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Episode 1x01 Pilot (extended version)
Written by: Jonathan Nolan
Directed by: David Semel

ACT ONE

[FLASHBACK - 2001]
[MEXICO]

INT. HOTEL ROOM - DAY

John Reese (Alias at that time unknown) and Jessica are in bed, cuddling, kissing.

REESE (narrating)
When you find that one person who connects you to the world, you become someone different. Someone better.
When that person is taken from you...

[2011]
[New York City]

INT. SUBWAY CAR – NIGHT

Reese is sitting on a bench in an empty subway car, sunken in. He has a beard, long and unkempt hair, and he’s wearing old and tattered clothes.

REESE (narration cont.)
What do you become then?

The compartment door opens, Anton and his gang enter the car. Anton is biting on his necklace, looking for trouble.
Two other guys are standing in the car and talk.

GUY
Whatever he wanna do, you know?

Anton purposely bumps into them.

ANTON
What? Hmm?

One of the other guys pulls up his shirt. He has a gun tucked in underneath.

ANTON
Where'd you get that, in a cereal box?
Huh? Wanna see a real gun?

GUY
Forget you.

The two guys leave the car.

ANTON’S FRIEND (with a deep voice)
Every little punk is carrying now, Anton.
That's why your father wanted us to take the car home.

ANTON
Relax.
We're picking up new hardware next week. Restore a little order.

Anton looking around and spots Reese who’s still sitting there silently.

ANTON (cont.)
Besides, when we take the car, we don't get to meet new friends.
Like this guy.

Walks over to Reese, looks at him, laughs. Takes a closer look at him and spots Reese’s bottle of booze. Tries to take it when Reese instantly grabs Anton’s arm, keeps him tight, stares at him.
Lets go of him after a few moments. Anton is dazzled at first, then continues to pick on Reese.

ANTON
You didn't bring enough for the whole group.

Reese takes a deep breath.

ANTON (cont.)
I have to teach you about sharing.

Anton’s gang walks over to Reese. One of the guys in a ruby coloured shirt is about to attack Reese. Reese simultaneously grabs the guy’s arm, pulls and dislocates it, kicks another guy wearing a black shirt in the stomach, shoves ruby shirt guy to the ground, punches Anton and black shirt guy in the face, pushes deep throat guy with his head against a pole, grabs Anton by his throat and stares him in the eyes before pushing him away.

Reese grabs his head.

The image turns into surveillance feed. Reese is depicted with a yellow square around his head. More images from surveillance and traffic cameras appear.


[FOOTAGE: Date 4-14-11 - Time: 11:29:55]

More surveillance footage. Hundreds of images and voices.

[FOOTAGE: NW ENTRANCE - 4:55]
[FOOTAGE: CAMERA J BULLPEN]


INT. 8TH PRECINCT - NIGHT

Anton and his gang have been brought to the precinct. They are sitting on a bench, looking terrible.

CARTER
I'll need a statement from the bum.
What hospital did they take him to?

POLICE OFFICER
He declined treatment.
We got video on it though.

Carter looks over to Anton and his gang and then at surveillance video from the subway car. It shows the moment where Reese twists ruby shirt guy’s arm.


[FOOTAGE: Camera 12 - Car 4 - 3:24:19:23]


She looks at her colleague who points her to the room where they are holding Reese. He looks at her through the window.

Carter enters the room.

CARTER
You know, you could have done me a favour and let those guys land a couple more punches.

Reese is playing with a water cup.

CARTER (cont.)
Question for you.
Looking at that tape, I'd say you spent some time in the service.
I did. Army, two tours in Iraq.

Carter sits on the table.

CARTER (cont.)
But you don't learn how to fight like that in the regular army.
So what were you, Special Forces? Delta?

Reese does not answer. Carter smiles and nods.

CARTER (cont.)
I'm Carter.
You didn't give us a name. (stands up, goes to the water fountain, pours in some)

REESE
You know, it's funny.
Best parts in your life, you don’t need a name. You get to be dad, sweetheart, pal.
Seems like the only time you need a name now is when you're in trouble.
So am I in trouble?

CARTER
I don't know, you tell me. (gives Reese a cup with water)
You're the one living on the street.
You’re not from here are you? What, you’re just passing by?

REESE
I came to find an old friend.

CARTER
Yeah, making that transition back can be tough. (sits back on the table)
Some guys I knew got a little lost, that disconnected between what they were trained to do and what they were expected to do when they got home.
Some guys I knew got a little lost, needed a little help adjusting.
You need some help?

Reese is taking a sip.

CARTER (cont.)
Of course, some other guys I knew, (takes the water cup Reese was playing with earlier) they'd done so many evil things, they felt like they needed the punishment.

Carter puts the water cup on a desk, switches on the TV showing Reese the surveillance video from the subway car.

Reese remains unimpressed.

CARTER (cont.)
That sound more like your story, pal? (takes the water cup)
Excuse me for a second.

Carter leaves the room, looking at Reese.


INT. CRIME LAB - NIGHT
Crime lab technician dusts the water cup Carter brought him for fingerprints.


INT. 8TH PRECINCT - NIGHT

A man in a suit walks in, looks around and points at Reese.

LAWYER
I'm here for my client.


INT. CRIME LAB - NIGHT

Reese’s fingerprints are being compared to others found at different crime scenes. A confirmed match appears on the computer screen.

CRIME LAB GUY
Wow, whoa, your guy's prints were found in half a dozen crime scenes over the years.
Open warrants in four different countries. Missing persons here in Queens. ’07 three guys disappeared. (looks at Carter) Who you got down there, Carter, the angel of death?


EXT. 8TH PRECINCT – NIGHT

Reese and the counsellor walk away from the precinct.

REESE
I appreciate the help, counsellor.

They reach a black car with two men standing in front of it.

REESE (cont.)
But who's picking up... the tab?

TALL SECURITY MAN
Our employer wants to have a word with you.

Reese looks at the two men, then walks towards the car. The tall security man holds the door open for him. Reese gets in the car. He seems sceptic.

Carter is running out of the precinct, looking for Reese.
The car takes off. The picture turns into a camera feed and displays a yellow square above the black car and a white square over Carter.


Fast forwarding, sunrise over Manhattan.

[FOOTAGE: NNW TOWER SOC 101 - 01:04:19:02 – 1:04:19:15]
[FOOTAGE: CAMERA 15 - 04-14-11]
[FOOTAGE: CAMERA 75 QUEENS BLZ NORTH 04-14-11 - 11:17:59 – 11:18:03]


EXT. QUEENSBORO BRIDGE – DAY

The car stops under the bridge. Reese and the security men get off. Finch is standing by the side of the river looking at the skyline of Manhattan. Reese walks towards Finch.

REESE
Do I owe you money?
'Cause I'm, uh... running a little short at the moment.

FINCH
(Looking at Reese)
You don't owe me anything, Mr. Reese.

Reese stops, looks suspiciously at Finch.

FINCH (cont.)
That's the name you prefer, isn't it?
I know you've had several.
Don't worry, I'm not gonna tell anybody about you.

REESE
You don't know anything about me.

FINCH
(Looking at the river)
I know exactly everything about you, Mr. Reese.
I know about the work you used to do for the government. I know about the doubts you came to have about that work.
I know that the government, along with everybody else, thinks you're dead.

Reese walks towards Finch, slightly agitated. The security men try to intervene. Finch signals them to back off.

FINCH (cont.)
I know you've spent the last couple of months trying to drink yourself to death.

Reese is now standing next to Finch.

FINCH (cont.)
I know you're contemplating more efficient ways to do it. Which would be a shame.
So you see, knowledge is not my problem. Doing something with that knowledge...
That's where you'd come in. (turns to Reese)

REESE
Who sent you?

