAL COPDon’t move!CHARLIEEasy, pal. Charlie DuChamp, U.S.Marshals. Let me reach for my ID --YOUNG LOCAL COPI said don’t move --CRACK! Shea lunges from a back hall, PUNCHES the cop, thenSMASHES him face-first into the wall. As the cop collapses --LLOYDWe’re gonna get in trouble for that.

21.INT. JIMBO’S HOUSE - DAY - LATERThrough the window, we can see Charlie (with Shea next tohim) talking down a group of local cops on the front lawn --as the young cop holds an ice pack to his swollen face.Philly and Lloyd step forward -- gingerly -- for their firstgood look at what happened to Jimbo.My god...PHILLYLLOYDI’ll be in the car.GRAHAM (O.S.)Keep your ass right there.Lloyd turns, sees Graham enter with a crowbar. As Grahamsteps to Jimbo and slides on latex gloves...GRAHAM (CONT'D)Take a good look. Both of you.(beat)The next one might not be anaccomplice. Maybe just some poorschmuck who gets in Tillman’s way.Graham kneels next to Jimbo’s body, grabs the crowbar.GRAHAM (CONT'D)Remember this.As Graham wedges the claw of the crowbar under the nailheadprotruding from Jimbo’s thigh...LLOYDWhat the hell are you doing?GRAHAMCell phone’s in his back pocket and Ineed to check his call history. Andthere’s no time to wait for the M.E.Lloyd and Philly wince as Graham leans in to put some musclebehind the nail-removal. But before he does, he double-takesat something O.S...We follow his gaze to UNDERNEATH AN END TABLE where somethingis taped down tight. Graham slowly approaches, quietly turnsthe table over. Lloyd and Philly see this, approach.They stand over the table, looking down at a cell phone tapedto its bottom, with a device plugged into one of its ports.POV of phone LOOKING UP at the three LOOKING DOWN at it.PHILLY(whispering)That’s a jamming device so we can’ttrack his phone’s location.

22.Graham looks out to Charlie in the front yard. Charlie wouldprobably advise him against what he’s about to do. Fuck It.He slowly leans in toward the phone, pissed.GRAHAMHey Tillman, you hear me you son ofa bitch? ...INT. TILLMAN’S TRUCK - DAY - SAME TIMEAugust Tillman drives and listens.GRAHAM (OVER PHONE)... We’re gonna get your ass.A beat, then Tillman leans in, turns off the phone. WE PANOVER to an open notebook on the passenger seat. Written onit is Charlie DuChamp. U.S. Marshall.BOLANDER (PRELAP)Assaulting a police officer inAtlantic City?INT. CHARLIE’S OFFICE - DAYBolander tosses a REPORT onto Charlie’s desk.CHARLIEDaniels thought we were in danger.BOLANDERI do not want those convicts goingout in the field again.CHARLIEThen there’s no point in havingthem. Trust me, Graham and I havea handle on this.BOLANDEROh, the great Graham Weston. How’sold Wild West enjoying this set-up?CHARLIEI’ll send the cop in A.C. a fruitbasket. But now we’re done.Charlie moves to head out, but Bolander stops him with...BOLANDERListen Charlie, I know some peoplepussy-foot around you on account ofwhat you’ve been throughpersonally. Me? I don’t care.Especially after you went over myhead to the Director. Socongratulations pal, now it’s yourass on the line.(MORE)

23.Bolander exits...BOLANDER (CONT'D)Cause when this little circusyou’re running blows up, I’m gonnahave your badge.INT. TASK FORCE - BULLPEN - DAY - LATER...and storms out. The rest of our team is huddled around amonitor and The Board. They watch Bolander go for a beat,then Charlie exits his office, approaches.GRAHAMHe just find out he got cut fromthe department softball team?CHARLIEPlease tell me you have something.GRAHAMWe might. Julianne got the FBIfile on the bank robbery today.Turns out 400 grand was taken, theyjust told the media it was 100.CHARLIEAnd that means what?SHEAMeans maybe Tillman hasn’t gottenall the money yet. Think about it -Jimbo’s car was packed - so oddsare the money was in there whenTillman arrived, but he stilltortured the guy. He wantedinformation.PHILLYA first time bank robber and hishigh school pals don’t pull off aperfect, one-time heist for 400Kwithout some inside help.GRAHAMCheck this out. Jules?Julianne presses some keys. A bank surveillance video comesup on the screen.GRAHAM (CONT’D)That’s gotta be Tillman.On the film, they watch a masked Tillman order a femaleteller to get money. She hesitates. A male tellerapproaches to calm Tillman down and gets cracked across theskull with the gun.The male teller crumples to the ground -- then the femaleteller finally complies. Graham points to the female teller.

24.GRAHAM (CONT’D)Sarah O'Leary. FBI red-flaggedher. Quit two days after the holdupand in the weeks leading up tothe robbery, she got repeated callsfrom an untraceable cell phone.LLOYDMost likely Tillman making planswith her.CHARLIE(no shit)Ya think?GRAHAMFeds arrested her - held her for aday but didn’t have enough to makea case, had to let her go.CHARLIEI’m gonna need her add--Julianne hands him a piece of paper with an address.JULIANNEShe lives in Astoria now.SHEACool, so while you and Graham aredoing that, maybe I can have my wifeand kid come by. They’re just overthe bridge and I haven’t seen ‘em intwo months.Charlie steps to Shea.CHARLIELet me put this in prison parlanceso you’ll understand: You’ve gotnothing coming.(to all)In the car. Everybody.INT. COMPUTER STORE - DAYTillman uses the internet courtesy of a floor model computer.He’s on the U.S. Marshal’s 15 Most Wanted Fugitives site --staring at his own mugshot. He sees mention of hisdistinctive, star tattoo on his neck.He looks around, tugs up his shirt collar self-consciously.Then he starts a new search and types in CHARLIE DUCHAMP.Tillman scrolls until he finds what he’s looking for.HIS POV: Headline: Fugitive Kills Five Omaha Students.There’s a picture of Charlie, giving a news conference.Tillman enlarges the picture. TIGHT ON Tillman staring atCharlie’s image.

