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Willow - part four

Updated on December 14, 2015

The following is continuation of a screenplay for a feature film that is meant to be rated R. This screenplay contains fowl language and descriptions of graphic images. Copyright Austin Marion 2014.

Photo by Austin Marion
Photo by Austin Marion

Part 4 of 5: For other parts see links at bottom of page.

113 EXT. CHICAGO - ABOVE 34TH STREET - DAY

What’s left of the apartment building is a smoldering heap of
burning rubble. Television helicopters are flying in from
the direction of the city and take up positions over the
rubble. Fire trucks are on the scene, dousing the rubble
with water. A plume of black smoke rises up into the sky.

114 INT. WASHINGTON - WHITE HOUSE - OFFICE - DAY

The room has bright light spilling in through the windows
onto the the elaborate oak desk with a few stacks of papers
on it. Against one wall is a couch and a small table in the
middle of the room. A TV sits across the room from the desk
with coverage of the bombing on it.

Sitting at the desk is, PAUL, a man in his late fifties with
a little gray showing through his black hair. He sits
mesmerized by the TV with his hands clasped together in front
of him. He stares intently and furiously at the TV. Albert
steps into the room. Paul never looks up, he just leers at
the TV.

                   PAUL
           (with destain)
        Take a seat, Director Spears.

Albert walks across the room and takes a seat on the couch
and crosses his legs. On the TV, they are showing the many
cop cars on Wacker Drive. Paul still hasn’t looked up from
the TV.

                   PAUL (CONT’D)
        What the fuck is this? This is not
        what we wanted, Albert.

                   ALBERT
        You were asking for too much, Paul.

                   PAUL
        The hell I was. We can’t have
        major cities gripped in fear, which
        they now all are.  The New York 
        stock exchange has suspended trading,
        while around the world the rest of 
        markets are crashing. We gave you simple
        orders and your man was led on a
        chase through downtown Chicago. On
        top of that he let the son of a
        bitch get away. Agent Michael
        Abbott has shown, that he is not
        capable of catching this man. And
        that the he’s only capable of
        creating cluster fucks like this
        one, which you were given specific
        instructions to avoid.
           (looking over at Albert)
        This looks bad for you. This Agent
        Abbott is going to take you down
        with him. You know the President
        has been looking at replacing you.

                  ALBERT
        And I’m sure you would be more then
        happy to let that happen. What was
        that, that you said to Jonas Pratt?

Paul stares narrows his eyes at Albert.

                  ALBERT (CONT’D)
        Spears has mismanaged the FBI since
        he took over. He’s turned them
        into an organization incapable of
        catching a jay walker, let alone a
        organized crime boss or a mass
        murderer. He is a leach on the
        American tax payer. By the way
        productivity is up since I took
        over the FBI.

                  PAUL
        Congressman Pratt, told you that?

Albert nods with satisfaction and Paul sits back in his
chair.

                  PAUL (CONT’D)
        Well there’s nothing better than a
        good two timing, to let you know
        the true grit of a man.

                  ALBERT
        You said it yourself. In this
        town, you don’t have to have your
        back to someone, in order for them
        to stab you in it.
           (pause)
        What exactly is your problem with
        me?

                  PAUL
        Problem? What problem? We’ve been
        friends for twenty...

                  ALBERT
           (interrupting)
        We’re not friends. Never have been
        and you know that. You’ve just
        been waiting for the day to fire me
        or I retire. So, you can replace
        me with someone from your own
        party.

                  PAUL
           (angrily)
        This is not about politics.

                  ALBERT
        Bullshit. Weather I’m liberal or
        conservative, doesn’t matter. I
        don’t walk into that building with
        that stuff on my mind. It doesn’t
        have anything to do with my job.
        It is about upholding, what is law.
        You on the other hand, make it
        about politics, every time. In
        turn every decision I make, like
        who in charge of what, is the wrong
        one in your eyes.

Paul stares at Albert quietly.

                  PAUL
        As of right now Agent Abbott is
        out.

                  ALBERT
        You forget, that you’re just the
        Chief of Staff. You’re not my
        boss.

                  PAUL
        Then tomorrow, when the President
        arrives back in DC, Abbott, will no
        longer be in charge. You will be
        in charge.

                  ALBERT
        And when it all goes the same, I
        guess, I’ll be the next guy that is
        out. You’ll get what you want. Of
        course you’ll never say it. But on
        that day, you’ll sit behind your
        desk and smile, smugly. I guess
        that's not any different from any
        other day.

They stare at one another.