FINCH
Nobody sent me. And you can call me Mr. Finch.
I think you and I can help one another. I don't think you need a psychiatrist or a support group, pills...

REESE
What do I need?

FINCH
You need a purpose.
More specifically, you need a job.


EXT. NEW YORK STREET – DAY

Reese and Finch get off the car. It’s raining. They are standing by the side of a busy road where people are rushing by.

FINCH
Eight million people.
You know what they all have in common? None of them knows what happens next. Good things maybe. But for some of them not so good. Someone is murdered in New York City every 18 hours. It’s like Musical Chairs. At the end of the day, one of these people will be gone…

REESE
Bad things happen to people every day. You can't stop that.

FINCH
What if you could?
Not the things that happen in the heat of the moment. But so many crimes are planned days, weeks in advance. What if you could stop those?

REESE
Let me guess, you’re a psychic.

FINCH (laughs)
No psychic, no magic, none of that. It’s funny when I was a kid I wanted a jet pack, I wanted a summer house on mars. Then I realised that I was living in the information age. This was a shocking disappointment to me until I realised how revolutionary it was. All of us are leaving a trail of information in our wake. Most of it is useless. But there’s something hidden in all that mess. A faint outline of things to come. The right person in the right place for the right information can change everything. This is the problem I have, Mr. Reese. I've got a list, a list of people who are about to be involved in very bad situations. Murders, kidnappings.

REESE
Where did you get this list?

FINCH
Can’t tell you, you have to trust me. (looks away)
The people that are on my list, they have no idea that anything's about to happen to them. Most of them are just ordinary people.

REESE (looks around)
Like who?

FINCH
…like her.

Finch looks over to Diane Hansen who is getting a coffee from a coffee stand nearby.

FINCH (cont.)
Her name is Diane Hansen, and this week she's at the top of my list.

DIANE HANSEN
Thank you.

REESE
You think something bad is gonna happen involving her?

FINCH
It’s not that simple.
I don't know exactly what's going to happen or what her role in it is.

Hansen is walking away.

FINCH (cont.)
She might be the victim. She could be the perpetrator. All I know is that she's involved.
I want you to follow her, figure out what's gonna to happen, and stop it from happening.

REESE
Why not call the police?

FINCH
If anybody knew I had this list, it would be... problematic.
You would name your own salary. Expenses, whatever you need.
So what do you think?

REESE
(sceptic, looks after Hansen walking away, then looks at Finch)
I think you're a bored rich guy. I think that woman's probably your ex-wife or someone you rode in an elevator with once.
And either way, I think I'm done. (attempts to walk off)

The tall man of Finch’s security team blocks Reese’s way, doesn’t want to let him leave. Reese smacks him in the face and pushes him aside. Reese walks away. Finch and his security men remain speechless.

The image changes into surveillance feed. Reese is shown with a yellow square around his head.


[FOOTAGE: NYTA-061-01 42ST ENTRANCE 09:25:17:28 – 09:25:20:07]
[FOOTAGE: SUBWAY TUNNEL]
[FOOTAGE: STREET]
[FOOTAGE: STREET (cont.)]


INT. CHEAP HOTEL ROOM - NIGHT

Reese stands in front of a mirror shaving his beard. He has already cut his hair short. The TV is on.

FEMALE NEWSCASTER
Tonight police are looking for a homeless man for further questioning.

Reese looks at the TV.

FEMALE NEWSCASTER (cont.)
The unidentified man was originally believed to be the victim of a violent assault on the subway. But now police consider the man a person of interest in a number of crimes nationwide.

Reese takes a sip from a bottle of booze, then sits on the bed.
The TV shows an old black and white Samurai movie.
Reese is lying on the bed watching the movie and taking sips from the bottle. Then he falls asleep.


[FLASHBACK - 2001]

[MEXICO]
INT – HOTEL ROOM - DAY

Jessica is looking worried.

REESE:
Hey, sweetheart, what's wrong?
Jess, what's wrong?


[2011]

[NEW YORK CITY]
INT. FANCY HOTEL ROOM - DAY

A phone is ringing. Reese wakes up in a different hotel room from the one where he went to sleep. His left hand is tied to the bed frame. The phone is ringing continuously. Reese struggles, then picks up the phone.

FINCH (off screen, on the other end)
You need to understand, Mr. Reese, the information I have is incomplete, but it's never wrong.
You need to know what it would be like to be forced to listen to someone get murdered, and not be able to do anything about it. (Finch hangs up the phone)

Reese is looking confused and terrified. He tries to cut himself loose.
A woman screams in the other room. Glass shatters, the sound of somebody being beaten up can be heard. Reese is looking around for something that could cut him loose. He throws a bedside lamp against the mirror standing next to the bed and takes a piece of glass to cut through the tie-wrap.
He bursts through the door into the other room where the screams come from.


INT. FANCY HOTEL ROOM NEXT DOOR - DAY

[Voice on speaker]
...One three eight dot seven X-ray. 12 August 2008, 1:37 A.M.

Finch is sitting on a chair in another part of the room holding a newspaper. He turns to Reese. Reese looks confused.

FINCH
Too late. (gets up) This recording is three years old.
A woman murdered in this room by her husband.
For the insurance. (shows Reese the newspaper) You were too late for her. Just like you were too late for your friend Jessica. You were halfway around the world when she was killed.

Reese looses patience and jumps at Finch, shoving him against the wall.

REESE
What the hell do you know about it?

FINCH
It's the truth. You left the government because they lied to you…
I never will.
A man with your particular skills can make a great deal of money in some corners of this world, but you don’t do it.
I think all you ever wanted to do was protect people.

Reese lets go of Finch. Finch is relieved. Reese walks over to the tape recorder.

REESE
It's a wiretap recording.
NSA or FISA. Government. But you're not government.

FINCH
No, I'm not.

Finch fixes his tie and walks over to Reese. Sits down.

FINCH (cont.)
I guess you could call me a concerned third party.
You couldn't have saved this woman... Or your friend.
But you could have if you had have known in time. And that's the other thing I'm offering you, a chance to be there in time.

Finch takes out Diane Hansen’s photograph from his jacket pocket and shows it to Reese.

FINCH (cont.)
It's not too late for her.
You could help me stop what's about to happen. The question is, will you?

Reese looks at the picture, then looks at Finch.


[TITLE SEQUENCE: PERSON OF INTEREST – CREATED BY JONATHAN NOLAN]


ACT TWO

EXT. STEET - DAY

Diane Hansen leaves a building. Finch and Reese follow her discretely.

FINCH
Diane Hansen.
Grew up in Detroit. Moved to the city after law school. Single.

REESE
She have any enemies?

FINCH
One or two.
She's an assistant district attorney. Best conviction record in her department.

REESE
Great. Nice short list of possible suspects.
And we have no idea when this bad thing might happen, huh?

FINCH
Could be in a week. Could be five minutes. That's why we need to learn as much as we can about her.
How do you intend to begin?

REESE
The slow way? Cultivate a relationship engineering situations over weeks, months, to allow you to earn the asset's trust.

FINCH
And the fast way?

They stop walking.

REESE
Break into their apartment and go through all their stuff.


INT. DIANE HANSEN’S APARTMENT - DAY

The front door opens, Reese is silently breaking into Hansen’s apartment. He looks around and then sits down at Hansen’s desk. He hacks into her computer and downloads personal files. He checks the drawers and finds containers with pills and some peppermint candy. He decides to try one. When the file download has finished, his phone beeps.
It’s a message from Finch telling him where to go next. It reads “Next stop 150 W Beamis”.