25.EXT. SARAH’S ROW HOUSE - DAYCharlie and Graham at the front door. Graham knocks. A BIGdude, CAZ, answers the door.CHARLIE(flashes his badge)Deputy Charlie DuChamp. We’d liketo talk to Sarah O'Leary.About?CAZCHARLIEThe Shirley bank robbery. Is thata problem?CAZShe’s already been questioned.As Graham opens the door and steps in...GRAHAMNot by us. May we?CAZDoesn’t look like I have a choice.INT. SARAH’S ROW HOUSE - CONTINUOUSCharlie and Graham enter the ALCOVE.CAZShe’s in the bathroom. Sarah! Thecops got more questions.(back to our guys)What do ya need to know; maybe Ican help.CHARLIEWere you present for the robbery?No.CAZCHARLIEThen you can’t help.Awkward beat, then...CAZDeputy? That’s kinda High Noon.(to Graham)Who are you, the Sheriff?CHARLIEWhy don’t you stop asking dumbquestions and go get your girl?

26.GRAHAM(realizing)‘Cause she’s not here any more.Like clockwork - SCREECH! They spin to the door to see a cardriven by SARAH skid out of a side alley and peel off!GRAHAM (CONT’D)She’s running!As Graham and Charlie move to the front door -- they hear aguttural scream. They turn just as the hulking Caz blindsidesGraham and drives him into the wall -- denting thesheetrock and knocking two framed pictures to the floor.As Charlie jumps in, landing some punches on Caz --EXT. BREAKOUT KINGS SUV - SAME TIMEPhilly, Shea and Lloyd -- who points at Sarah’s passing car.LLOYDThat’s the teller!Philly looks up at Sarah’s house.PHILLYWhere the hell are they?Just then, the entwined mass of Charlie, Graham and Caz burststhrough the front window and onto the lawn.LLOYDWho are we rooting for?PHILLYShea, do something.I am.SHEA (O.S.)ANGLE: Shea’s hot-wiring the car. As it roars to life --SHEA (CONT’D)They can handle themselves.(throwing it in gear)We need that chick.SCREECH -- as Shea peels out.EXT. STREETS OF ASTORIA - MOMENTS LATERShea’s a sick driver. He spots Sarah ahead, floors it,weaves through traffic. Philly holds on tight as Lloyd curlsup in the fetal position in the backseat.

27.SARAH O’LEARY, 27, spots Shea giving chase - cuts through agas station. Shea jerks the wheel, slicing through 3 lanesof traffic to keep up. Philly buckles herself in.Shea soon pulls alongside Sarah, both going at least 75. Hewedges her between his car and concrete construction barrierslining the shoulder. Sarah has nowhere to go.SHEAWhere ya goin’ now?!Philly looks - they’re racing toward the massive steelabutment of Hell Gate Bridge which spans the East River.PHILLYWe’re gonna run into the bridge!SHEAWe won’t. She will!The cars race closer and closer - only 50 yards away now.PHILLYYou’re gonna kill her!SHEAOr she’ll stop! Her choice!The bridge gets closer. Philly closes her eyes tight, then:SCREECH! Sarah slams on the brakes. So does Shea. Both carssmoke to a halt, just feet from the abutment. Shea hops outof the car, approaches a spent Sarah.SARAHI hate you cops.SHEAOh, I ain’t a cop.OFF Sarah, confused.INT. BREAKOUT KINGS OFFICES - INTERROGATION ROOM - DAYSarah is grilled by Charlie and Graham -- both scraped up.Philly and Lloyd watch via the two-way window in the bullpen.CHARLIEYou’re gonna be a hell of a lotsafer if you get straight with us.SARAHI’ve been as straight as the GWBridge. I didn’t rob any bank.CHARLIEOf course you didn’t. That’s whyyou Grand Theft Auto’d your wayacross Queens -- and your boyfriendBigfoot’s in County right now.

28.SARAHYeah, cause I was already locked upand questioned over this crap, when Ididn’t do anything. So you can allkiss my Irish ass.GRAHAMTillman’s after you, darling. He’shell-bent on getting the rest of themoney. So if you don’t help us findhim, he’s gonna find you. And you’llbe in a spot much worse than this.SARAHI already told you, I don’t knowwho the hell Tillman is.Graham rubs his face, looks to Charlie; they’re not sure whatto believe. Charlie walks to the door, beckons Lloyd with afinger. Lloyd approaches the room, cracks his knuckles.EXT. BREAKOUT KINGS OFFICES - DAYShea’s in a private nook outside the offices. On his cell.SHEA (INTO PHONE)They say a month for everyfugitive, so we catch twelverunners and I only get a year off.TIA (O.S.)That’s right. So bust your ass forthese guys.INT. APARTMENT - SAME TIMEShea’s wife, TIA, 27, Black. INTERCUT THEIR CONVERSATION.Or...Or what?SHEATIASHEAI don’t know. It’s nice gettingfresh air again. And knowing youand Drew are so close...TIANo more running Shea. I won’t goback to that. So don’t even joke.SHEAThis ain’t a slam dunk, baby. Ifone of the other guys runs, I endup doing double my time. It’s --

29.A beat, then --TIA-- our last chance. This works,you can get home to us yearssooner. Years.SHEAYeah. Alright.TIAI love you, baby.SHEALove you, too.Shea disconnects the call. Off him, conflicted.INT. TASK FORCE - INTERROGATION ROOM - SAME TIMEPick up mid-questioning; Lloyd sits across from Sarah, lovesbeing the center of attention. He speaks quickly.LLOYDAnd on the day of the robbery, whatdid you have for breakfast?What?SARAHI don’t know... a bagel.LLOYDOkay, and when the gun was producedwhat did you see?SARAHA gun pointed at me.LLOYDAnd behind the gun?A man?SARAHLLOYDBehind him?SARAHI was looking at the gun.LLOYDScary stuff, huh?Yeah.SARAH

30.LLOYDThat morning, after you got up, gotdressed, ate your cereal, brushedyour teeth, left for work - younever thought anything like thatwould happen, did you?SARAHNo... and I had a bagel.Lloyd nods, Sarah didn’t fall for the trap.LLOYDMy mistake. Back to the robbery,what was the first thing that wentthrough your mind when you saw thewho farted?The room goes still.CHARLIEExcuse me?LLOYDWas it you, Charlie, ‘cause someonecut the flounder and it’s comingfrom your general direction.CHARLIEAre you --? No.GRAHAMJust do your job.LLOYDHard for me to do my job -(waving his hand)- in what’s now basically a hostilework environment --SARAH-- then crack the damn door. Let’sjust get this over with cause Ididn’t help rob any bank!Lloyd looks at Sarah, a glint in his eye - success -- as he’syanked out of the room by Graham.INT. TASK FORCE BULLPEN - CONTINUOUSOutside of the room, Graham and Charlie get in Lloyd’s face.GRAHAMYou think this is a game?(to Charlie)Just send his ass back to prison.