115 INT. CHICAGO - FBI OFFICE - CONFERENCE ROOM - DAY

The room is full of AGENTS working with Junior and Taylor
both sitting at the long conference table in the room.
Michael stands in a corner in front of TV, watching news
coverage. The news shows various shots of the burning rubble
of apartment building and cellphone video of Michael chasing
after the Bomber. Michael cringes as he sees the cellphone
footage. Junior walks up to Michael and watches the TV
screen with him.

                  JUNIOR
        So far, the tip line has received
        five thousand calls. It’s going to
        take a while.

The TV switches to an aerial shot of the building on Wacker
Driver with fifty or so police cars surrounding it. There is
a subtitle at the bottom of the screen that says, EARLIER
TODAY.

                  JUNIOR (CONT’D)
        That looks bad. That many cops and
        we can’t catch a guy with a bomb on
        his back.  They found his backpack 
        and clothes, about an hour ago. 
        There wasn’t a bomb in it and never 
        was.

Michael looks over to Junior.

                  MICHAEL
        I couldn’t catch him. I just got
        my ass chewed out by the director.

                  JUNIOR
        So. The son of a bitch calls us
        here. Lures us into a trap, kills
        twenty or so, FBI agents and cops.

                  MICHAEL
        He’s built other bombs. Where’s he
        going to go? Where would you go
        with them? Lets turn back time and
        see if we can figure it out.

                  JUNIOR
        Yes, sir.

Michael’s phone RINGS in his pocket and he pulls it out. On
the screen of his cellphone it say’s HOME. He answers it.

                  MICHAEL
        Hello? Casey, give me just a
        second.
           (to Junior)
        Start without me. I’ll be right
        back.

Michael walks out of the room.

116 INT. CHICAGO - FBI OFFICE - STAIRWAY - DAY

The stairway is dimly lit as Michael enters with his
cellphone up to his ear. He closes the door behind him and
leans on a railing.

                  MICHAEL
        Hey, sorry to make you wait.

                  CASEY (V.O.)
           (concerned)
        Dad, they’re showing you on TV.
        Are you okay?

                  MICHAEL
        Yeah, I’m fine.

                  CASEY (V.O.)
        Were you there? Near the
        explosion?

                  MICHAEL
        No, I was miles away. I’m fine and
        I was perfectly safe.

                  CASEY (V.O.)
        Mom, is worried about you.

                  MICHAEL
           (rolling his eyes)
        Really?

                  CASEY (V.O.)
        Yes.

                  MICHAEL
        Tell her not to be. Let’s talk
        about something else. How was
        school, today?

                  CASEY (V.O.)
        It’s fine. Dad, are you going to
        be home in time for my birthday?

Michael cringes out of apprehension and takes a deep breath.
It’s obvious that he forgot, by the look on his face.

                  MICHAEL
        That’s coming up isn’t it?

                  CASEY (V.O.)
        Yeah, in two day’s. Right after
        yours, remember?

                  MICHAEL
        I’ll be home.

                  CASEY (V.O.)
           (not believing him)
        Will you?

Michael runs his hand through his hair, nervously.

                  MICHAEL
        Yeah, I’ll be there. I’ll take you
        out to eat.

                  CASEY (V.O.)
        How about we stay in? Make a big
        dinner. A real dinner, no take out
        pizza.

                  MICHAEL
        We can do that. Hey Casey, I need
        to run. I love you.

There is a long silence on the line and Michael stands
longingly and holding his breath listening for an answer.
His face cringes in apprehension.

                  CASEY (V.O.)
        I love you, too, Dad. Bye.
        He breathes a little easier.

                  MICHAEL
        Bye.

Michael takes the phone away from his ear and hangs up. He
grips the phone with both hands in frustration. He walks
over to the door and leaves the stairway.

Source
117 INT. CHICAGO - FBI OFFICE - CONFERENCE ROOM - DAY

All of the agents are sitting around the conference table
with Junior standing at the head of the table, giving a run
through of the events. Taylor sits at the other end of the
table from Junior. Michael enters the room and leans against
the door jam of the door with a busy office behind him.

                  JUNIOR
        At eleven PM last night, we
        received a call on the tip line,
        from a man claiming to be the
        Bomber.

Michael stands thinking to himself, he is starting to look
tired. He interrupts Junior.

                  MICHAEL
        What was that thing that he said
        during the call?

                  JUNIOR
        What thing?

                  MICHAEL
        He quoted something. What was it?

                  JUNIOR
        Friends, Romans, countrymen, lend
        me your ears?

                  MICHAEL
        Yeah, that.

                  TAYLOR
        It’s Shakespeare. From Julius
        Caesar.