EXT. TUNNEL – DAY

REESE
What is this place?

FINCH
The decline of Western civilization. The city closed half its libraries.
Budget cuts.

Finch and Reese enter the Library.


INT. LIBRARY – DAY

Finch (cont.)
This building was sold to a bank that I control, which promptly declared bankruptcy. So the property's in a kind of limbo. It doesn't exist.

REESE
Neither do you.
I did a little digging.

Both climb up stairs.

FINCH
I recognize, Mr. Reese, that there's a disparity between how much I know about you and how much you know about me. I know you'll be trying to close that gap as quickly as possible. But I should tell you (turns to Reese) I'm a really private person. (walks ahead of Reese)
What did you find out about our Ms. Hansen?

REESE
Well, she’s squeaky clean, no debts, no attachments, but, she’s taking ulcer medication, sleeping pills.

Both enter another room in the library

REESE (cont.)
So she’s scared or stressed about something.


INT. LIBRARY MAIN ROOM - DAY

REESE (looks around) cont.
Assuming she’s the target I’m going though her work emails, case files. Looking for anyone who stands out.

Something beeps. Reese walks over to the desk.

REESE (cont.)
I’ve got picture on her. (opens video surveillance feed on the computer) But I need sound.
I can hack her cell phone. Use the microphone to listen in and GPS to track her.
But that takes gear that is a little hard to come by.

Finch walks over to Reese and puts a black cell phone on the table.

FINCH
I thought you might need that. So I built one.

Reese looks surprised. He takes a small note book out of his jacket where he collects information about Hansen and Finch. There is already one entry on the Finch page that says “wealthy” He looks at Finch and writes down “Good with computers”.
Finch looks skeptic. He doesn’t say anything but turns around and picks an envelope from a drawer nearby.

FINCH
Drivers licenses...
Credit cards. (puts a bunch of cards on the table) Six cover identities. Funds to be replenished through a proxy corporation.
Just like when you were with the agency.

REESE
When I was with the agency (discovers a memo board with pictures and social security numbers mapped to these pictures) I knew who was picking up the tab.
This is your list?
The list?

FINCH
Yep.

REESE
But you don't get names, do you? These are social security numbers.
And each of them map out to a violent crime. And all of these numbers represent...

FINCH
Lost chances.

REESE
I could be a lot more help to you if you just tell me where you're getting these numbers.

FINCH
It doesn't really matter where I get the numbers. What you need to know is that the next number that's up is hers. (looks at a photograph of Diane Hansen)

Reese turns over to Finch.

REESE
Trust works both ways, Finch. If telling me where you getting these numbers would put your life at some kind of risk…

FINCH
It would put a whole lot more people than just me at risk. And I’d say than trusting an alcoholic ex-government hit man is greater challenge than trusting a middle aged cripple.
(gets up) I have one more address for you to check out tonight.

Finch leaves the room. Reese looks at the list.


EXT. STREET – NIGHT

Reese is at the address Finch gave him. It is an old building with graffiti on the walls. Reese looks around and then unlocks the door. He enters the building, walks up a flight of stairs and finds himself inside a spacious loft. He looks around and calls Finch.

REESE
Ok, Mr. Finch, What am I doing here?

FINCH (through the phone)
Sleeping. You have plenty to do tomorrow.

REESE
What are you talking about? Who lives here?

FINCH (through the phone)
You do, Mr. Reese. (hangs up)

Reese looks around skeptically, then looks out of the window.


EXT. NIGHT – FAST FORWARDING – DAY

INT. PRECINCT – DAY

KANE
Any luck finding Paul Bunyan?

CARTER
Turns out “bearded loner” covers a surprisingly high percentage of the homeless population.

Carter walks over to her desk. A colleague hands her a case file.

CARTER
Thanks. (opens the file) Wait, is this the missing persons file from ’07?

COLLEAGUE (off screen)
Yes, Ma’m.

CARTER
This is all they have?

COLLEAGUE (off screen)
Yep.

Carter, visibly annoyed puts the file on her desk. It is empty. All contents have been redacted.


INT. COURT HOUSE – SECURITY CHECK – DAY

Reese is standing behind Hanson, who had just put her cell phone on the conveyor belt for security checking. He sets his phone to hack into Hansen’s phone.

REESE (voice over)
Given Hansen's job, we've got hundreds of people who could be holding a grudge. (He successfully hacked into Hansen’s phone)
So I’m starting with the people she seems the most worried about. (Microphone on Hansen’s phone is activated.)
I cut the list to three. The first is Lawrence Pope (Reese follows Hansen), the man Hansen is currently prosecuting. (Reese follows Hansen into the court room)


INT. COURT HOUSE - DAY

Fusco is in the witness stand testifying against Pope.

FUSCO
When we got there, the scene was… colourful.
Five dead. One of them had managed to crawl ten feet to a phone to dial 911.
Despite the fact that this drug slinging piece of trash had shot him in the gut.

DEFENSE ATTORNEY (stands up)
Your honour!

FUSCO
Pardon me, your honour. Despite the fact that this drug slinging piece of trash had (turns to the microphone) allegedly shot him in the gut.

DIANE HANSEN
The person who made that call was Germaine Salts. And he was friends with the defendant?

Reese is sitting in the audience.

FUSCO
Yeah, they were all friends. We figure that’s how Pope knew the deal was going down. Turns out career criminals don't make trustworthy friends.

DIANE HANSEN
Detective Fusco, when you interviewed Mr. Pope, what did he tell you in his defense?

FUSCO
He said that if he'd have shot the poor bastard, he would have shot him in the head. Quote, "same as I always do", unquote.
He said he wouldn't have left him there half-dead, blubbering for his girlfriend.
Diane Hansen turns around, looks at Fusco, surprised about what he just said.
Reese is sitting in the audience.

DIANE HANSEN
No more questions, your honour.


INT. COURT HOUSE – OUTSIDE COURT ROOM – DAY

Reese is standing in the corner listening to the conversation via Diane Hansen’s hacked cell phone.

DIANE HANSEN (through via microphone of her hacked cell phone)
Detective...

(off screen – cont.)
You went a little off script in your testimony.
You never told me about that conversation, and it could clear Pope's name.

FUSCO
What's it matter? We got the guy.

DIANE HANSEN (through via microphone of her hacked cell phone)
It matters because it's my job to make absolutely sure that the wrong people don't go to jail.
Do you remember?

FUSCO
Excuse me, I thought we were on the same team.

Fusco walks away. Hansen, slightly annoyed, walks the other way, runs into Wheeler in the hallway.

WHEELER
You got time to talk? Maybe I can buy you dinner.

DIANE HANSEN
I'm busy. Another time?

WHEELER
Is something wrong? I've been noticing lately…

DIANE HANSEN
No, I'm fine, thank you. Thanks.

Hansen walks away and passes Reese. He turns to the wall.

REESE (voice over)
The second person I’m looking into is Wheeler. Her co-counselor.

FINCH (off screen)
Another ADA?

INT. LIBRARY – DAY
FINCH (cont.)
Why?

REESE:
They dated for a few months last year. She broke things off. And 40% of murders involve some kind of romantic relationship.
Also, Wheeler's divorced. One kid. Partial custody, alimony. Upside down on his condo. Career stalled.

DIANE HANSEN (via surveillance video)
I asked, I can’t get the time off…

Reese hurries over to the computer, pats Finch's stomach while walking by.

DIANE HANSEN (via surveillance video – cont.)
Yeah, it is, it is a tough job, but, I can look out for myself, you know that.

Reese looks at Finch, they watch Hansen run around nervously in her apartment.