31.LLOYDA guilty person LOVES whenattention shifts away from them tosomeone else. If she was involvedin this crime, she’d be happy tosit here all night talking aboutbodily functions. But she wantedto get back to convincing you she’sno criminal. So much for your“inside man” theory, Philomena.PHILLYNo. We just have the wrong bankemployee.Philly, who’s been at her desk waiting to hear the verdict onSarah, now presents her back-up theory.PHILLY (CONT'D)Those “red-flag” calls into Sarah?Another Tillman misdirect. Sheanswers, he hangs up, instantsuspicious call. Wanted everyoneto look at her, so they wouldn’tlook at someone else.Philly moves to the monitor, taps a frozen image of the bankheist, specifically the male teller who got pistol-whipped.PHILLY (CONT'D)And who would ever think to look atthe hero teller who comes to alady’s aid?(beat; refers to report)Kyle Ferro. Left the bank twomonths after the robbery. Nocurrent address.Charlie moves over to The Board, points to Kyle Ferro.CHARLIEIs this our inside man?As we PUSH IN on the grainy image of Kyle Ferro we reach --INT. AUGUST TILLMAN’S TRUCK - DAYOff the interstate, Tillman, on the phone has a curling ironplugged into his truck’s cigarette lighter.TILLMAN (INTO PHONE)Hey... Could be better. U.S. Marshalsare starting to put it together ...Don’t worry about me. Just get yourass to Richmond.He hangs up, then spits on the curling iron. The sizzleconfirms it’s hot. He takes a deep breath, brings the ironto his neck -- to burn off the tattoo. SMASH TO --END ACT TWO

32.ACT THREEINT. TASK FORCE - JULIANNE’S OFFICE - DAYLloyd studies Kyle Ferro’s Bank ID photo, blown up on one ofJulianne’s monitors. Julianne, uncomfortable, sits nearby.The printer spits out the last page of a chosen document.Lloyd takes it, but stares at Julianne. She hasn’t made eyecontact since he’s been in her office.LLOYDMinimal interaction, no eyecontact, cluttered workspace tomake you feel cocooned and safe...How long have you had socialanxiety and panic disorder with,I’m guessing, a twist ofdepression?Julianne stares straight ahead.LLOYD (CONT'D)Let me guess: family history, youwere diagnosed around 18 or 19, andit really reared it’s ugly headabout 5 years ago.(beat)Don’t deny it, I can see from yourbody language you can’t wait for meto get out of here.JULIANNEThat’s because you’ve been lookingdown my blouse this whole time.LLOYDCorrect. But that’s because Isuffer from Matriarchal Dependencywith tangential Mammary Fixation...See? I know what’s wrong with me.JULIANNEDid you get all you need? Becauseif so, you can leave now.Lloyd gathers his printouts, and is about to head out, butstops, softening.LLOYDGroup therapy and shrink visits, it’shogwash. It’s in their financialinterest for you to stay afflicted.Walk one block out of your safe zone,sit on a park bench, and ask astranger for the time. Do thattwice. Next week? Three times.(beat)Quit waiting for a wrecking ball toknock this down. A crack in thedyke will do.

33.The door opens and Graham enters. He looks at Lloyd, thenJulianne -- who’s wide-eyed and breathing heavily.GRAHAMWhat are you doing in here?LLOYDMy job. Isn’t that the idea?Graham motions for Lloyd to follow him out.INT. TASK FORCE - HALLWAY - CONTINUOUSAs soon as the door closes, Graham puts his palm on Lloyd’schest -- bringing Lloyd to an immediate halt.GRAHAMWhat did you say to her?LLOYDJust gave her some pro bono advice.GRAHAMLemme return the favor. Don’t evertalk to her about anything otherthan work. Understand?Lloyd stares at Graham, then looks at Julianne’s office door.A sly smile forms on his lips --LLOYDAwfully protective; wanna talkabout it?GRAHAMY’know, for a child prodigy, youthink you’d be smart enough to knowwhen to shut the hell up.Graham slaps Lloyd’s cheek a few times, Godfather-style.That simple move takes the cockiness right out of Lloyd.GRAHAM (CONT’D)Move your ass.Lloyd nods and heads into the bullpen.INT. HOUSE - LIVING ROOM - DAYTILLMAN sits, sips a glass of milk. A fresh burn on his neck-- no more tattoo. Staring directly ahead -- he sets themilk down on the coffee table -- right next to his GUN.HIS POV: A woman, KATRINA, 35, sits on the couch next to her12-year-old daughter, ALYSSA. They’re terrified.

34.KATRINAI could try Kyle on his cell, andyou could talk to him.TILLMANYeah thanks, but then Kyle mightcall the authorities, and I can’thave that.(beat)We’re gonna wait till he gets homeand settle this in-house.(to Alyssa; smiling)Thanks for the milk.OFF the mother and daughter.INT. TASK FORCE - BULLPEN - DAYGraham, Lloyd and Philly review the documents pertaining toFerro. Charlie runs the room. Shea doodles at his desk.CHARLIESo Ferro just falls off the grid?SHEAIt’s easy if he’s cash heavy.Don’t renew your driver’s license,no credit cards, rent or shack upwith someone else. Hell when I wason the run I was living in the openas Joe Civilian -- governmentdidn’t know me from a load of wood.GRAHAMUntil I busted your door down in St.Paul. At which point I definitelyknew you from a load of wood.CHARLIELowery - you’re the one with moredegrees than a thermometer - whereis he?LLOYDThis is a guy who needs a lifeline.Three clubs in high school, trainerfor the football team -- that’sprobably how he got lured into theheist, the desire to be a part ofsomething. Dependent PersonalityDisorder -- very common amongstLatinos, FYI. Believe me he’s notgoing to pull a Unabomber and moveto Montana and eat turnips.CHARLIEBut he’s got no wife, no kids,parents are dead...