                  MICHAEL
        Why say that?

                  JUNIOR
        He’s an idealist. Everything thing
        he’s communicated to us, say’s, he
        has an idea of how the world should
        be. He’s not happy with it.

He thinks for a moment with everyone in the room staring at
him.

                  MICHAEL
           (confidently)
        The profile’s wrong.

                  JUNIOR
        You want us to throw out his entire
        profile?

                  MICHAEL
        No. We had to have been right
        about something. We revamp it.
        Everything he sent us fits the
        profile. He’s been dicking with
        us. He’s misled us with every
        letter. If he was really some kind
        of Nazi extremists, idealist, we
        would have found him by now.

Taylor taps her fingers on the table thinking.

                  TAYLOR
        We would have caught him well
        before the Kansas City Bombing.
        He would have been writing blog’s
        and giving speeches. He would have
        stood out like McVeigh did.

                  JUNIOR
        But, we missed McVeigh, just like
        the dozens of other terrorists like
        him.

                  MICHAEL
        He basically wrote his own profile.
        This guy knew, that we would go
        into the apartment and that we
        would have kept our distance from
        him if we thought he was carrying a
        bomb.
           (pause)
        This guy told us that he is living
        the same life that he did before.
        He doesn’t stand out. He’s been
        walking around camouflaged as a
        normal person and he still is.
        It's more of a serial murder case
        than terror. Typically we don't
        start catching wise till they kill
        a lot more and the heat is turned
        onto them. When that happens they 
        make mistakes, this guy has been
        deceiving us from the beginning and
        knows how to to do it very well.
        If we continue to go off of what we
        think we know about him, he’ll get
        away. Everything he leaves us,
        would have been left behind
        deliberately. We have to find a
        new way to head him off. We need a
        new profile not based on what he
        wants us to find.

The phone in front of Taylor rings and she answers it.

                  TAYLOR
        Agent Martin.

She listens intently then looks up at Michael. She looks at
him with a tranquilized look. She hangs up the phone.

                  TAYLOR (CONT’D)
        CPD has something.

Michael stares back at her.

118 EXT. CHICAGO - WEST SIDE APARTMENT - DAY

The building is a plain tan brick building. The street is
cordoned off at both ends. Michael, Taylor and Junior drive
up in an black SUV. The SUV parks and they get out in front
of the apartment.

                  JUNIOR
        They swept the building already.
        Not a single trace of explosives.

                  TAYLOR
        We sure this time?

                  JUNIOR
        Yeah. A neighbor called nine-one-
        one repeatedly, saying she saw a
        man that fit the description, leave
        this morning.

They walk toward the entrance of the building.

119 INT. CHICAGO - WEST SIDE APARTMENT - LIVING ROOM - DAY

The living room is sparsely furnished with only a futon
couch, TV stand with TV and a dinner table.

On top of the dinner table is a computer and color printer on
it. There’s also a few pieces of paper on the table. The
room has several CRIME SCENE TECHNICIANS working in various
areas of the room.

Michael and Taylor stand together at the table. On the table
are two printed out photographs inside plastic bags. One of
pictures is of the Jewelry store Kansas City blowing up and
the other is a picture of the apartment on 34th street
blowing up. Michael picks up the picture of the 34th street
bombing and looks at it.

                  TAYLOR
        He took that one with a wildlife
        camera on a tree across the street.
        We found it after CPD saw this
        picture.

                  MICHAEL
        How the hell did he get back to it?
        You would need to physically get to
        the camera in order to download the
        pictures. The streets are blocked
        off three blocks in all directions.

                  TAYLOR
        Posed as a city worker or a cop,
        maybe. We’re checking with every
        one there to see if they saw
        something.

Junior enters the room holding a file folder. He hands it to
Michael and he opens it. He looks through its contents.

                  JUNIOR
        He presented a fake Indiana license
        with a non-existent Gary address
        when he rented apartment. Also, he
        signed with his left hand. Just
        like the other times he provided us
        with his handwriting. He’s
        definitely a righty, it’s a little
        sloppy. The landlord said, there
        are security cameras at all of the
        entrances.

                  MICHAEL
          (frustratingly)
        Who is this fucking guy?

                  TAYLOR
        We’ve found a lot of physical
        evidence. Finger prints, hair and
        DNA. That should help, right?

                  JUNIOR
        Even with a rush on it, it’ll be,
        too late. A week minimum on the
        DNA, alone.

Michael closes the folder and looks at Junior.

120 INT. CHICAGO - FBI OFFICE - NIGHT

Junior and Taylor sit in a cubical looking at a computer
screen. On the screen is an image of the bomber entering the
apartment building, wearing a baseball cap that obscures his
face. They both look on in frustration.