DIANE HANSEN (via surveillance video – cont.)
Listen, Mom, I know you haven’t been cashing the cheques.
It’s not charity. I’m your daughter.
I know. I know you worry about me. I’m fine…

FINCH
You said there was a third person you’re looking into?

REESE
(shows Finch a picture of a man) Ex-convict named Charles Robinson.
Hanson and Wheeler prosecuted him three years back, armed robbery. Robinson wrote them love letters from prison.
He’s the first one I’m going to look into.


INT. ROBINSON’S APARTMENT – NIGHT

Reese breaks into Robinson’s apartment.

REESE (voice over)
Robinson was released two months ago. Hansen pulled his file last week.

He sneaks around the living room, opens drawers but finds nothing than a red baseball cap and a bible on the night stand.
The door opens and Robinson comes home. Reese hides behind the door. He’s standing behind Robinson.

REESE
Don’t move.

ROBINSON
I don’t have much…but you’re welcome to take whatever you need.
I’ve been where you’ve been…

Reese hesitates, then leaves.


INT. STAIRCASE – NIGHT

Reese runs down the stairs, talking to Finch via ear piece.

REESE
I don’t think Robinson is our man. He burnt through a box of highlighters through his King James Bible…


INT. LIBRARY – NIGHT

Finch is making himself a cup of tea, listening to Reese via ear piece.

REESE (via ear piece)
None of it Old Testament. None of it Revelations…

FINCH
Fine. One down.

Suddenly the computer beeps. Finch walks over, sits down and looks at it.

FINCH
Hansen's on the move. She's phoning county lockup...


EXT. COUNTY LOCKUP – NIGHT

FINCH (via ear piece, cont.)
arranging a meeting with Pope... alone.


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

POPE
Isn't my lawyer supposed to be here for this?

DIANE HANSEN
I can call him if you want, but the reason I'm here is I don't think you murdered those people.


EXT. COUNTY LOCKUP – NIGHT

Reese is still listing to the conversation inside listening in to their conversation via Hansen’s hacked phone.

DIANE HANSEN (via ear piece – cont.)
I think somebody else was in the house when that 911 call was made.


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

DIANE HANSEN
Somebody who told you what he said, which means you weren't there. Is it somebody you're trying to protect?


EXT. COUNTY LOCKUP – NIGHT

Reese is still listing to the conversation inside.
POPE (through Reese’s phone)
You gonna help me?
Is that it?


INT. LIBRARY – NIGHT

Finch is also listening to Hansen’s and Pope’s conversation.

POPE (through Reese’s phone)
Where you from? Ohio?


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

POPE
I’ve met DAs before, you do a couple years of this… then try for a high-dollar job at a law firm.
What happened? You got left behind?
I know a guy that would put you to work out on a corner.

DIANE HANSEN
(scoffs) ...Close.
I grew up in Michigan, Brightmoor.
You know where that is?
I don’t think you would have lasted very long there, Lawrence.
I know what it's like to want to get out of a place so bad you'd be willing to do almost anything.
And that's why I know, if you're gonna take the fall for this you must be very very scared.
Now…


EXT. COUNTY LOCKUP – NIGHT

Reese is still listing to the conversation inside.

DIANE HANSEN (via via ear piece – cont.)
…the person who knows what happened must be somebody you care about.


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

DIANE HANSEN
Is it your younger brother Michael? (Pope looks worried at Hansen)


EXT. COUNTY LOCKUP – NIGHT

REESE (on the phone)
Pope's got a brother. It's in his case file.


INT. LIBRARY - NIGHT

FINCH
Got it.


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

DIANE HANSEN
Did he see the real killers?

POPE
You should leave this alone, lady.
I can do the time. Figure I'll make amends for all the things you never caught me on. Because I'm bad.
These people are evil…


INT. LIBRARY – NIGHT

Finch is listening up.

POPE (via ear piece)
…killing when they want. They're protected from on high.


INT. COUNTY LOCKUP – POPE’S CELL – NIGHT

POPE
You keep asking questions, they'll kill me and my brother. And probably you too.

DIANE HANSEN
Whoever these people are, you can trust me. We'll take care of you and your brother. (stands up, walks around in the cell) If the killers are out there, I'm gonna find them, whether you help me or not.
It's my job.
Now, why don't you… (pointing at Pope)

Pope jumps up and shoves Hansen against the bars of his cell.

POPE
Bitch, you keep your damn mouth shut, or I'll shut it for you!

Reese and Finch listen to the scene via earpiece. Reese gets ready to intervene.
Guards come storming into the cell to drag Pope away from Hansen.

DIANE HANSEN
I'm fine. (breathes heavily)


EXT. COUNTY LOCKUP – NIGHT

REESE (on the phone)
Okay. She's okay. She's okay.
Finch, you were right about Hansen. Whoever framed Pope will be coming after her…


INT. LIBRARY - NIGHT

Reese (via phone, cont.)
…and only Pope's brother Michael knows who they are.

Finch is looking at Michael Pope’s case file.


ACT THREE

A mosaic of different surveillance feed images.

[FLASHBACK - 2001]
[MEXICO]

INT. HOTEL ROOM - DAY

JESSICA (on the phone)
Hi, mom, it's Jessica.
I'm just down in Mexico with Cindy, and I'll be back tomorrow. Okay?
Talk soon. Bye.

REESE
Cindy?

JESSICA
Yeah.

REESE
I look like a Cindy? (drags Jessica closer)

JESSICA
Yeah. (chuckles)
I didn't tell her about us yet.

REESE
It's been six months.
You mean, you haven’t told your mom you left your ex? Maybe you’re starting to think you got a bum deal, trading an officer for an enlisted man.

JESSICA
(kisses Reese) I wish this weekend could go on forever.

REESE
It already has. It's Tuesday.

JESSICA
Yes, which means that you have to go back to the base, and I'm not gonna see you again for two weeks, which I hate.

REESE
Then ask me to stay, and I will.
I'll quit.
I'll quit.

JESSICA
Okay.

REESE (whispering)
I'll quit.

JESSICA
Then quit.

REESE
I already did.

JESSICA
What?

REESE
Yeah.
I didn't want to take the chance that you wouldn't be here when I got back. I’ve been training my whole life for something that’s never gonna happen.
Everybody’s too damn rich to go to war.
I’m obsolete and I love it.
Because it means I get to be with you.
I get my discharge in a month. Then I’m gonna buy a boat. And you get to be my first mate.

Reese kisses her. Jessica laughs.

REESE (cont.)
But first, we need some more Tequila.

JESSICA
Un!

Reese pours in some Tequila. Jessica turns on the TV.

TV NEWSCASTER (in Spanish)
Estamos recibiendo informes que unos aviones se han estrellado contra las dos torres gemelas del World Trade Center en Manhattan…

Jessica stares at the TV.

REESE
Hey, sweetheart, what's wrong?
Jess...What's wrong?

TV NEWSCASTER (in Spanish, cont.)
Dos aviones…

JESSICA
Uh, it's New York. I don't know. I don't know. Something's happened this morning.

REESE
Is it a plane crash?

Jessica and Reese both stare at the TV, overwhelmed by the images on TV.

JESSICA
I think it's two.
I think it's two planes.


[2011]

[FOOTAGE: Camera 83 7 AVE AND 34 ST – 04-14-11 - 11:33:18 – 11:33:20]
[FOOTAGE: CAMERA 127 9AVE AND 37 ST - 04-14-11 – 11:34:20 – 11:34:28]

Reese stands on top of a building, watching Diane Hansen through a telescope from afar.

DIANE HANSEN (via Reese’s earpiece)
All right, thanks.


INT. DIANE HANSEN’S OFFICE – DAY

Wheeler enters the office.