35.PHILLYRight here: He has a brother namedFrank. Frank opened a bar sixmonths after the heist.Without looking up from his doodle...SHEAA good place to launder money.PHILLYThat’s right.CHARLIEWhere’s the brother live?She scans the piece of paper, finds it.PHILLYRichmond, Virginia.Charlie checks his watch.CHARLIEWe can be there in an hour.Moving past Shea’s desk, Graham glances down.GRAHAMWhat the hell’s that?SHEALook, if we’re gonna do this thenwe need a nickname for our crew.He holds up his offering in the way of company logo:Phugitive Phinders is written in graffiti-style font.PHILLYPhugitive Phinders?SHEABask in it.LLOYDHow about Manhattan Misspellers?Graham takes it, looks at it, smiles and nods. Then hecrumples it up and tosses it in a waste basket.GRAHAMLess arts and crafts. More kickand ass.CHARLIE(to all)Our window’s closing. Not only oncatching Tillman, but on all youasswipes. We don’t get him; thisis over; you’re over. Understand?

36.PAN the team - it’s clear they understand the stakes. Allbusiness, he turns and walks out.EXT. BAR - DAYCharlie and Graham approach this working-class, non-trendypub. The Towne Lounge.CHYRON: Richmond, VirginiaINT. THE TOWNE LOUNGE - MOMENTS LATERCharlie/Graham enter, look around at the sparse afternooncrowd. They approach the bartender (White, 35) no-nonsense.CHARLIEU.S. Marshals. Frank Ferro?Frank suddenly turns into comedian. He holds his hands up.FRANKShe said she was eighteen! Swearto god!(big laugh, then --)What can I do for you guys?CHARLIEWe’re looking for your brother, Kyle.FRANKWhat’s wrong? Is he in trouble?GRAHAMNo no no. That bank deal up in NewYork? We’ve got some moreinformation that his co-workermight’ve been in on the robbery.FRANKHe’s been back-packing through Asiathe past 6 months. That robberyreally threw him for a loop; he’sbeen trying to clear his head.GRAHAMBack-packing through Asia. I wish.FRANKAin’t that the truth.CHARLIEAlright, well if you hear from him.Charlie puts his card on the bar. Frank picks it up.FRANKAbsolutely.

37.Graham and Charlie head out. Frank watches them go. REVEALShea at the end of the bar, nursing a beer.INT. RENTAL SUV - DAY - MOMENTS LATERPhilly and Lloyd are in the back seat. Charlie and Grahamget in front. Graham’s on the phone with Julianne.Well?PHILLYCHARLIESays he doesn’t know where hisbrother is.LLOYDWow. We kind of knew that back inNew York. Great idea coming here.CHARLIEHe was too friendly. He knows.The back side door opens and Shea hops in.SHEASoon as you left he made a call onhis cell.GRAHAM (INTO PHONE)Alright thanks.He disconnects the call.GRAHAM (CONT'D)Frank’s cell must be disposablebecause Julianne says he doesn’thave one registered in his name.There’s no records to dump.(beat)We need his physical phone.SHEAHell, I can get you his cell andhis fillings in five minutes.GRAHAMAnd as soon as you’re gone he callshis brother and alerts him.CHARLIEPlus, our director says you’relimited to one assault per case.PHILLYI can get his phone, but...(points at her clothes)I’ll need 500 for a new outfit.CHARLIEYou can buy it yourself.

38.PHILLYYou guys froze all my accounts whenyou caught me. I don’t have twonickels to rub together. And nooffense to your fashion taste, butthe clothes you picked out make melook like an 80-year-old lesbian.Charlie peels off some bills.CHARLIETwo hundred. Make do.As he fires up the SUV and drives off.EXT. MOTEL ROOM - DAYPOV of a TRUCK idling in the parking lot; REVEAL Shea watchesthe truck from the railing. He scans the parking lot -- he’scontemplating it. THEN, Lloyd steps into frame behind Shea,observes him for a beat, then...LLOYDLet me tell you about a study I didwhen I was teaching at theUniversity - I gave five-year-oldsa choice between a nickel today ora dime tomorrow. They all took thenickel. Point is, children have ahard time delaying gratification.And, if we’re being intellectuallyhonest, so do your people.SHEAWhat’s that now?LLOYDCome on - Hey, just got mygovernment check, lemme go get somebling and new rims.SHEAYou’re a straight up racist.LLOYDI’m a factist, and the fact is Isee in your eyes that you’recontemplating jumping on that truckand making a run. Don’t take thenickel dummy. Let’s ride this out,finish our time; then we can all befree at last, free at last.SHEAThis how you wanna spend the next10 years? Charlie and Grahamkeeping you on a leash?Lloyd steps to Shea, actually gets up in his face a bit.

39.LLOYDI want a shiny dime, pal! And Ididn’t get 10 years - I got 25. Andit’s a helluva lot different insidefor a guy like me than it is foryou. And I’m not going back.Beat - Shea’s taken aback by this information.SHEA25 years? What the hell’d you do?Lloyd looks away, his demeanor changes.LLOYDNone of your business.The sound of the truck pulling away makes them look back.LLOYD (CONT’D)And there goes your ride.SHEAYeah, well the kids thought thenickel was worth more ‘cause it’sbigger than a dime. Your study wasgarbage.Lloyd takes this in a beat, then the sound of Philly exitingthe bathroom makes them turn. She’s all sexed up and HOT ASHELL. Shea and Lloyd stare, speechless.PHILLYI’m ready ... and you can closeyour mouths now.OFF Philly, smoking hot.INT. BAR - DAYLloyd and Philly at a corner table. Philly looks over at thebar and smiles coquettishly at Frank. Frank looks at Lloyd.Unthreatened, he looks at Philly and smiles back.LLOYDWe need to show some kind ofaffection if we’re going toeffectively convey being a couple.PHILLYYou can put your hand on my thighfor five seconds.Lloyd swallows the cotton in his throat, then gently placeshis hand on her thigh. As he moans...PHILLY (CONT'D)Any further north and you’repulling back a stump.