                  TAYLOR
        How much you want to bet, that
        every picture of him is like these?
        Both leaving this morning and
        entering and leaving this
        afternoon, his face cannot be seen.

                  JUNIOR
        He knows the camera’s there.
        They both sit back in their chair.
        Michael's conversation didn’t go
        well with the director. It seams
        like it’s bothering him.

                  TAYLOR
        That’s not what’s bothering him.
        This job doesn’t get to him like
        that.

Junior gives her a curious look.

                  JUNIOR
        How would you know that?
        She gives him a stern look.
               
                  TAYLOR
        Just do. I’ve worked with Michael
        Abbott for long enough and so have
        you.

They both look back at the screen.

121 INT. CHICAGO - HOTEL - MICHAEL’S ROOM - NIGHT

The room is on a high floor of a skyscraper and the window
looks out onto the skyline of Chicago. Along the side of the
bed between it and the window, is a desk with a laptop on it.
An extremely tired Michael sits at the desk working on the
laptop. His briefcase sits open on the bed next to him. On
his computer screen are copies of reports that have ATF on
the header.

KNOCK. KNOCK. At the door.

Michael looks at the door and looks at the time on the clock
next to the bed. It’s 12:03 AM. He gets up and answers the
door. It is an equally tired looking Taylor standing in the
doorway.

                  TAYLOR
        Didn’t wake you, did I?

                  MICHAEL
        No.

                  TAYLOR
        Can’t sleep either?

                  MICHAEL
        No. Come in.

He lets her in and closes the door behind her. She walks
across the room, takes a seat at the table and Michael
returns to his seat at the desk. She looks at his laptop
screen.

                  TAYLOR
        What are you working on?

                  MICHAEL
        Looking through ATF reports on
        fertilizer sales.

                  TAYLOR
           (reading from the
            screen)
        Field report, April 3rd, 2008,
        Bute, Georgia.

                  MICHAEL
        Looking for something we missed.
        There’s nothing there but it
        doesn’t hurt.

She glances over to his briefcase and sees the file and
picture of the little girl killed in the Kansas City Bombing.
She looks back to his tired face.

                  TAYLOR
        How’s Casey?

                  MICHAEL
        She’s good, I guess. Her birthday
        is in two day’s.
           (glances at the clock)
        Well tomorrow. I forgot.

                  TAYLOR
        You’re going to miss it again. You
        can send her something.

                  MICHAEL
        Yeah, I guess. I’ll sneak out
        tomorrow and find a gift.

                  TAYLOR
        I’m sure, she’ll understand.
           (pause)
        You should go to bed. By the way,
        how do you forget her birthday
        since its so close to yours.

                  MICHAEL
        Don't know.

Taylor stands, walks over to him and puts her hand on his
shoulder.
                  TAYLOR
           (reassuringly)
        Tomorrow is another day. We’ll
        catch him, Michael. Just like you
        did with the Whisky River Killer.
        I'm sure you went through this same
        thing doing that and you caught
        that guy. He went to the gas
        chamber and justice was served.

                  MICHAEL
          (dejectedly)
        This is a little different. I
        spoke to Spears earlier in the
        afternoon. It’s not good. He said
        the talking heads in Washington are
        going to have him take me off of
        this.

                 TAYLOR
        Everything will be fine.

He puts his hand on top of hers and puts on a fake smiles.

                 MICHAEL
        Thanks.

She turns and leaves the room. Michael watches her leave and
his smile disappears.

Source
122 EXT. SPRINGFIELD - THEATER - DAY

The theater is a three story tall brick building. Down the
street the capital building rotunda can be seen. On the
billboard above the lobby of the building is a sign that
reads, NOW PLAYING JULIUS CAESAR.

123 INT. SPRINGFIELD - THEATER - DAY

The theater is dark and the play is in full swing. It is a
full house, about three hundred PEOPLE sitting in the
audience. Under several of the seats are bombs.

124 INT. CHICAGO - MARSHALL FIELDS BUILDING - DAY

The store is busy and Michael is walking through the girls
section of the store. He stops at a rack of clothing,
looking at a sun dress with a floral pattern on it. He looks
through the sizes. Michael finds the size he’s looking for
and pulls in out and looks at it.

                  MICHAEL
           (to himself quietly)
        I guess this one.
           (thinking)
        God, I suck at this. This was way
        easier, when I was married.

His phone vibrates in his pocket and rolls his eyes. He
pulls out his phone, its a text message from Junior. He
opens and reads the text message. His face goes white. He
places the dress back on the rack and runs for the nearest
escalator.