WHEELER (via Reese’s earpiece)
You went to see Pope last night?

DIANE HANSEN (via Reese’s earpiece)
Yeah. I gave him one more chance to turn in his accomplice, cut a deal.

WHEELER (via Reese’s earpiece)
He give you anything?


EXT. ROOFTOP – DAY

Reese is still watching Hansen in her office.

DIANE HANSEN (via Reese’s earpiece)
No. As usual.


INT. DIANE HANSEN’S OFFICE – DAY

DIANE HANSEN (via Reese’s earpiece)
I'm, uhh, I'm late.

Diane Hansen leaves the office. Wheeler is still standing in the door.

REESE (off screen, via ear piece)
She's trying to track down Pope's brother Michael.


EXT. ROOFTOP – DAY

REESE (cont.)
He can ID the real killers.


INT. LIBRARY – DAY

FINCH
And she's stonewalling Wheeler.
What, does she think he's involved?


EXT. ROOFTOP – DAY

FINCH (via Reese’s earpiece, cont.)
Remember, Pope said they were protected from on high.

Reese keeps on watching Diane Hansen’s office.


INT. DIANE HANSEN’S OFFICE – DAY

Wheeler sneaks into Hansen’s office after she left.


EXT. ROOFTOP – DAY

REESE
Wait a second.


INT. DIANE HANSEN’S OFFICE – DAY

Wheeler sits down at Hansen’s computer, logs in.


EXT. ROOFTOP – DAY

REESE (cont.)
Turns out there's a good reason she doesn't trust Wheeler.


INT. DIANE HANSEN’S OFFICE – DAY

Wheeler goes through Hansen’s case files about Pope. A picture of Lawrence Pope is on the computer screen. He prints out some information.

REESE (off screen, cont.)
He might be working with the killers.
And they're after Michael Pope.


EXT. ROOFTOP – DAY

REESE (cont.) We better get to this kid before someone else does.


[FOOTAGE: E 55TH 2nd – 12:13]
[FOOTAGE: NW GATE – 12:13]
[FOOTAGE: SE GATE – 12:13]


EXT. SCHOOL CAMPUS - DAY

The bell rings and students leave the buildings. Reese is standing outside the fence waiting for Michael Pope. He looks around, then looks at his phone that displays a picture of Pope. He keeps on looking around until he finds Pope, who is about to leave the school ground. Reese approaches Michael.

REESE
Michael...

Michael Pope turns around to see who was calling his name.

REESE (cont.)
Can I talk to you for a second? (approaches Michael)

Michael runs off. Reese runs after him, trying to catch up. Michael runs down a few blocks and almost gets hit by a car in Attorney St. When he reaches a construction site, he bumps into pedestrians, which allows Reese to catch him.


EXT. STREET – DAY

REESE (holding Michael by his arm)
I've got a message from your brother.

MICHAEL POPE
You don't know my brother.

REESE
Not exactly.
But I know what you saw. And I'm not the only one looking for you. You need to come with me.

Michael doesn’t believe what Reese said, he looks away, trying to find a way to escape.


EXT. STREET CONSTRUCTION SITE – DAY

Construction workers are talking to each other.


EXT. STREET – DAY

MICHAEL POPE
Hey!


EXT. STREET CONSTRUCTION SITE – DAY

Workers turn over to Michael.


EXT. STREET – DAY

MICHAEL POPE (cont.)
Hey, help me.

Reese manages to hide his cell phone in Michael’s backpack.

MICHAEL POPE (cont.)
Hey, this man is trying to put me in a taxicab with him!


EXT. STREET CONSTRUCTION SITE – DAY

The workers leave the site and walk over to Michael and Reese.

MICHAEL POPE (shouting at them, cont.)
He's trying to take pictures of me.


EXT. STREET – DAY

Reese lets go of Michael. Michael runs off.

CONSTRUCTION WORKER
What's going on?

REESE
How you doing?


EXT. INSIDE ENTRANCE TO SUBWAY – DAY

Michael Pope runs down stairs to get away from Reese.


INT. LIBRARY – DAY

Reese walks hastily to the desk.

FINCH (looking at a map)
Michael Pope's still on the subway.

REESE
Yah (sits down)

FINCH (cont.)
When he comes up for air, you can use the GPS on your phone to find him.

REESE (starts typing on the computer)
If Pope's right about these guys, I'm gonna need a hell of a lot more than a cell phone.

Pictures of Anton and his gang pop up on the screen.

FINCH
About that, I don't like firearms very much (walks over to Reese).

REESE
Well, neither do I, but if someone has to have them, I'd rather it was me.
Besides, my friend from the subway has a line on some.

A mug shot of Anton along with footage from the subway incident displays on the screen.

REESE (cont.)
(takes his jacket) Lightly used. Steep discount.

Reese leaves the library. The mug shot of Anton and the surveillance image of the subway incident are displayed again.


EXT. STREET – DAY

Anton and his gang arrive in a silver SUV. They get off the car and walk into a convenience store.


INT. CONVENIENCE STORE BACK ROOM – DAY

Several handguns and rifles lie on the table.

ANTON
Pop, what about this one? (picks up a Heckler & Koch MP5K-PDW and shows it to his dad)

SEAMUS O’MARA
Are you planning on buying that one?

ANTON
I was just showing it to…

SEAMUS O’MARA
Put it back on the table before somebody else kicks your ass. (laughs)

REESE (off screen)
Have you guys seen the men's room?

The gang look at Reese.

REESE (cont.)
Hey, Anton.
Good to see you again.

SEAMUS O’MARA
You know this guy?

Anton shakes his head.

REESE (looking at the guns on the table)
Wow, that's some pretty serious equipment.
Have you guys taken a safety course?

The gang pull out their guns and point at Reese.

REESE (looking at Anton’s friend with the dark voice, who is standing next to him, cont.)
Take you, for instance. You're holding that thing sideways.
You can't aim it, and two, it'll eject a shell casing right into your face. See?

Reese grabs the boy’s arm and twists it around, firing a shot. Then he uses the boy and his arm to shoot at Anton and his friends. In the end he shoots Anton’s friend in the leg, then turns to the group. He looks at Anton who is visibly scared. Reese tucks the gun under his jacket and takes a black duffle bag and puts the guns into it.

REESE (cont.)
I'm gonna hold on to these while you guys get some more practice.
Have a nice day. (Reese leaves.)

SEAMUS O’MARA
Who the hell was that?


[FOOTAGE: SUNSET OVER MANHATTAN]


EXT. DIANE HANSEN’S OFFICE BUILDING – NIGHT

Reese is in Wheeler’s office.


INT. LIBRARY – NIGHT

FINCH
Alright, you’re in

Finch watches Reese in Wheeler’s office via surveillance feed.

REESE (via surveillance feed):
Wheeler's got a secret file on Hansen, Finch.


EXT. DIANE HANSEN’S OFFICE BUILDING – NIGHT

REESE (via surveillance feed)
Old cases they worked together.


INT. LIBRARY – NIGHT

FINCH
Sounds interesting. Pictures please.

Reese prepares to take pictures of the case files.

FINCH (cont.)
Wait, wait, someone’s coming.

Finch watches Reese hiding behind a door.

FINCH (cont.)
It’s Hansen

Hansen walks straight to her office and doesn’t notice Reese.

FINCH (cont.)
Okay, now. You can go. Go, go, go.

A GPS signal beeps on one of Finch’s computers.


EXT. STREET – NIGHT

Reese is getting into a taxi.

FINCH (via earpiece)
Reese?
I got a signal from your phone.

Reese sits in the back seat of the taxi.