40.A beat as Lloyd enjoys the touch, then --She leans in close.LLOYDUnpleasant childhood... maybe somedaddy issues? Beyond that, I can’tfigure you out, Philly.PHILLYYou never will.Frank looks over at Philly from behind the bar. They lockeyes. Philly removes Lloyd’s hand and moves to the bar whereFrank gives her the once over.FRANKWhat’re ya drinking?PHILLYSo-co, rocks.As Frank pours the drink...FRANKYour husband’s staring at us.I know.PHILLYPhilly takes out an ice cube, pops it in her mouth, sucks it,then pulls it out with her fingers - gulp.PHILLY (CONT’D)He likes to watch.OFF Philly - regrettably -- as we TIME CUT TO:INT./EXT. OUTSIDE MOTEL/CAR - DAYCharlie/Graham in the front seat; Shea in back, writing on anotepad. They stare across the parking lot at Philly’s room.SHEAAnd this’ll work? Some dude’s gonnawatch his old lady get tagged byanother dude? I mean, thatactually goes down?GRAHAMApparently.SHEASaid it before and I’ll say itagain: White people are crazy.(then)Alright, if we’re gonna do this,let’s do it right. Ready?

41.Shea tears out the paper he’s been writing on, displays hishandiwork -- the latest group nickname nominee, once againdone in elaborate graffiti style: BREAKOUT KINGS. Grahamand Charlie look at it, then look at each other.GRAHAMIt doesn’t make any sense. We’renot breaking out.CHARLIEBreakout-Apprehension Kings, maybe.SHEASee, this is why I was clearin’seven figures while ya’ll wereclippin’ coupons. I got vision.GRAHAMDoesn’t make any sense.Shea, undeterred, leans back in the seat and spreads hishands out, like envisioning it on a t-shirt...SHEABreakout Kings...INT. MOTEL ROOM - SAME TIMEOn Frank, leaning back in his chair...Slower.FRANKANGLE ON Philly who slowly unbuttons her blouse to reveal ablack, lace bra that is distracting me as I type this. Frankmotions with his finger for her to drop the pants. She does.FRANK (CONT’D)I saw what you could do with an icecube... let’s see if it translates.Philly moves in like a lion on a zebra, grabs the back of hishead, wraps a leg around him, nails him with a knee-bucklingkiss. Her hands move down his back, over his ass... we SEEHER LIFT FRANK’S CELL PHONE and slide it into her panties.PHILLYI’ll go tell Morty we’re ready...FRANKDon’t be long, ‘cause I’m lockedand loaded, sugar.Philly moves to the door that connects the rooms, enters ...

42.INT. MOTEL - LLOYD’S ROOM - CONTINUOUSPhilly closes the door behind her. Lloyd takes one look ather practically naked; his eyes grow wide. He swallows asshe reaches into her panties and removes the cell phone ...LLOYDThat’s one lucky piece ofelectronics.... and quickly begins scrolling through it.Dammit.cleared.PHILLYHis call history’s beenThe adjoining door begins to open. Philly spins, holds thephone behind her back.FRANKHey, we doin’ this or not?PHILLYI’m coming right in handsome --Frank’s cell RINGS - and it’s his distinctive ring tone! Hereaches behind Philly, yanks away the cell phone.FRANKWhat the hell?Lloyd runs for the door. Frank grabs him, slams his head intothe wall - Lloyd collapses to the floor. Frank turns to acornered Philly, squeezes her by the neck and slams her backagainst the wall.FRANK (CONT’D)Who the hell are you?Off Philly, in a very bad spot.END ACT THREE

43.ACT FOURINT. MOTEL - LLOYD’S ROOM - DAYFrank’s grip has grown tighter around Philly’s neck.FRANKStart talking.PHILLYI work... for the... government...Frank, pissed, squeezes harder.FRANKYou’re a Fed like I’m a ballerina.PHILLYI’m... a... con... they hired me...Frank doesn’t know what to believe. He tosses her to the bed- next to her, on the floor, Lloyd rubs his head, sits up.FRANKThe con part I believe. Talk oryou both leave here in zip-ups.PHILLYThey gave us a deal - we help themcatch fugitives, they trim our bids.LLOYDShut the hell up.FRANKWhat’s this gotta do with me?PHILLYMy boss is after a guy namedTillman. Thought you might knowsomething about him; they wanted tosee if you two had been in touch.FRANKDon’t know the guy.PHILLYFeds think your brother does. AndI’ve got some info that involves him.(beat)I spill it, you let me go.LLOYDYou wanna blow this for us?PHILLY(motions to Frank)You wanna get killed?(back to Frank)(MORE)

PHILLY (CONT'D)They’re heading to your brother’snow.44.Lloyd realizes Philly is up to something. Beat, Frank picksup the phone, dials...INT. HOUSE - SAME TIMEKYLE FERRO lets himself into the house with his key.Katrina?FERROHis cell phone buzzes and he looks at the display. He’sabout to answer it when he looks to his right and his eyes gowide. There’s Tillman.TILLMANWhat’s up, Kyle.Tillman then punches Kyle in the face. As we CUT BACK TO:INT. MOTEL ROOM - SAME TIMEFrank finishes leaving a message...FRANK (INTO PHONE)I don’t know how legit this all is,bro, but just keep your head on aswivel and call me a-sap.Frank hangs up. Philly, sultry, slowly moves toward thelight switch.PHILLYY’know, I’ve spent the past fewwinters caged up with a couplehundred women. So the offer stillstands.Her hand fingers the light switch.PHILLY (CONT’D)You like the lights off ...She flicks the lights off ...PHILLY (CONT’D)... or on.INT. CAR - OUTSIDE MOTEL - SAME TIMEThe guys see the lights flicker...CHARLIEThat’s the signal.