125 INT. CHICAGO - FBI OFFICE - DAY

The office is full of cubicles with frantic FBI AGENTS.
Michael walks in from the elevators and Junior spots him from
across the room. Junior runs over to him.

                 MICHAEL
        What happened?

                 JUNIOR
        A theater just went up in
        Springfield. The field office
        there, is already on the scene.
        Michael, it was a packed matinee
        showing. There’s at least one
        hundred dead.

                 MICHAEL
        Jesus Christ.

They walk briskly to the conference room.

126 INT. CHICAGO - FBI OFFICE - CONFERENCE ROOM

The AGENTS are in a frantic commotion in the conference room
and is about two times more than the office outside. Junior
and Michael enter. Taylor is already sitting in the room and
is on the phone. Michael looks around the room and walks
over to a chair with his briefcase siting in it and his
laptop open on the table. He looks around. The TV in the
corner is on and is showing news coverage of the bombing in
Springfield.

                 MICHAEL
        Everyone quiet down.

The commotion slowly tappers off.

                 MICHAEL (CONT’D)
        Where is he going, now?

Taylor hang up the phone she is on.

                 TAYLOR
        Agent Abbott, the play at the
        theater was Julius Caesar.

Michael stands and thinks for a moment. Everyone stares at
him.

                 MICHAEL
        Okay. He’s left use a few clues.
        First, he tells us where to go.
                 JUNIOR
           (interrupting)
        And it was a trap.

Michael gives him an angry look as Junior walks over and
stands next to him.

                 MICHAEL
        Then, he quotes Shakespeare and
        blows up a theater showing the same
        play. What easy to look over
        detail has he given to us?

Michael looks around the room at a bunch of blank faces.
Juniors attention is drawn up to the TV. He looks stunned as
he looks at the images on it.

                 JUNIOR
        Someone turn up the TV.

Michael looks at the TV shortly followed by everyone else.
There is a headline on the screen saying, BREAKING NEWS. A
NEWS WOMAN is on screen. One of the agents near the TV turns
it up.

                 NEWS WOMAN
        Breaking news just coming in from
        downtown Nashville.

The shot switches from a shot of the News Woman to a shot of
downtown Nashville and a smoking high-rise building that has
had a bomb go off in front of it. GASPS ring out in the
room.

After a moment of stunned shock, a look of realization comes
to Michael’s face. Michael takes Junior by the shoulder and
leads him out into the office.

127 INT. CHICAGO - FBI OFFICE - NIGHT

They walk into the office and stop at the doorway. Taylor
can be seen in the conference room and is watching them from
her seat.

                 MICHAEL
        What were all of the post marks,
        for the letters?

                 JUNIOR
        Two for Kansas City, Chicago,
        Springfield, Nashville and...
           (realizing too)
        Atlanta. He left us a trail?

                 MICHAEL
        We need to go to Atlanta. Now.
        We’ll need everything.
        National Guard, state and local
        polices and every Federal agent we
        can get our hands on. We’re going
        to have to lock down the city.

                 JUNIOR
        We don’t know where he’s going to
        strike. There’s no way in hell,
        we’re not going to be able to get
        or keep an entire city locked down,
        today. It will take at two day’s
        to attempt it. We can’t possibly
        organize that fast. And if we do
        manage to lock it down, there’s not
        a way to keep him from moving in
        and out. He’s already showed he
        can do whatever he wants.

                 MICHAEL
        We’ll have to find a way.

                 JUNIOR
        Michael, it’s impossible. And you
        know that Washington want’s us to
        be as discreet as possible. What
        if it's another trap or deception
        to send us in the wrong direction.
        Michael nostrils flare in anger.

                 MICHAEL
        Why, all of a sudden, you’re
        questioning everything I do? Have
        you checked out? Have you already
        moved on to whatever assignment
        you’re going to take?

                 JUNIOR
        How dare you, accuse me of
        questioning your authority,
        Michael. I have worked for you for
        seven years. Yesterday, when I
        said it was nothing personal, I
        meant it. You’re not going to
        catch him this way.
 
Michael becomes enraged and the office comes to a sudden
quiet.

                 MICHAEL
        I WILL CATCH HIM! AND NO ONE WILL
        STOP ME FROM DOING THAT! NOT
        DIRECTOR SPEARS! NOT THE PRESIDENT 
        OF THE UNITED STATES! AND MOST 
        CERTAINLY, NOT YOU!

They stare down one another and Michael notices the entire
office watching him. He runs his hand through his hair and
takes a deep breath.