INT. LIBRARY – NIGHT

Finch is on the phone with Reese.

REESE (via earpiece)
Tell me you found Michael Pope.
He's the only one who knows who's coming after Hansen.

FINCH
I found him, but somebody else found him first.
Listen.


EXT. STREET – NIGHT

VOICE ON RECORDING
Oh, Mikey.


INT. CAR – NIGHT

Stills is with Michael Pope in the car. He points a gun at Pope.

STILLS: You were gonna tell him all about us. Weren't you? Hmm?
(to the driver) Head uptown.


INT. LIBRARY – NIGHT

FINCH (to Reese via phone)
Are you hearing this?


IN THE TAXI

REESE (to the driver)
(looking at the GPS tracker on his cell phone) 97th and riverside. Step on it.


FOOTAGE: EXT. STREET – NIGHT

STILLS (off screen)
We're gonna put a couple in the back of his head.


INT. CAR – NIGHT

STILLS (cont.)
Make it look like a gang thing. (still pointing a gun at Michael Pope)


INT. LIBRARY – NIGHT

FINCH (to Reese via phone)
You gotta do something.

REESE (off screen, via phone)
(tracking Stills’ car via GPS on his phone) Relax.


INT. TAXI – NIGHT

REESE
I'm on it.
(hands money to the driver) Keep the change.


EXT. 97TH AND RIVERSIDE – NIGHT

Reese gets off the taxi and the taxi leaves. Reese carries a M79 grenade launcher, pulls a ski mask over his head, walks over to the middle of the street, drops the duffle bag with the guns and gets ready to fire. Stills’ car is approaching fast. When the car is close enough, Reese fires a shot straight into the windshield of the car. The car starts skidding and crashes into a parked car at the side of the street. Reese puts the gun back into the bag and takes out a smaller gun. When Stills and his men crawl out of the car, he shoots one of them and knocks out Stills. He takes Stills’ badge from his uniform and then grabs Michael Pope and pulls him away from the car.

MICHAEL POPE
You're crazy. We're both dead now.
Do you know who they are? (panting)

REESE (looking at the badge)
I do now.
Cops. Come on.


ACT FOUR

EXT. OUTSIDE A SHOP – DAY

[FOOTAGE: THROUGH THE VIEW FINDER OF A CAMERA]

Stills and his men leave a store.


EXT. BEHIND A PARKED CAR – DAY

Reese is watching Stills and his men from a distance and takes photos of them.


EXT. OUTSIDE A SHOP – DAY

[FOOTAGE: THROUGH THE VIEW FINDER OF A CAMERA]

Fusco greets Stills

[FOOTAGE: CAMERA 16 LEX AVE AND 42 ST 04-14-11 – 11:44:07 – 11:44:16]
[FOOTAGE: CAR 481-5 16:23:41 – 16:23:43]

REESE (off screen, via voice recognition)
What exactly have you gotten me into?

[FOOTAGE: CAMERA 138 MADISON AVE AND 34 ST 04-14-11 11:42:33 – 11:42:40]

FINCH (off screen, via voice recognition)
I don't know.

[FOOTAGE: NE WALL PARK CAM]

FINCH (off screen, via voice recognition)
That's the whole point.


EXT. CENTRAL PARK – DAY

FINCH (cont.)
I hired you to help me figure that out.

Reese and Finch are walking slowly across the park.

REESE
Here. (stops and hands Finch a bunch of photographs)
I think we're up against a group of corrupt cops.
Finch looks at each of the photos.

REESE (cont.)
I think their next target is Hansen. But I don't know for certain. Hell, I don't know anything for certain, because you won't tell me where you're gettin’ your information. (slightly raises his voice)

Finch remains silent for a few moments, looking away.

FINCH
When the towers came down, you were in a hotel in Mexico. (briefly looks at Reese) I was here. I was working.
Didn't even know about the attacks until that evening.
You see, Mr. Reese, until that day, I had spent the better part of my life making myself very rich. Suddenly all that money didn't seem to amount to much.
Do you have a phone? Could you turn it off?

Reese turns off his phone.

FINCH (cont.)
Let’s walk.
Then I got a telephone call from an old friend that works at the Pentagon.
After the attacks, the government gave itself the power to read every email, listen to every cell phone, but they needed something that could sort through it all, something that could pick the terrorists out of the general population before they could act.

REESE
They tried.
Able Danger, Spinnaker, TIA. But they were all failures.

FINCH
Well, their biggest failure was bad PR.
The public wanted to be protected. They just didn't want to know how they were being protected.
So when they finally got a system that worked, they kept it secret.

REESE
So how do you know about it? (looks at Finch)

FINCH
I built it. (turns over to Reese)
Good with computers, remember?

Reese stands still for a moment, looking at Finch. Finch keeps on walking.

FINCH (cont.)
But there was a problem with this machine. I had built it to prevent the next 9/11.
But it was seeing all sorts of crimes. So I had to teach the machine to divide the things it saw into two lists: Relevant and irrelevant.
Events that would cause massive loss of life were relevant...

The picture changes into surveillance feed. A yellow square is displayed over Finch and Reese as they continue walking.

FINCH (via voice recognition)
…so those would be passed along to the NSA or the FBI.

REESE (via voice recognition)
And the irrelevant information?

The picture changes back into normal.

FINCH (stops walking)
Every night at midnight, the machine erases it.

Both continue walking, Finch’s security guard follows them quietly.

FINCH (cont.)
It was only later that I realized my mistake. The whole point of Pandora's Box, once you open it, you can't close it.
The idea of that irrelevant list was eating away at me.
All those people with no idea what was coming for them.

REESE
So where's the machine now?

FINCH
What, the drives?
Who knows?
Government facility somewhere. But the machine? (stops walking, turns and looks around) The machine is everywhere. Watching us with 10,000 eyes.

[Images of surveillance cameras in the park are displayed.]

FINCH (via voice recognition)
Listening with a million ears.

The image changes into surveillance feed from the Machine. Reese and Finch are shown with a yellow square. The voice recognition function has decoded Finch’s last spoken words into text. It continues to decode spoken messages from other people in the park.

[MACHINE FEED]

MAN ON PHONE
What did I tell you about sending email?

WOMAN TALKING TO HER PARTNER
Three weeks, you could practically move in. (The Machine categorises this conversation as non-relevant to investigation)

MAN ON PHONE
Never put anything in an email you cannot own.

REESE
You gave yourself a way to communicate with it?

FINCH
I was building the government a tool of unimaginable power. I thought maybe an off switch would come in handy. So I built myself a back door into it.

REESE
To access the irrelevant list.

FINCH
Just a social security number. (looks away) If anyone ever found out, I'd lose access so... nine digits, that's all we get.

REESE
And we have no idea why it picked Diane Hansen.

FINCH
It wouldn't be steering us toward her if it wasn't seeing something.

REESE
But I don't know if I can protect Hansen. I can't see the whole picture.

FINCH
I offered you a job, Mr. Reese. I never said it would be easy.

Finch walks away. His security guard follows him.


INT. 8TH PRECINCT – DAY

Officer Terney is walking a suspect in handcuffs out of the precinct. He meets Carter at the door when she is just about to go inside.

TERNEY
Hey, Carter.

CARTER
Yeah?

TERNEY
You hear about your pal Anton?

CARTER
No.


EXT. 8TH PRECINCT – DAY

TERNEY
Him and his father tried to buy some guns.
Wind up getting shot with their own merchandise.

CARTER
Are they dead?

TERNEY
Nope. Embarrassed enough.
They got taken out by one guy. In a suit. (leaves)

Carter stands outside the door for a few moments, puzzled about what Terney just said about the man in a suit.