45.And they all jump from the car and rush toward --INT. MOTEL - LLOYD’S ROOM - CONTINUOUSFrank is in the process of tying Philly’s wrists behind herback with his shirt as the door is KICKED IN by Graham.Charlie’s right behind, gun pointed right at Frank...CHARLIEON THE GROUND!...as Frank puts Philly in a choke hold.FRANKWhat the hell’s all this?!CHARLIEUS Marines. First Division SniperSchool. Top of my class.FRANKBack off or I’ll snap her neck.CHARLIENumber three on the clock.In a flash, Charlie jerks the gun to the left, fires at thewall-clock on the other side of the room. They all turn tosee that the #3 is smoking. The gun’s right back on Frank,who swallows hard.CHARLIE (CONT’D)Next one splits that unibrow.Beat, then Frank throws up his hands. As Philly steps away:PHILLYHit redial on his cell - that’sFerro’s number.Graham grabs the cell steps to the side with his own cell tohis ear - he’s already speed-dialed...GRAHAMJules, trace this. 804-678...As Charlie pushes Frank’s ass into a chair. Philly glares atLloyd - you big pussy. Then, Ring. It’s Lloyd’s cell. Hechecks the displays, cover his mouth as he answers...LLOYD (INTO PHONE)This really isn’t a good time --Philly yanks the phone from Lloyd.PHILLY (INTO PHONE)Mrs. Lowry? Get your teat out ofyour son’s mouth. He’s a big boynow.

46.She hangs up - Lloyd is aghast, speechless save for...LLOYDHow dare you...PHILLYIf I didn’t think you’d get off onit, I’d check to see if she sewsyour name in your underwear.Graham hurries back in --GRAHAMWe’ve got an address.Let’s go.CHARLIEINT. FERRO’S HOUSE - DAYFerro’s face is beaten. Katrina and Alyssa are next to himon the couch, crying. Tillman’s wrapping up a phone call.TILLMAN (INTO PHONE)...Yeah. You’re 10 minutes away...Hurry up.He disconnects the call and turns to Ferro.TILLMAN (CONT’D)Always thought you were smarterthan me, didn’t you, Bank Teller?As he loads a single bullet into his gun...TILLMAN (CONT’D)Tell me, what’s 1 outta 6?Ferro doesn’t respond; he’s scared shitless. Tillman spinsthe gun’s chamber and points it at Ferro - Russian Roulette.TILLMAN (CONT'D)What’s 1 outta 6 and don’t make meask again.FERROSixteen point seven percent.TILLMANThen the odds are in your favor.Tillman extends his hand forward toward Ferro...No --KATRINAPULL! - click - nothing. Ferro whimpers, Alyssa sobs.Tillman spins the chamber again.

47.TILLMANLet’s see if they’re in her favor.Tillman points the gun OFF camera at Alyssa - we hear her cryout. Ferro’s eyes go wide...Don’t.FERROTILLMANWhere’s the money?TIGHT ON Tillman’s finger beginning to depress the trigger.Tillman smiles.FERROThe attic!TIME CUT TO:INT. FERRO’S HOUSE - LATERFront door. Ding dong. No one comes to the door. Dingdong. Nothing again... then, BAM! The door is shouldered-inby Shea. Charlie enters first, followed by Graham, thenShea, Philly and Lloyd bring up the rear.They find Katrina tied to a chair -- gagged. Graham racesover, takes the gag off.KATRINAHe took my daughter!Tillman?GRAHAMKATRINAHe took Kyle and Alyssa.only twelve!GRAHAMWhat car were they driving?She’sKATRINAI don’t know. They got picked up.Ten minutes ago.Lloyd “comforts” her with...LLOYDMa’am, if it’s any consolation,there’s nothing in Tillman’spathology to suggest he’d doanything sexual with your daughter;he’s strictly a killer --Katrina’s eyes grow wide as Shea looks at Lloyd like he’s anidiot. Ferro’s land line rings. Charlie answers it.

48.Hello?CHARLIETILLMAN (OVER PHONE)Charlie DuChamp.Charlie says nothing - he knows who it is.TILLMAN (OVER PHONE) (CONT’D)Back off, or I’ll make this kidsuffer.CHARLIEListen, there’s no need to--TILLMAN (OVER PHONE)You hear me? I’ll make her suffer -and that’ll be on you.Click. He hangs up. OFF Charlie as we SMASH TO --INT. JULIANNE’S OFFICE - DAYJulianne simultaneously reviews 6 different computer monitors- it looks a bit like a sports book at a casino - a lot ofdata, but the way her mind works enables her to take in allthis information at once.Two monitors flash images from Tillman’s escape: the licenseplatesuit-of-armor, the service vehicle, a map showing theroute the service vehicle drove before being overtaken.Something catches her eye - photos of Food Service Workersattacked in the escape - she zeroes in on the hospital photosof the female worker’s head wound.She presses a button, ZOOMS IN ON THE WOUND. OFF Julianne,her mind racing, but not putting it all together yet.INT. FERRO’S HOUSE - KITCHEN - DAYCharlie, Philly and Lloyd lay out maps and laptops on thetable, making it their command center. Charlie turns to seeGraham escorting Shea and a cuffed Frank toward a back hall.Shea and Frank continue on. Graham approaches Charlie.CHARLIEWhat’s that about?GRAHAMMaybe Frank knows something. I’mgonna have Shea find out.Charlie looks at Graham, eyebrows raised.GRAHAM (CONT’D)Look, I don’t like the guy. Butthis is one of the reasons he wasput on the team, right?

49.CHARLIEYeah, but that might be pushing it.GRAHAMSo’s taking a little girl.A beat, then Charlie looks at Graham, nods approval.INT. FERRO’S HOUSE - BEDROOM - SAME TIMEShea brings Frank into the room, places him on the edge ofthe bed. Shea then pulls up a chair.SHEAIs there one more step we’remissing here? Something yourbrother may have told you thatcould help us?Frank doesn’t say shit - just eye-fucks Shea.SHEA (CONT’D)You’re worried about incriminatingyourself. I get it - my whole bid,I never talked either. But whatyou’re doing now, I don’t respectit. Cause Tillman’s got yourbrother and a young girl.FRANKLook, I’m worried about ‘em too.But I don’t know anything.Shea nods, then gets up, starts uncuffing Frank.SHEAI don’t knock people around whenthey’re cuffed. That’s for cowardsand cops.Frank gets a quizzical look. Did he say “knocked around?”SHEA (CONT'D)Okay. What do you know aboutAugust Tillman?FRANKI seriously don’t --Shea lands a RIGHT HOOK in Frank’s ribcage -- HARD. Frankinstinctively moves to counter-punch, but doesn’t get veryfar. Shea’s eyes lets him know Shea’s a brawler.SHEAGonna do something? Maybe? No?FRANKI want a lawyer.