                 MICHAEL (CONT’D)
        Whatever. Make the calls. I want
        to be on the ground in Atlanta,
        this afternoon.

Michael walks away, leaving Junior standing there. A very
angry Taylor, appears in the doorway and glares at Junior.

                 JUNIOR
        What?

She glares at him angrily and leaves the stairway.

128 EXT. CHICAGO - MILLENNIUM PARK - DAY

Michael sits on a park bench watching a man play with his
eight-year-old child. Michael then closes his eyes, looking
to enjoy the peacefulness of the park. His phone vibrates
and he looks annoyed by it. He pulls the phone out and the
ID says SPEARS. He answers it, his voice sounding stressed.

                 MICHAEL
        Abbott.

                 ALBERT (V.O.)
        Michael, I hear that you tracked
        him to Atlanta?

                 MICHAEL
        Yes, sir. His next target should
        be there.

                 ALBERT (V.O.)
        I’m on my way there, myself. I’ll
        meet you at the airport.

                 MICHAEL
        I’ll look forward to it, sir.

                 ALBERT (V.O.)
        Michael, are you alright? You
        sound a little off.

                 MICHAEL
        I’m fine. I’ll see you in Atlanta,
        sir.

Albert hangs up and Michael lowers his phone. He looks back
over to the man playing with his child. Michael looks down
at his phone. He then pulls up on his phone a picture of
Casey and him at a baseball game, the same picture that sits
on his desk.

129 EXT. ATLANTA INTERNATIONAL AIRPORT - TARMAC - DAY

A private business 737 jet has just taxied up the Tarmac and
it’s passengers are being let out. Coming down the stairs
from the plane is Michael followed by Taylor and Junior. A
YOUNG AGENT is waiting for them at the bottom of the stairs
for them.

                 YOUNG AGENT
        Agent Abbott?

                 MICHAEL
        Yes?

                 YOUNG AGENT
        This way, sir. The director wishes
        to speak to you privately.

Michael looks back at Junior and Taylor with a raised eye
brow. He looks back at the Young Agent.

                MICHAEL 
       Lead the way.

He reaches the bottom of the stairs and follows the Young
Agent toward a small private terminal.

130 INT. ATLANTA INTERNATIONAL AIRPORT - TERMINAL - DAY

The terminal is small with a few rows of chairs in it.
Albert is the only person siting in it, reading a newspaper
with grim headlines and pictures of the blown up buildings.
There is a TV on one of the walls with the news on. Michael
enters and Albert looks up. Albert has a stern and grim
face, as he looks up at Michael.

                ALBERT
        Come on in Michael.

Albert sets the newspaper to the side, as Michael walks up
and sits down across from Albert.

                MICHAEL
        Good to see you, director.

                ALBERT
        I wish I had better news. While
        you were in the air, our bomber,
        via special courier, sent a message
        to CNN. He named Atlanta as his
        next target. He has gripped this
        entire city in fear. He also, gave
        them a picture of you and said
        thank you for letting him get away.
        He also, said that a lot people are
        dying, because he cannot be caught.
        I’m in a tough spot, Michael. I’ve
        been told to take you off of the
        lead in all of this. And I have
        done that. I’ll be leading this
        investigation, through it’s
        completion. They suggested that I
        put you as far away as possible, so
        you’re no longer in the media
        light. That would be a waist.
        Tomorrow morning, we’re sending you
        to Nashville to oversee the
        investigation at the bomb site
        there. I’m sorry, Michael.

Michael’s stress and need to yell out and scream is apparent
on his face. It is a look of failure. He keeps his
composure, stands and begins to leave the terminal. Michael
stops at the door and looks back, as Albert picks up his
newspaper.

                  MICHAEL
        He rigged this hole thing up for
        us. I couldn’t control it when
        this thing got away. I’m sorry, I
        let you down.

                  ALBERT
        I know. Remember what I told you,
        a few day’s ago? It’s all
        politics. Dirty, filthy politics.

Michael nods then, leaves the terminal as Albert goes back to
reading his newspaper.

131 EXT. ATLANTA INTERNATIONAL AIRPORT - TARMAC - DAY

Junior and Taylor are loading their luggage into a black
sedan. Michael walks up and they both look at him, noticing
the look on his face.

                  TAYLOR
        What did the director say?

Michael ignores the question and opens the passenger door of
the car, about to get in.

                  JUNIOR
           (demanding)
        Michael, what did he say?

                  MICHAEL
        He said, I’m no longer in charge
        and going to Nashville.

                  JUNIOR
        We’re going to Nashville?

                  MICHAEL
        Not you guy’s. Just me.

He gets into the car and shuts the door. Taylor and Junior
look at one another with a bewildered and sad look.

Source
132 INT. ATLANTA - HOTEL - MICHAEL’S ROOM - NIGHT

Michael sits at a desk in the corner of the room with ATF
reports on his laptop screen. He stares blankly at the
screen looking deep in thought. His face looks sunken and
dejected.

He sits back in his chair and checks the time on his watch.
He takes a deep breath and sighs. Michael stands and leaves
the hotel room.

133 INT. ATLANTA - HOTEL - ELEVATOR - NIGHT

Michael stands staring up at the display in the ornate wood
elevator. The display is counting down the floors till the
ground floor. His cellphone RINGS and he pulls it out of his
pocket. He looks at the screen on the floor and looks at it
in lukewarm look. It says, JESSICA, on the screen. Michael
hesitantly presses the button on the screen to send the call
to voicemail.

                  MICHAEL
        Going to regret that.

He places the phone back in his pocket and looks back the
display in the elevator as he arrives at the ground floor.

134 INT. ATLANTA - HOTEL - BAR - NIGHT

The bar is empty of patrons. The BARTENDER is standing
behind the bar cleaning glasses. Michael walks in and find a
seat at the bar. He looks up to the TV, which is on the news
and is showing images of the bombings. The Bartender walks
up to him.

                  BARTENDER
        What can I get you?

                  MICHAEL
        A beer...
          (thinking for a moment)
        And a double shot of whisky.

The Bartender nods and gets his beer. He then reaches under
the bar, pulls out a short glass and a bottle of whisky. He
pores the whisky and pushes the glass to Michael.

                  BARTENDER
        Anything else, sir?

Michael shakes his head no and points at the TV.

                  MICHAEL
        Could you change the channel?

                  BARTENDER
        Getting tired of it myself.

The Bartender changes the channel to a baseball game.

                  MICHAEL
        That’s much better. Thank you.

Michael takes his double shot of whisky and drinks it. He
cringes slightly, sets the glass back on the bar and takes a
drink from his beer. Another man, wearing a button up polo
and khakis and has slick back hair, walks into the bar. He
is in his mid-forties and his name is GEORGE.

                 MICHAEL (CONT’D)
        You know what, get me another,
        please.

                 BARTENDER
        Rough day?

Michael nods his head with a flustered look. George walks up
to the bar and sits down next to Michael. He pulls out his
wallet and places a twenty on the bar. George speaks with a
thick Georgian accent.
                 GEORGE
          (to the Bartender)
       Can I get a scotch on the rocks.

The Bartender finishes making Michael’s second double shot
and goes to makes George’s drink. Michael stares long and
hard at it with a vacant look. George looks over at Michael
with curiosity.

                 GEORGE (CONT’D)
          (to Michael)
       Boy, it looks like you already need
       to take it is easy. Before you get
       hurt, you know.

                 MICHAEL
       This is the most I’ve drank since I
       had my kid.

The Bartender places Georges drink in front of him. He takes
a sip from it.

                 GEORGE
       Kids will do that to you, I guess.
       I was always too busy to start a
       family. What do you do?

                 MICHAEL
          (hesitantly)
       I’m not sure anymore.

                 GEORGE
       That bad of a day. It’s amazing,
       we work fifty, sixty hours a week.
       Every last minute of which drags
       along. Then we go home and they’re
       unhappy about it. The things that
       we do to keep the wife happy.

                 MICHAEL
       Unfortunately, that was part of the
       problem.
          (smiles)
       I’m divorced. She got unhappy with
       the long hours. Took the house and
       my daughter.

                 GEORGE
       So, did mine.

George raises his glass in a toast.

                 GEORGE (CONT’D)
       I’m George.

                 MICHAEL
       Michael.

                 GEORGE
       To unhappy lives and wives.

Michael takes his glass and raises his. They toast and drink
their drinks.

                 GEORGE (CONT’D)
       Do you at least get to see your
       daughter?

                  MICHAEL
       Not as often as I’d like. But, I
       can call anytime and see her. The
       last time we spent an entire day
       together, we went to a baseball
       game. She had so much fun.

                  GEORGE
       Those are important memories for a
       kid. When I was a kid, every
       weekend, I would go fishing with my
       dad. Spend an entire day, casting
       our lines in the river. We
       wouldn’t catch shit but that didn’t
       matter. Just me and my dad. I
       missed those times. Great times.
       Happy times.

                  MICHAEL
       Her birthday is tomorrow. It’s the
       third in the row that I’ve missed.
                  GEORGE
       She’ll understand. One day.