[FOOTAGE: - INSIDE A SUBWAY STATION]
[FOOTAGE: MANHTTN DETENTN 23:17]
[FOOTAGE: CELL BLOCK 4 23:17]


INT. LIBRARY – DAY

Finch is looking at the material they have gathered about the case.

FINCH
We've got all the parts.
Question is, how do they all fit together?

REESE (standing next to Finch)
Stills is narcotics. Him and his men get word of deals. They steal drugs, the cash, and kill all the witnesses.

FINCH
And they get Fusco to frame up guys like Lawrence Pope for murder.

REESE
Exactly.
They’ve already killed five people.

Reese turns away.

FINCH
Six…

REESE (surprised, turns around)
What?

FINCH
Lawrence Pope was stabbed to death last night in his cell.
They're trying to cover their tracks. They couldn't pull this off without someone on the inside at the DA's office.

REESE
That’s Wheeler. He's been spying on Hansen and pulling their old case files.

FINCH
Including the one for Robinson.
The same Robinson that sent Wheeler and Hanson death threats from prison.

REESE
Think they’re looking for someone they can frame for Hanson’s murder like they framed Pope.

FINCH
No, I think they found him.
But what do we do?

REESE
We stop them.

Reese loads a rifle.


EXT. COURT HOUSE – DAY


INT. DIANE HANSEN’S OFFICE – DAY

REESE (off screen, watching Hanson through spectacles from afar)
Hansen must be next.

Diane Hansen is working at her desk. Suddenly she looks at the window and gets up.


EXT. ROOFTOP – DAY

Reese is watching Hansen through spectacles.


INT. DIANE HANSEN’S OFFICE – DAY

The phone rings, Diane Hansen picks up.

VOICE ON THE OTHER END
You wanted to meet?


EXT. ROOFTOP – DAY

Reese is still watching Hansen in her office.

VOICE ON THE OTHER END (cont.)
Remsen and Avenue D in Canarsie.


INT. DIANE HANSEN’S OFFICE – DAY

VOICE ON THE OTHER END (cont.)
20 minutes.

Hansen hangs up, takes her bag and leaves her office.


EXT. ROOFTOP – DAY

REESE (on the phone with Finch)
Finch. It's happening now.

Reese leaves the roof. He steals a car and drives to the location where Hansen is going.


EXT. ALLEY - DAY

Reese arrives at the meeting point. The picture changes into surveillance feed.

[FOOTAGE: CAMERA K REMSEN AVE & AVE D]

Reese leaves the car. A yellow square has been assigned to him by the Machine.


EXT. BACK STREET – DAY

DIANE HANSEN
Hello?


EXT. OTHER END OF THE STREET – DAY

Reese follows Hansen with a machine gun in his hand.


EXT. BACK STREET – DAY

DIANE HANSEN
Are you here?

Reese hides behind a fire escape ladder and watches Hansen.

DIANE HANSEN
Hello?
Hello?

Stills and his men come out from behind.

Reese gets ready to shoot. The picture changes into the viewfinder of Reese’s gun.
Stills and his men walk hastily towards Hansen. The picture changes back into normal. Hansen turns around.

DIANE HANSEN
Are you gonna keep me waiting, Stills?
We don't have time for this.

Reese lowers his gun.

STILLS (off screen)
What's your problem?

Stills (on screen, walks over to Hansen -cont.)
Pope is dead. His brother is gone and we’re still searching for the clown who took him.

DIANE HANSEN
The problem is Wheeler. You idiot, he knows.

Reese is surprised about what just happened.

DIANE HANSEN
He knows about Pope and — and maybe even some of the others.
I told you, we should have taken care of this guy weeks ago. I even found a shooter for you. Stop dragging your feet on this.

STILLS
How much time do we have?

HANSEN
24 to 48 hours before he goes to the DA, tops.
I can take care of the files at the office, but you have to take care of Wheeler.
Tonight.

Fusco is sneaking upon Reese from behind, grabs him and puts a gun to his head.

FUSCO
Hey, look what I found. (walks with Reese at gun point over to Hansen and Stills) We got ourselves a groupie. Heavily armed, too. (knocks Reese down and throws his gun over to Stills)

STILLS
You know this guy?

DIANE HANSEN
No.

Fusco shows Reese’s driving license to Stills.

STILLS
You're not law enforcement. Cartel finally grow some stones?
Send somebody to take care of us? Who the hell are you?

REESE
Concerned... third party? (laughs)

Stills punches him in the face.

DIANE HANSEN
He’s alone. That’s what he is, so he doesn’t matter. Take care of him. And, uh, get rid of Wheeler tonight. Make it look clean. (leaves but turns around to Stills once more)
Hey, Stills. You screw this up, I won't let it get to me. I'll take care of you just like I took care of Pope.
I can look after myself. You know that.

Hansen leaves. Stills waits for a moment and then knocks out Reese with the grip of his gun.


ACT FIVE

EXT. INSIDE POLICE CAR – DAY

Reese regains consciousness in the backseat of Fusco’s car.
Fusco is driving.
Reese looks out of the window.

REESE
Nice spot.

FUSCO
It's Oyster Bay. Glad you like it.
You're gonna be here a long, long time.

REESE
I'm curious.
Was there a point where you knew you'd become a bad guy?

FUSCO
I got a mortgage to pay, same as everybody else.
I woke up one day and I realized I was gotta guard these assholes on Wall Street robbing everybody blind. They're stealing more than my annual salary in an afternoon.
So I said, "what the hell?"

REESE
I don't believe you.
See, I've been watching you, Lionel. And I think there’s a big difference between you and your friends.Your heart's not really into it. Stills, he does it for money. But I think you do it because you're loyal.

FUSCO
What's the difference?

REESE
It's why I'm gonna let you live.
Fusco laughs hard. Reese starts laughing, too.

REESE (cont.)
Yeah, I'm considering sticking around New York for a while. If I do, I'm gonna need someone on the inside, and you might come in handy.

FUSCO
Ah, so I'm working for you now, huh? (laughs)

REESE
That's right.
But I've got two rules.
One, you so much as hurt anybody, and I'll kill you. I don't particularly like killing people, but I'm very good at it.
And two... You have to be more careful. For instance, if you're gonna put someone in the backseat of your car, you have to search them properly… (takes out a grenade and pulls the strap)

The grenade explodes and lets the car skid for a moment before the blast flips it over, making it land on its roof. Reese kicks in the rear window and crawls outside. He pulls Fusco through the side window and takes his gun and throws it on the asphalt.

FUSCO
What are you doing…

Reese searches for the key to unlock the handcuffs and pulls Fusco up against the wrecked car

REESE
You have your vest on, officer?

FUSCO
(nods) Yeah.

REESE shoots Fusco in the back, 4 times, then walks away.


ACT SIX

INT. LIBRARY - DAY

FINCH
Where the hell have you…

REESE
There's no time.
We were wrong.


INT. CAR – DAY

Reese is jump-starting a car.

REESE (cont.)
Hansen isn't the target. She's the ringleader.
They're going after Wheeler. Tonight.


INT. LIBRARY – DAY

Finch sits down at his desk, looking worried at a picture of Wheeler.


EXT. WHEELER’S APARTMENT BUILDING - NIGHT

Azarello is waiting for Stills to arrive at Wheeler’s apartment. Stills arrives and weapons up.

AZARELLO
Yo! Wheeler's up there. He heads to the gym most nights. I got Doyle upstairs staking him out.
The place is a dump. There's no doorman, no cameras, nobody.

STILLS
We'll take him in the lobby.
Soon as it's done, we take the shooter out. Give him a block and then take him out. Head shots this time, you understand?