50.SHEAI want a steak dinner ... doesn’tmean I’m gonna get it.BAM - Shea hits Frank again.INT. FERRO’S HOUSE - KITCHEN - SAME TIMECharlie, Graham, Lloyd and Philly at the table; the housephone is in the center, on speaker. A laptop displays aprofile image of the head wound to the female food serviceworker from the teaser.JULIANNE (OVER SPEAKER)Amy Flynn - the food service workerTillman attacked.INT. BREAKOUT KINGS - JULIANNE’S OFFICE - SAME TIMEJulianne looks at the same photo on a monitor. INTERCUT ASNEEDED BETWEEN JULIANNE AND FERRO’S KITCHEN.JULIANNEA side of the head injury - alwayslooks bad because the skin’s pulledtight over the skull there, butoverall, non-serious.Another image pops up on the laptop. It’s a hospital intakephoto of Ferro, after the bank robbery.FLASHBACK:JULIANNE (OVER PHONE) (CONT’D)It’s the same exact injury KyleFerro got at the bank.EXT. SIDE OF THE ROAD - DAYTillman has beaten the male driver of the truck unconsciouswith a Maglight flashlight. Tillman then walks over to thefemale EMPLOYEE -- who we get a good look at for the firsttime. She’s an attractive blonde in her late 20s. Shesmiles at Tillman affectionately. He kisses her, then --TILLMANSorry, baby.He raises the flashlight and clocks her right over her ear --RESUME:Charlie leans toward the speaker.CHARLIEYou think she helped Tillman too?

51.FLASHBACK:PHILLY(realizing)I bet she created a distraction sohe could get under that truck.EXT. PRISON REFUSE COLLECTION - DAYTillman carries his trash bin, looking over at the foodservice truck -- and behind it, where the two food serviceemployees talk to three guards.ANGLE: The female EMPLOYEE is telling a story, in acoquettish fashion that has clearly drawn the attention ofthe three male guards and her male co-worker.In the B.G. we see Tillman running for the truck as heunfurls the license plate half-suit-of-armor.RESUME:CHARLIEWhere’s this woman now?JULIANNE (O.S.)Quit her job yesterday, citingstress from the attack. Sameexcuse Ferro used.Shea emerges from the back bedroom.Anything?GRAHAMShea goes right for the freezer, takes out a bag of frozenpeas and places it on his right knuckles.SHEANot much: he was laundering moneythrough the bar - we knew that;Tillman never divorced his wife;who cares; they all tried to screwTillman over; knew that too --GRAHAMHold on. His wife? The chick fromthe bar fight that sent him toprison in the first place?(off Shea’s nod)Could that be the same woman fromthe food truck?CHARLIEThe wife got a restraining orderand re-married.PHILLYAll paperwork. Could be done in aday from a home computer.

52.LLOYDEven so, how in the world could sheget a job delivering food to theprison her husband’s locked up in?PHILLYGraham, how many fake IDs did Ihave when you caught me? Twenty?A girl who speaks English appliesfor a 7-dollar-an-hour job in amale-dominated industry -- unlessshe looks like you, Lloyd, she’sgonna get hired.CHARLIEJulianne, do a search for Tillman’swife Gwen, any car she may have --JULIANNE (OVER SPEAKER)-- two weeks ago she bought a 1996silver Ford Taurus -- most popularmake and model in the U.S.INT. BREAKOUT KINGS - JULIANNE’S OFFICE - DAYJulianne types furiously - data dances across her screen.SMASH TO --JULIANNEAlso on Gwen -- ATM hits the pastfew months... all around Quebec.INT. FERRO’S HOUSE - DINING ROOM - DAY - MOMENTS LATERGraham slaps a map of the northeast down on the table.SHEASo like I said; French-Canadiansare courteous and all, but theylove to get high as much as thenext guy.GRAHAM(get to it already)How’d you get product to Canada?SHEAAlburg, Vermont. I’d have my crewgas up -- then hit the back roadsfrom there. No border check.PHILLYMakes sense. Tillman planned thisdown to a gnat’s ass -- he’s notgonna risk it all at the border.CHARLIEIt’s a reach...

53.SHEAThis guy did hard time -- Iguarantee you he asked around theyard about the best way to crossundetected...(taps the map)... and this is it.Charlie looks over at Katrina -- still sobbing.GRAHAMShea’s right. Let’s get in frontof him. We can get a helicopterfrom the Richmond field office andbe in Vermont in a half hour.LLOYDAnd then what? Remember:Detachment from Consequence. Atthis point if Tillman thinks for asecond he’s about to get caught,he’ll take everybody out if he hasto --(leans in)-- including that little girl.OFF Charlie, unsure. SMASH TO --END ACT FOUR

54.ACT FIVEEXT. REST AREA - DAYCHYRON: Alburg, VermontCharlie and Graham’s rental car is parked behind a roadsidediner. They have a good view of the rest area. Charliewraps up a phone call with his wife.He hangs up.CHARLIE (INTO PHONE)Okay. Nah, just some meetings.Might be late. Okay. Me too. Bye.LLOYD (O.S.)Did you see a lot of action in themilitary, Charlie?Reveal Lloyd in the back, sipping the straw of a juice box.LLOYD (CONT'D)I ask because there’s an emotionalimpediment when you talk to yourwife -- indicative, perhaps, ofpast trauma.GRAHAMYou want a present trauma?LLOYDIf he can’t verbalize his feelings,he might try writing them down,letting her read it.That resonates with Charlie -- then Graham snaps his fingers:GRAHAMHere we go.Charlie turns to see a silver Taurus pull into the rest area.EXT. GAS STATION - DAYGwen exits the car, gives $20 to the attendant in the centerisland. She begins fueling the car.INT. TAURUS - SAME TIMETillman’s still in the back seat. Alyssa is next to him.She’s stopped crying, but is terrified. Ferro turns back toher from the driver’s seat and forces a smile.FERROIt’s going to be okay, Alyssa.