Michael drinks his whisky, looking unconvinced.

135 INT. ATLANTA - HOTEL - ELEVATOR - NIGHT

The elevator is going up with Michael in it. He has dark
bags under his eyes and he is very, very drunk. The elevator
stops and the doors open. He teeters back and forth as he
walks out.

136 INT. ATLANTA - HOTEL - HALLWAY - NIGHT

Michael rides the wall down the hallway and stops at a room
door. He fumbles in his pocket and pulls out his key card.

He slides the card and red light flashes. He slides the card
again with the same outcome.

He raises the card closer to his face and realizes he has the
card facing the wrong direction. He flips the card over and
tries again. The red light flashes. He groans in
frustration.

                 MICHAEL
       Come on.

He tries the handle for a moment and the door is pulled open.
Taylor stands in the doorway. She looks half asleep.

                 TAYLOR
       Michael?

He looks away with an embarrassed look.

                 MICHAEL
          (slurring)
       Shit, wrong room. I’m sorry.

                 TAYLOR
       Are you drunk?

He still looks embarrassed and laughs slightly. She stares
tiredly at him.

137 INT. ATLANTA - HOTEL - MICHAEL’S ROOM - NIGHT

The room is dark, the only light comes in through the open
shades of the window. Taylor is helping Michael to his bed,
which he falls heavily on. He sits and looks at Taylor. He
has a bleak and given up look in his face.

                 MICHAEL
       Sorry.

                 TAYLOR
       You said that already. Take off
       your shoes.

Michael struggles to take them off. He manages one off.

                 MICHAEL
       I’m a failure. I’ve fucked
       everything up.

                 TAYLOR
       You didn’t fuck up anything and
       it’s not your fault.
She kneels down and begins to help him take off his other
shoe.

                 MICHAEL
       No. I fucked up everything. My
       wife hates me. I’m sorry...
          (correcting himself)
       My ex-wife hates me and now my
       daughter hates me.

                 TAYLOR
       Casey, doesn’t hate you.

She gets his shoe off and looks up at him.

                 MICHAEL
       Yeah, she does. When I talked to
       her yesterday. She knew I was
       lying when I said, I was going to
       be there for her birthday. She was
       testing me. Then this, fucker.

                 TAYLOR
       Is he testing you, too?

                 MICHAEL
       No. He just messing with us. He’s
       hid himself to well. He’ll get
       away and fade into oblivion with
       the likes of the Zodiac killer.
       After we all die, we’ll only have
       theories of who he was. He
       promised that he’d kill one
       thousand people. Today he’ll get
       that.
          (pause)
       And I’ll be on a plane to Nashville
       and my daughter will still hate me.
       I used to think, I was doing this
       for her. Now, I don’t have a clue,
       why I do this fucking job. It’s
       almost as if when that bomb went
       off five years ago, she lost me in
       it. That I died.

Taylor stares at him with a flustered look and stands up.

                 TAYLOR
       Go to bed, Michael.

                 MICHAEL
       Why do you, do this job? Why be an
       FBI agent?

                 TAYLOR
       To make a difference.

                 MICHAEL
       Have you done that?

                 TAYLOR
       Not most day’s. When I transferred
       to anti-terrorism, I was coming off
       of a bad case. We were looking for
       this twelve year old girl. We
       didn’t find her in time. I
       couldn’t live with myself. Now I
       know, it’s just is, what is.

                 MICHAEL
       I've always been the guy who caught
       the fucking Whisky River Killer.
       The golden boy of solving violent
       crimes. I failed at that case to.

                 TAYLOR
       How did you fail at that? It made
       your career.

                 MICHAEL
           (laughs slightly)
       What kind of world is this that I
       make career on blood and death. It
       took me eight months to find him
       and six more victims. Every time I
       review the case, I find that I
       could have got him earlier. It
       might as well have been me killing
       those girls.
                 TAYLOR
       Don't dwell on the past, because
       that's all you do.

She leaves the hotel room and he sits on the bed. He reaches
into his pocket and pulls out his cellphone. He brings up
the picture of Casey and he at the baseball game. He sees
that he has a new voicemail on the screen. It’s from Jessica
and he plays it on speaker phone.

                 JESSICA (V.O.)
       Mike. I know you don’t want to
       talk to me, it’s just I’ve been
       thinking. I didn’t mean to say all
       of those things. Anyway, I know
       you wont make it in time for the
       birthday party. She’ll understand.
       It is, what it is. Bye.

                 MICHAEL
       What the fuck does that mean?

He stares at the phone.

Willow concludes in part five, see below links.

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