AZARELLO
Yeah, yeah, yeah.

STILLS
Get our friend out of the trunk.

Azarello opens the trunk of Stills’ car. Charles Robinson is inside.

AZARELLO
Who is this guy?

STILLS
Some ex-con Wheeler put away.


[♪ MASSIVE ATTACK – ANGEL]


Stills, Azarello and Robinson go inside.


INT. WHEELER’S APARTMENT BUILDING GROUND FLOOR – NIGHT

STILLS
Azarello, lights.

Azarello runs over to the light switch and switches off the lights in the hallway.

STILLS
Doyle, talk to me.


INT. WHEELER’S APARTMENT BUILDING HIGHER FLOOR – NIGHT

DOYLE (on the same floor as Wheeler’s apartment)
He's coming out now.

WHEELER
Come on, Henry, let's go.

DOYLE
Wait.

WHEELER
Show me that basketball of yours. Let's go, come on.

DOYLE
Damn, he's got his kid with him.


INT. WHEELER’S APARTMENT BUILDING GROUND FLOOR – NIGHT

STILLS
What a waste.


INT. WHEELER’S APARTMENT BUILDING HIGHER FLOOR – NIGHT

WHEELER
Henry, watch out.

Wheeler and his exit through a door to get to the elevator. Doyle runs after them.


INT. WHEELER’S APARTMENT BUILDING GROUND FLOOR – NIGHT

STILLS (threatening Robinson)
You’re a very bad man, Charles. You're about to kill a man... And his son. (puts the gun into the man’s hand)

The elevator display shows that Wheeler and his son will arrive downstairs any minute. Azarello is waiting behind a corner, tensely staring that the display.

ROBINSON
Please. Please don't do this.

Reese sneaks up behind Azarello and puts his gun to his head.

REESE
Drop your weapon.

Azarello drops his gun, Stills looks over to him and sees Reese who is signalling him to quit whatever he is about to do. Stills threatens Robinson by aiming the gun to his head.
Reese with Azarello and Stills with the ex-con nervously look at the elevator to arrive at the ground floor.

WHEELER (getting off the elevator)
That isn't true actually.
If you keep working on it, if you keep throwing the ball like that, you’ll getting at throwing that fast.

WHEELER’S KID
Really?

WHEELER
Absolutely.

Wheeler’s kid throws the ball up in the air but misses to catch it. The ball falls down and rolls over to where Reese and Azarello stand. Reese stops it with his foot. Wheeler’s kid grabs it and leaves the building with his dad.
Reese with Azarello at gun point and Stills with Robinson walk towards each other.

REESE
Let him go.

STILLS
I can't do that.
I let him go, my friends and I go to jail.

Doyle comes bursting through the door behind Reese. Without looking at him, Reese instantly shoots him in the leg.

REESE (whispering into Azarello’s ear)
Drag your friend outside and take him to the hospital. Right? Now.

He lets go of Azarello and points the gun at Stills. Azarello takes Doyle outside.

STILLS
I think I kill you and your friend here. Make it look like you killed each other.
Then, just because you pissed me off... I'm gonna kill your family. And all your friends.

REESE
I don't have any friends. I don't have any family left either.
Left them all behind. Went around the world looking for bad guys. But there were plenty of you right here all along.


EXT. APARTMENT BUILDING – NIGHT

2 gunshots are fired. Robinson comes running out of the building.


[FOOTAGE: MAIN LOBBY CAMERA J]
[FOOTAGE: INSIDE SUBWAY STATION]
[FOOTAGE: 38 AVE AND FAIRVIEW CAMERA L]


INT. COURT HOUSE – COURT ROOM - DAY

LAWYER
So now, essentially, you're telling us you couldn't see what was happening in the parking lot at all.

Diane Hansen sends a text message to Stills. It reads “Stills, where are you?” The time is 10:16 am.

LAWYER (off screen, cont.)
I'm done, your honour.

JUDGE (off screen)
Ms. Hansen?

Diane Hansen looks at the judge.
JUDGE (cont.)

The state isn't paying you by the hour, counsellor.

DIANE HANSEN (stands up)
Why don't we have the defendant tell you in her own words?
Let's listen to the 911 call she made.

The court assistant starts the tape.

DIANE HANSEN’S VOICE ON TAPE
And hey, take care of Wheeler. Tonight. Make it look clean. (Wheeler looks up) And Stills? You screw this up, I won't let it get to me. (Diane Hansen is looking away. She sees Reese standing at the door of the courtroom, looking back at her) I'll take care of you just like I took care of Pope. I can look after myself. You know that.

Diane Hansen looks confused. Reese leaves the courtroom.


EXT. PRECINCT - DAY

Fusco walks to his car that is parked outside. He gets in and moans a bit because of the bruises from when Reese shot him. He’s just about to start the car when Reese who was hiding in the back seat, points a gun at Fusco’s head.


INT. FUSCO’S CAR – DAY

REESE
You ready to get to work, officer?

FUSCO
I'm no good to you. I'm dead. Just a matter of time before the gangs get me. Or I.A.

REESE
No one knows you're involved. I took care of that.
Besides, they'll be too busy looking for Stills.
The police will think he's run for it. The gangs and the mob will think he's gone Witness Protection.

FUSCO
Is that where he is, Witness Protection?

REESE
No, Lionel. He's in the trunk. I gave him a choice and he chose wrong.
Only problem is, uh... Um... I had to shoot him with your gun. And… you'd have a hard time explaining that one, so... (laughs) You'll be taking another trip. And I'm not coming along this time.

FUSCO
Where am I going?

REESE
Oyster bay. Where no one's gonna find him for a long, long time.
I'll be in touch.

Reese smiles and gets off the car. Fusco realises that Reese owns him now.


EXT. QUEENSBORO BRIDGE - DAY

Finch is sitting on the bench near the river, staring at the Manhattan skyline.
Reese walks over to him.

FINCH (looking at Reese)
You have a decision to make.

REESE
The machine gave you another number.

FINCH
The numbers never stop coming.
You should know that up front.

REESE
Two questions.
First: Why me?

FINCH
I've been watching you for a long time, John.
We have more in common than you might think. The world thinks we're both dead, for starters.

Finch looks up to Reese.

FINCH (cont.)
You said two questions.

REESE
You programmed the machine to delete those irrelevant numbers… (sits down next to Finch) Now you're trying to save them.
What changed your mind?

FINCH
Let's just say you're not the only one that's lost someone. If you wanna leave, I'll give you enough money to get as far as you need. Disappear.

REESE
And if I stay?

FINCH
They’ll come looking for you. The police, the mob, your old friends at the CIA.
If you stay and we continue to do this, sooner or later both of us will probably wind up dead. Actually dead this time.
I said I'd tell you the truth. Didn't say you'd like it.


EXT. STREET – DAY

CARTER
Start talking, officer.

AZARELLO
You think I'm gonna rat on my friends?

CARTER
(scoffs) Please.
You can tell the D.A. all about your crooked pals.
I wanna know about him. The guy who came after you.

AZARELLO
I don't know anything.
It was just some guy alone in a suit.

Carter puts Azarello in the car. Reese is standing just a few metres away watching and listening to Carter via his earpiece.

CARTER (through Reese’s earpiece)
Yeah, well, you're gonna tell me everything that you don't know about him and where I can find him.

Reese walks away. He walks down the same street where Finch took him when they first met, stops and looks into a security camera, then walks away.

The image zooms into the lens of the camera and follows it into a server farm with rows upon rows of servers. The image then changes into surveillance feed of the streets of New York where it follows people walking around on the street. It assigns them white squares with the comment “Non relevant to investigation” and their Social Security numbers respectively.

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