55.TILLMANYeah, listen to Kyle. If you can’ttrust him, who can you trust?A car pulls into the pump space in front of them. Shea andPhilly exit the car. Shea uses a credit card to pay at thepump. Philly-as-”girlfriend” is irritated.PHILLYI don’t even know why we’re going.SHEA(as “boyfriend”)Then don’t go. That way I won’thave to hear you piss and moanabout it the whole time.PHILLYFine. I won’t. Jerk.(off his silence)Know what? You can hitch-hike.Philly gets into the driver’s seat and fires up the car.Baby...SHEAPHILLYScrew you.Philly “mistakenly” puts it in drive. The car lurchesforward and smacks into the Taurus. Shea approaches Gwen...SHEAOh man, I’m so sorry ...Tillman rolls the window down a bit and addresses Gwen.TILLMANTell him no problem. Let’s go.BACK IN CHARLIE’S CAR...CHARLIEC’mon, get him outta that damn car.BACK TO SERVICE STATION... Gwen hangs the gas pump back upand turns to Shea and smiles.GWENNo problem.Philly, aghast, is already out of the car.PHILLYNo no no. I feel terrible. Do youwant to exchange insurance info?Ignoring her, Gwen moves to get into the passenger side.BACK IN CHARLIE’S CAR...

57.LLOYDGood use of past behavior analysisto predict subjective response.(off Shea’s confused look)It was smart to call Tillman’s girla bitch.SHEA(sarcastic)Couldn’t have done any of thiswithout your help.LLOYDWhat am I, G.I. Joe? I’m athinker, not a fighter.With Tillman and Gwen cuffed and in the car, Charlieapproaches Graham. A big exhale. Graham nods and smiles. AsSIRENS are heard approaching O.S. -- WE BEGIN MONTAGE...EXT. HUDSON RIVER - BENCH - AFTERNOONJulianne sits by herself, watching a MAN walk his dog alongthe river. She takes a deep breath, stands, approaches.JULIANNEExcuse me, do you have the time?MAN WALKING DOGYeah, it’s 4:30.Julianne turns, moves back to the bench, sits, exhales.CRANE UP AND BACK as she stands again and approaches a womanleaning by a railing... Excuse me, do you have the time? ...EXT. MAYBELLE MINIMUM SECURITY PRISON - EVENINGCHYRON: Maybelle Minimum Security Prison - Hudson, N.Y.Establishing ... this ain’t a country club prison...INT. MAYBELLE - DAY ROOM - PHONE BANKS - EVENINGLloyd’s on the phone with his mother, LUCINDA LOWERY.LLOYD (INTO PHONE)It’s not as crowded, no gangs, Ican call more often. I mean, it’sstill a prison, but it’s better,and I can get out sooner now ...and I have to tell you ...(surprises even him)... I actually helped someone otherthan myself today.And that’s when we finally hear her voice for the first time.

58.LUCINDA (OVER PHONE)You could’ve been so much more,Lloyd. So much more.Click. She hangs up. OFF Lloyd -- gut-punched.INT. MAYBELLE - WOMEN’S WING - EVENINGPhilly, back in prison jumper, is in the Vocational Room,clicking at a computer with a few cons scattered about.A few key strokes and an ad for a home in COSTA RICA appears.She looks at it longingly, then looks around to make sure noone is looking, then punches a few more keys.BANK OF DENMARK site appears. She enters an Account Number.Her balance: $1,345,876.34. She leans back, smiles...INT. MAYBELLE - CELL - EVENINGShea’s alone in a decent-sized cell. He sits on the bed,contemplating the recent change in his life. He takes apiece of paper, a stubby pencil, and jots something down.He sticks it to the wall, lies on the bed, stares at it.PUSH IN on the paper; it reads: MONTHS EARNED: 1.INT. CHARLIE’S CAR - AFTERNOONCharlie pulls the car to the curb. Graham glumly looks outhis window at a beat-up, aluminum sided QUEENS ROW HOUSE. Abeat of contemplation. Then --GRAHAMYou never asked why.CHARLIEFigured you’d tell me when youwanted to.Graham shakes his head slowly, then...GRAHAMYour daughter turns 16 once, andwhen her stepdad tells her he’llget her the car ‘cause I can’tafford it... I’ve taken bulletsthat’ve felt better.(turns to Charlie)How many busts’ve I done?CHARLIEMore than most.GRAHAMAnd how many times have I seen copsfive-fingering their way ‘roundsome perp’s place?(MORE)

GRAHAM (CONT'D)But I never put my hand in thecookie jar. Never.(beat)The one time I do, I take exactlyeight thousand, two hundred, fiftybucks. Not a penny more than whatthe car cost. Now I’m a scumbagcon like the rest of ‘em.CHARLIEAt least you’re at a half-wayhouse. You could be at Maybelle.Graham nods, looks back to Charlie.GRAHAMI guess everybody’s running fromsomething, right?He opens the door, moves to get out; Charlie stops him with:CHARLIEYou still get to go after the badguys, Graham.Graham takes this in a 1/2 beat...I know.GRAHAMGraham exits the car, turns back, tosses a piece of paperonto the passenger seat.GRAHAM (CONT’D)And I gotta admit...Charlie looks at the paper - it’s Shea’s Breakout Kings logo.GRAHAM (CONT’D)...it grows on you.(beat)See you at work tomorrow, Charlie.Graham closes the door. Charlie looks up from the paper towatch Graham step to the row house where a man in a cheapsports coat/tie combo waits for him. Next to the man is asign that reads: QUEENS COUNTY HALF-WAY HOUSE.HIGH AND WIDE OVERHEAD SHOT: As Graham outstretches his armsand gets patted down by the counselor, like any commonconvict, Charlie drives off toward the 59th Street Bridge.THE END59.FADE OUT: