Man on a Ledge_2012

"MAN ON A LEDGE" By Pablo Fenjves Revisions by Chris Gorak Current Revisions by Erich Hoeber & Jon Hoeber 10/7/10 - White Draft FADE IN:

EXT. 49TH STREET & 6TH AVENUE - EARLY MORNING
    A bus stops, doors opening with a pneumatic HISS. A man exits and starts down the street. NICK CASSIDY is 35, with a determined gaze, strong and lean, clean shaven, wearing a rumpled suit. He could be a stockbroker or in sales; he has that tired but intense look.

EXT. ROOSEVELT HOTEL - ESTABLISHING
    Nick checks his watch, 6:23, then heads for the canopied entrance of this two tower, twenty-five story hotel in the heart of the city.

INT. ROOSEVELT HOTEL - LOBBY - CONTINUOUS
    A SLEEPY BELLHOP, 65, feeble, probably allowed to keep his job out of pity, sees Nick coming and opens the door wide. Nick nods, unsmiling as he enters. Several GUESTS sit in the plush marble lobby, reading the morning paper, sipping coffee. Nick heads for the front desk. The HOTEL MANAGER, 50 prepares for the morning crush.
    MANAGER
    Good morning, sir.
    NICK
    Morning. Last name's Walker.
    MANAGER
    Yes, Mr. Walker. Room 2105, East Tower. Great view.
    He types a couple of codes into his computer.
    MANAGER
    We also have a larger unit available on the east side I can offer to you at the same price.
    Nick shakes his head.
    NICK
    I'll stick with the view.
    MANAGER
    Of course.
    He signals for the bellhop.

INT. ROOM 2105 - DAY
    The bellhop enters, followed by Nick. It's a good-sized room with a set of large windows. The bellhop opens the curtains and adjusts the lights.
    NICK
    What's your best Champagne?
    BELLHOP
    Bollinger '97, Vieille Vignes. The finest. Anything else, Sir?

INT. ROOM 2105 - DAY
    Nick relaxes, champagne in a bucket, uncorked, a half eaten filet mignon, a plate of caviar. It's an over-the-top four- star breakfast. He pulls at a lobster tail, dips it in melted butter.

INT. ROOM 2105 - BATHROOM - DAY
    Splashing water on his face, Nick takes a moment, staring himself down in the mirror. Thinking? Psyching himself up? Hard to tell, but it's intense.

INT. ROOM 2105 - DAY
    Nick walks in from the bathroom with a hand towel and goes to work methodically wiping down everything he's touched: the card-key, table, chair, utensils. Moving to the desk, he methodically writes three lines. Leaving the note, he walks to the windows. The view is spectacular.

EXT. ROOM 2105 - CONTINUOUS
    High above the street. Nick stands framed head to toe in a window, looking out at the city for a long beat. He opens the window... Then steps out, onto the narrow ledge running around the building. The wind tousles his hair. Leaning slightly forward, Nick looks down at the stomach- tightening, ball-cinching view of the street 200 feet below. Twenty-one floors above certain death, he's poised to jump. Far below, a WOMAN SCREAMS. CUT TO:

EXT. PRISON YARD - DAY
    WHACK! Nick, a prison inmate, bearded and unkempt, throws a hard elbow square into ANOTHER PRISONER'S face... ...sending a METAL SHANK chattering across concrete. A SECOND PRISONER grabs Nick from behind in a choke-hold as a THIRD PRISONER delivers gut-wrenching blows. The fight is sloppy and raw and real as Nick pushes back, sending himself and the guy on him falling into a rack of weights. CRACK! The first guy clobbers Nick with a weight bar SNAPPING his arm and knocking him down. He closes in for the kill, but Nick kicks him in the balls.
    SUPERED TITLE: SING SING CORRECTIONAL FACILITY, NEW YORK
    The third guy kicks Nick in the side, flipping him over, and the others surround him, kicking and stomping.
    ALARMS SOUND and prisoners move to the edge of the yard.
    Guards race in... but the only thing to see is Nick lying unconscious in a pool of blood.

INT. NICK'S CELL - NIGHT
    Nick sits alone on his bed. He's got a cast on one arm, ugly bruises and swelling everywhere. He stares out at nothing: a million miles from freedom.

INT. PRISON - INTERVIEW ROOM - DAY
    A female PRISON PSYCHIATRIST, 50, cold and detached, sits across from Nick, thumbing his file. Nick's still in the cast, but his wounds have healed a bit.
    PSYCHIATRIST
    So your final appeal has been denied, Mr. Cassidy.
    (beat)
    That's why I'm here.
    Nick stares off blankly, trying to quell his emotion.
    PSYCHIATRIST
    Your old life is gone.
    (beat)
    Not many men, let alone ex-cops, can handle a forty-year sentence.
    Despair creeps across Nick's face.
    NICK
    Maybe I'm one of the ones who can't handle it.
    PSYCHIATRIST
    This is good. Recognizing you've lost hope is the first step toward accepting the reality of your situation.
    He just stares off.
    PSYCHIATRIST
    Nick, have you ever considered hurting yourself?
    NICK
    Hurting? No. Killing? Every goddamned day.
    She coldly scratches a note in his file.

INT. NICK'S CELL - DAY
    An INMATE arrives outside Nick's cell with a cart of books. Nick returns one: "The Psychology of Depression."

EXT. PRISON YARD - DAY
    Nick steps out into the harsh light of the prison yard. The group that nearly killed him before stands across the way, eyeing Nick as a guard shoves him forward.

INT. PRISON - VISITATION ROOM - DAY
    PRISON GUARDS keep watch. PRISONERS speak to LOVED ONES across long steel tables. Nick waits at a table, hands cuffed in front of him, playing with a RUBIK'S CUBE. His cast is off now, but he's got a fresh black eye and bruises. He looks up. MIKE CAVANAUGH, 30s, sharply dressed in a suit and tie approaches to greet him.
    MIKE
    Hey, Cass.
    Nick takes in Mike's attire as he sits down.
    NICK
    Missed you, Mikey. Been awhile.
    MIKE
    Yeah, well. Getting married...
    Nick smiles bitterly.
    NICK
    I expect everyone else to dry up and blow away. Not you.
    Mike looks away.
    NICK
    Hey. Look at me. It's not right I hear from someone else you made detective.
    Mike gets it.
    MIKE
    It's hard for me, Cass, seeing you like this.
    NICK
    I know, Mikey.
    (beat)
    Congratulations.
    It's a nice moment, but then Mike turns serious.
    MIKE
    Your brother called me.
    Nick sets down the cube.
    NICK
    He ask for money? I heard they lost the house.
    MIKE
    Your dad is dying.
    There it is, hard and ugly. Nick looks away, choked up.
    NICK
    How long?
    Mike shrugs. Not long.
    MIKE
    I'll talk to the warden, make sure you get a day on the outside with no hassle.
    Nick smiles grimly. He picks up the Rubik's Cube, turning it mindlessly.

EXT. PRISON YARD - DAY
    Nick jogs along the razor wire fence, head down, keeping to himself, burning through a rigorous routine. Suddenly a PRISON GUARD stands in his path. Nick stops, staring at the guy. He knows what's coming.

I/E. SING SING PRISON - GATE - DAY
    A prisoner transport vehicle stands at inspection. A PRISON GUARD drives, racked shotgun beside him. In the cage in the back are another GUARD and Nick, who sits handcuffed to a steel rail, wearing his prison blues.
    PRISON GUARD #2
    Beautiful day.
    The transport pulls away from the prison.

EXT. CEDAR LAWN CEMETERY - SUNSET
    Set up against a set of train tracks, there's no rolling hills or shady trees here: just brown grass and fumes. Nick stands, hands cuffed before him, next to his brother, JOEY CASSIDY, 30, clean-shaven, a touch brainy with a youthful charm. Neither wants to be here. And neither wants to be standing next to the other. JOEY'S GIRLFRIEND, ANGIE, 24, holds Joey close, quiet and supportive. Later we'll get to know her as an ass-kicking, take-no-shit New York firecracker: down to earth and charming but emotional, the kind of woman you don't want to cross. Mike's there with his WIFE, looking slick compared to the rumpled older generation of MOURNERS who watch as FATHER LEO, 60, wraps it up.
    FATHER LEO
    ...and when a good soul is taken from us, it can be hard to find reason to believe. But, having faith in God's promise -
    Father Leo looks to Nick; his words are for him...
    FATHER LEO
    - and faith in yourself - is your one true ally.
    Father Leo turns to bless FRANK CASSIDY'S CASKET hovering over the hole.
    FATHER LEO
    May God bless you, Frank Cassidy; you are truly free. Amen.
    A brief round of Amens. Less than twenty feet away, the prison transport vehicle idles. Both prison guards stand at the ready. Nick and Joey say good-bye to his father's friends. Not allowed physical contact, Nick is scrutinized by the guards. The moment's surreal.
    NICK
    Thanks... Thank you....
    Mike waits his turn, then approaches.
    MIKE
    Cass. Sorry, man.
    Nick nods.
    JOEY
    Thanks for coming, Mikey.
    JANICE, Mike's wife, conservatively dressed but gorgeous, gives him a smile.
    JANICE
    It's nice to meet you, Nick. I've heard so much.
    Mike hangs back with Nick as Janice moves on.
    NICK
    You finally got a woman with all her teeth.
    Mike grins.
    MIKE
    Anyway I can help, you guys let me know.
    He leans in, respecting the rules but too close for the guards' liking.
    MIKE
    I'll be there. Okay?
    Nick nods. Mike pats Joey on the shoulder as he walks away. Angie steps in and gives Nick a peck on the cheek.
    PRISON GUARD
    No contact!
    NICK
    I'm glad it's the pretty girl who broke the rules.
    Angie smiles.
    NICK
    You got the time?
    ANGIE
    (checks her phone)
    Five twenty.
    She kisses Joey and heads back to her car, leaving the brothers alone at the casket. Nick stares out, watching Mike and the other guests pulling out, heading back to their lives. A TRAIN WHISTLE sounds in the distance and Nick glances at the tracks with obvious displeasure.
    NICK
    This the best you could do? View of the goddamned tracks?
    The prison guards perk up at his tone.
    JOEY
    (disgusted)
    You killed him the day you went to prison.
    Nick smiles bitterly.
    NICK
    Cause I left him with a goddammed screw-up.
    Joey burns with rage.
    JOEY
    My life ended the day you went down. College: gone. All I did is earn for your defense and dad's medical.
    NICK
    Yeah well, apparently not enough.
    Joey explodes, swinging hard, hitting him in the face. Hands cuffed together, Nick clubs Joey across the jaw. Joey retaliates with a hard left-hook, knocking Nick down, then jumps on him throwing more punches.
    JOEY
    This is all your fault.
    Nick manages to hit Joey again, slamming him to one side. The guards jump in, pulling them apart. Nick's dragged away, his hands still cuffed. Joey lunges for him again, but the second guard blocks him.
    PRISON GUARD #2
    Walk away!
    Joey looks after Nick, still pissed, spits, and walks off. Nick stops struggling, taking a final look at his father's casket. The guard shoves him toward the truck.
    PRISON GUARD #1
    You're done. Let's go.
    As Nick reaches the truck, he glances up the tracks as the train WHISTLE sounds again... ...then suddenly turns, swinging one arm over the guard, flicking open A SWITCHBLADE and jamming it against the guy's neck as he backs against the truck for protection. The second guard draws and aims, but he doesn't have a shot.
    PRISON GUARD #2
    Drop it!
    Nick's blade is already digging deep, drawing blood...
    NICK
    Stay back, Donnie.
    (to his hostage)
    Unlock 'em.
    PRISON GUARD #2
    (into radio)
    This is three twelve, prisoner escape in progress at Cedar Lawn! He's got my partner, I need backup!
    With shaking hands, guard #1 unlocks the cuffs... ...and Nick instantly pulls his Glock 22, putting it to his head.
    NICK
    Drop it! NOW!
    PRISON GUARD #2
    Take it easy, Cassidy.
    He drops his weapon and raises his hands. Joey watches from a distance as Nick pushes the guards into the truck.

INT. PRISON TRANSPORT VEHICLE - CONTINUOUS
    Nick quickly cuffs the guards to the rail.
    PRISON GUARD #1
    You won't get far.
    NICK
    I don't plan to.

EXT. CEDAR LAWN CEMETERY - CONTINUOUS
    Joey runs up as Nick hurries out of the truck.
    JOEY
    The hell are you doing?
    Nick levels the Glock at his brother's head.
    NICK
    Keys.
    The guards watch as he pushes Joey towards the parking lot.

EXT. PARKING LOT - SUNSET
    Joey stands helpless as his brother unlocks his 4x4.
    JOEY
    You sure about this? There's no going back.
    He glances at the far end of the cemetery where two police cars enter, then back over at the APPROACHING TRAIN.
    NICK
    Yeah.
    Jumping in the truck, Nick peels out. Joey stands there staring after him as the two police cruisers blow past him.

I/E. JOEY'S TRUCK - DRIVING - CONTINUOUS
    Nick floors it, flying through the cemetery, eyeing the train and the cops. Breaking through a chain-link fence, he maneuvers the truck up the berm and across the tracks... ...as the train roars past, WHISTLE BLARING... ...cutting off the cruisers.

EXT. EMPTY ROAD - SUNSET - ESTABLISHING
    Nick's truck flies down the road.

I/E. JOEY'S TRUCK - DRIVING - CONTINUOUS
    One hand on the wheel, he goes through the glove-box. Coming up with a flip-blade knife, he cuts off his GPS ANKLE- BRACELET and tosses it out the window. Zipping open Joey's gym bag on the front seat, he rifles through it, gunning the truck faster. In the distance, far behind him, the lights of police pursuit rise. Nick eyes them drawing closer, then turns off on a side road, blowing past a sign that reads "NO OUTLET."

EXT. WASTEWATER TREATMENT PLANT - ESTABLISHING
    This massive plant sprawls across hundred of acres: a maze of pipes and tanks.

EXT. WASTEWATER TREATMENT PLANT - SUNSET
    The 4x4 sits abandoned, as police cars pour in surrounding it, SCREECHING to a stop. Cops swarm out, guns ready. Nick could have gone any number of ways.
    COP
    (into radio)
    Set a perimeter. He can't have gone far.
    BOOM DOWN to REVEAL that he's standing on a manhole.

EXT. WOODED HILLSIDE - ACCESS DOORWAY - NIGHT
    This concrete-framed gated steel door set into this wooded hillside swings open and Nick emerges. Pulling on a coat from Joey's gym bag, he disappears into the night. BOOM UP to REVEAL a sea of blue and red flashing lights at the treatment plant a mile away.

I/E. MIKE'S SUV - MOVING - NIGHT
    Mike drives, Manhattan's skyscrapers visible up ahead. The freeway back into the city is thick with traffic. Janice touches up her make-up as Mike's phone RINGS.
    MIKE
    (into phone)
    Cavanaugh.

INTERCUT - EXT. CEDAR LAWN CEMETERY - NIGHT - CONTINUOUS
    Joey leans on a police car, the crime scene abuzz with activity behind him.
    JOEY
    It's Joey. Nick's escaped.
    MIKE
    What?
    JOEY
    Jacked the guards, took my truck.
    Mike looks like he just got gut-punched.
    MIKE
    Jesus.
    JOEY
    I don't know what to do, Mike.
    MIKE
    I got a guy with the Staties. Don't worry. I'll find him.
    JOEY
    Thanks.
    Still stunned, Mike places the phone back on the dashboard.
    JANICE
    Everything okay?
    He smiles.
    MIKE
    Sure baby. Nothing I can't take care of.

EXT. STORAGE AREA - NIGHT - ESTABLISHING
    Elevated train tracks run above this fenced off area where several cargo containers have been placed for storage.

EXT. STORAGE AREA - NIGHT
    Hopping the fence, Nick spins the combination lock on a container and swings open the door. Grabbing an extension cord from inside, he climbs on top of the container, yanks the power cord from the roof of the next container, and plugs his in, lights flickering on.

INT. CARGO CONTAINER - NIGHT
    As Nick shuts the door, we see the place is filled with furniture, luggage, and labelled moving boxes: his old life. Nick sits, exhausted. Utterly spent. Then he sees a framed picture lying on one of the boxes. He picks it up revealing his DAD, JOEY and HIMSELF on a fishing trip from years ago: the three of them smiling. He sits there, thinking about the past. About what to do.
    SERIES OF SHOTS:
    Nick's got a suitcase open, shaving off his goatee and scruff. He wipes his face.
    With a pair of scissors, he goes to work on his hair, cutting over the ears and off the collar.
    Digging to the bottom of a coffee can of loose pennies, Nick pulls out a money clip of crisp cash.
    He pulls a suit from a wardrobe box and starts changing: pants, shirt, a cheap Timex 1440 digital sports watch.
    Finally he slips the 4x6 photo from the frame and pockets it.

I/E. BUS - EARLY MORNING
    Transformed, Nick rides into the city with the early-shift of working stiffs.

EXT. 49TH STREET & 6TH AVENUE - EARLY MORNING
    The bus stops, doors opening with a pneumatic HISS. Nick steps out. This is where we opened.

EXT. 47TH STREET - EARLY MORNING
    Nick walks along 47th, enjoying early morning serenity. The city is empty and calm: a rare moment before the insanity of eight million people begins again. This is the heart of the Diamond District, where virtually every sign and storefront here is a diamond or jewelry business. Nick pauses to check out his reflection in a store window: straightens his tie, tugs on his cuffs.

EXT. 45TH STREET & MADISON AVENUE - EARLY MORNING
    Nick stops walking and looks up at the Roosevelt Hotel... ...and the ledge 21 floors above the street.

EXT. ROOM 2105 - DAY
    Nick stands on the ledge as before, poised to jump, eyeing the street far below.

EXT. 45TH STREET - DAY
    A COP runs up the street towards the Roosevelt, looking up.

INT. MIDTOWN NORTH PRECINCT - DAY
    A DESK SERGEANT relays commands over the radio.
    DESK SERGEANT
    I need ESU on scene at the Roosevelt on 45th. Shut down the block.
    (shouting out)
    Call Marcus: we got a man on a ledge.

EXT. 45TH STREET - DAY
    OFFICERS unload BARRICADES, slamming them into place, one after another. The street is closed. Onlookers are corralled at both ends of the block, out of harm's way.

EXT. LEDGE - DAY
    Nick looks down, watching the rapidly expanding action.

EXT. 45TH STREET - DAY
    The swelling crowd parts as a FIRE TRUCK pulls in followed by a NYPD ESU CAR. DETECTIVE BOB DOUGHERTY gets out: 40, brash, self-confident, and New York Irish through and through. Dougherty and the firemen look at Nick 200 feet up.
    DOUGHERTY
    That'll make a mess.

INT. ROOM 2105 - DAY
    The bellhop unlocks the door, allowing Dougherty to enter.

EXT. LEDGE - CONTINUOUS
    Dougherty pokes his head outside, glancing down 21 gut- wrenching stories: Jesus. He looks over at Nick standing on the ledge, ten feet away, contemplating the abyss.
    DOUGHERTY
    Mr. Walker? Hang tight, okay? My name is Bob Dougherty and I'm here to help.
    Nick just stares down at the street.

EXT. 45TH STREET - DAY
    DETECTIVE NATHAN MARCUS, 45, suit and tie, is the competent, intense, get-it-done man in charge: always in control and doesn't suffer fools. He heads into the Roosevelt trailed by two cops.
    MARCUS
    I want mobile command here pronto. Keep the street locked up. Businesses too. And get more crowd control.
    (into walkie)
    Dougherty, report.

INT. ROOSEVELT HOTEL - LOBBY - CONTINUOUS
    Marcus points at the waiting manager as he sweeps into the hotel, crossing to the elevators.
    DOUGHERTY (V.O.)
    Jumper's mid-thirties, looks professional. He's not talking.
    MARCUS
    (to the Manager)
    I need the doorman, bellhop, room service - anyone who had contact.
    Marcus enters the elevator, presses "21."
    MANAGER
    Yes sir.
    The doors close on him.

INT. ROOM 2105 - DAY
    Standing at the open window, Dougherty glances over as Marcus walks in. Out on the ledge, Nick checks his watch.
    NICK
    I want a woman.
    Dougherty pauses. This is a new one.
    DOUGHERTY
    Come inside, I'll get you whatever you like. Blonde? Brunette?
    NICK
    Officer Anderson. If she isn't here in 30 minutes, I'm jumping. You and I are done talking, Bob.

INT. ROOM 2105 - CONTINUOUS
    Dougherty walks from the window, Marcus waiting.
    DOUGHERTY
    Ready for this? He wants Anderson. Says he's going over if he doesn't get her.
    Marcus notes Nick's breakfast spread on the table.
    MARCUS
    Last Supper?
    DOUGHERTY
    Not a good sign.
    Marcus thinks it over. He points to the note on the desk.
    MARCUS
    "I will exit this world just like I entered - innocent. I'm going home."
    DOUGHERTY
    To the nut-house if he's lucky.
    MARCUS
    Get a print team in here. I want an ID.
    (beat)
    And call Anderson.
    DOUGHERTY
    Seriously?
    MARCUS
    You'll back her up.
    DOUGHERTY
    Sure. Why not? Everyone loves a good train wreck.
    Marcus walks out.

INT. LYDIA'S APARTMENT - DAY
    Sprawled on the bed in her underwear, LYDIA ANDERSON wakes from the sound of her RINGING phone. She's 30s. Beautiful. And a wreck. Lydia stumbles through the simple apartment, tripping over a half-empty vodka bottle. The place is nicely decorated, but a mess. There are family pictures: parents, brothers, many of them cops. Pulling the phone from under a pizza box, she answers.
    LYDIA
    Anderson.
    DOUGHERTY (V.O.)
    Christ, did I wake you up?
    LYDIA
    Course not. Hold on.
    Lowering the phone, she takes a beat to pull it together.
    LYDIA
    What's up?
    DOUGHERTY (V.O.)
    You're up.
    This is the last thing she expected.
    LYDIA
    I'm not on the rotation.
    DOUGHERTY (V.O.)
    No shit. The Roosevelt. Right now.
    CLICK. The line goes dead. She stands there, slightly lost, not sure what to do.
    LYDIA
    Crap.

EXT. LEDGE - DAY
    Nick checks his watch. THE CROWD BELOW continues to grow. Cops clear a path allowing a TACTICAL MOBILE COMMAND CENTER truck to roll in.

INT. MOBILE COMMAND CENTER - DAY
    Two POLICE TECHS sit before a huge array of communications equipment and video monitors as Marcus walks in.
    POLICE TECH #1
    We've got links with traffic control, the precinct, and the hotel.
    MARCUS
    Get cameras up. Where's my crime scene unit?
    POLICE TECH #2
    Almost here.
    MARCUS
    Anything on J. Walker?
    POLICE TECH #2
    We've got over six hundred of 'em in the city.
    POLICE TECH #1
    Fire Chief wants a word.

EXT. 45TH STREET - DAY
    ELENA OTERO MORALES, 40, with smoldering good looks, eyes the gathering crowd then looks up to Nick on the ledge. Her CAMERAMAN frames them up.
    ELENA MORALES
    Let's burn one.
    CAMERAMAN
    In 3... 2... 1...
    ELENA MORALES
    Unlucky in love? Victim of the Stock Market? A young man contemplates death. This is Elena Otero Morales reporting live from midtown...

EXT. LEDGE / 45TH STREET - DAY
    Nick watches the ESU TRUCK pull up. The Emergency Services Unit jumps to it, hauling out an INFLATABLE PAD. One hits a switch; the emergency airbag begins to inflate. 20' x 20' x 8'. From this height it's not much bigger than a postage stamp.

EXT. 45TH STREET - CONTINUOUS
    The ESU guys beside the inflatable pad look up at Nick, a tiny speck twenty floors up.
    ESU #1
    Helluva a drop.
    ESU #2
    This ain't gonna help.
    Cops push back the gathering crowd of construction workers, businesspeople, homeless, students: a cross-section of the entire city. A heavyset BEARDED GUY is annoyed.
    BEARDED GUY
    Don't shove me, man.
    Behind him, Lydia steps out of a cab, completely transformed and looking totally professional. She stares up 21 floors at Nick. It's a hard, internal moment, seeing him, knowing that she's about to become responsible for this man's unraveling life.
    MARCUS (O.S.)
    Hey. You good to work?
    She turns. He's right there with the Fire Chief.
    LYDIA
    Of course.

INT. ROOSEVELT HOTEL - LOBBY
    Stopped by the officer controlling the front door, she presents her badge.
    LYDIA
    Anderson.
    At the announcement of her name it's like a hush ripples out, silence falling across the OFFICERS and EMERGENCY WORKERS filling the lobby. Head up, ignoring the dozens of pairs of eyes on her, Lydia crosses to the elevators, shoes CLIPPING loudly in the silence.

INT. ELEVATOR - CONTINUOUS
    Hitting 21, she turns: every person in the room is staring at her as the doors roll closed.

INT. ROOM 2105 - CONTINUOUS
    Dougherty and a uniformed cop keep an eye on Nick.
    MARCUS (V.O.)
    Anderson's on her way up.
    DOUGHERTY
    Enter the Grim Reaper.

INT. 21ST FLOOR CORRIDOR - MOMENTS LATER
    Dougherty waits outside the room as she heads up the hall.
    DOUGHERTY
    Welcome back.
    LYDIA
    Kiss my ass, Bob.
    DOUGHERTY
    He asked for you. By name.
    She considers this.
    LYDIA
    What's the scene?
    DOUGHERTY
    Suicide note. Name's Walker but we haven't made him yet. He's not talking except to say he's going off in...
    (checks watch)
    ...one minute.
    She turns off the ringer on her cell and enters the room.

INT. ROOM 2105 - CONTINUOUS
    Lydia stops, taking in the room: food, note, made beds, empty luggage rack.
    LYDIA
    Did he ask for help?
    DOUGHERTY
    No.
    LYDIA
    Drunk?
    DOUGHERTY
    Don't know.
    LYDIA
    Attitude?
    DOUGHERTY
    No dialogue.
    She studies Nick from behind as he leans against the sealed window: posture, stance, attitude.

EXT. LEDGE - CONTINUOUS
    Nick checks his watch. 8:41 AM.

EXT. 45TH STREET - CONTINUOUS
    A handful of REPORTERS and PHOTOGRAPHERS stand against the barricades photographing Nick and getting street interviews.
    ANGRY TRAFFIC GUY
    Anyone who creates this much traffic in midtown should be killed!
    Elena Morales and her cameraman look up at Nick.
    ELENA MORALES
    He jumps soon, we'll make evening news in London.
    CAMERAMAN
    I give him an hour.
    ELENA MORALES
    I'll take the under.
    CAMERAMAN
    Twenty bucks?
    She smiles. It's on.

I/E. ROOM 2105 / LEDGE - DAY
    Two CSI TECHS dust for prints as Dougherty looks on. Lydia eyes the remains of Nick's breakfast, then glances at the techs working.
    LYDIA
    You process this yet?
    CSI TECH
    Yeah.
    She helps herself to some fries. Then she sets her cell phone by the TV, and puts in an ear- piece attached to her radio. Taking a breath, she moves to the window and leans out.
    LYDIA
    Mr. Walker? I'm Detective Lydia Anderson. I understand you asked for me.
    For the first time, Nick turns. She stands there: quiet, non- threatening, attractive.
    NICK
    Did you know part of Asia Minor was once called Lydia?
    LYDIA
    Do we know each other?
    He shakes his head. She settles comfortably onto the window frame.
    LYDIA
    What brings us out here today?
    NICK
    Aside from the view?
    She smiles. But then he steps forward, standing rigid, toes just off the lip of the ledge.
    LYDIA
    Trust me, this gazing into the abyss stuff isn't a good idea.
    NICK
    Today is the day everything changes. One way or another.
    He pins her with an unwavering gaze, bringing every fiber of his soul to bear.
    NICK
    I am prepared to die. It's very important that you understand.
    She nods.
    NICK
    Tell me.
    LYDIA
    I understand.
    NICK
    That's all for now.
    He turns away, expecting her to go. She doesn't.
    LYDIA
    Why me?
    NICK
    Because you were with that jumper on the bridge last month and he died with the whole world watching.
    This cuts right to her core: she's stunned, frozen into silence. Turning from the window, she finds Dougherty smiling at her.
    DOUGHERTY
    Excellent work. Very impressive.
    LYDIA
    Clear the room.
    DOUGHERTY
    Now hold on...
    LYDIA
    My scene. My room. I want space. Now!
    Dougherty gives her a look as the techs file out.
    DOUGHERTY
    This is on you.

INT. COMMAND CENTER - DAY
    All the screens are now up showing a long-lensed view of Nick, plus wider views of the crowd, the street, and the Roosevelt, plus some TV feeds. Putting down a phone, a police techs turns to Marcus.
    POLICE TECH #2
    We're getting a lot of static from the store owners.
    MARCUS
    The street stays locked up 'til I say so. I don't want this poor bastard falling on someone.

I/E. ROOM 2105 / LEDGE - DAY
    Lydia takes a seat on the window again, watching Nick standing with his eyes closed, turned away, mumbling. Sensing something, he opens his eyes, sees her, and stops.
    LYDIA
    Are you praying?
    NICK
    My father died.
    He holds up the picture from storage of him with Joey and their dad.
    LYDIA
    I'm sorry.
    NICK
    You have family?
    LYDIA
    Parents. Three brothers.
    NICK
    With three brothers, how do you end up a cop?
    LYDIA
    They're cops too. I was the rebel who got a degree and went into private practice.
    NICK
    Leather couch, matching chair, Miro lithograph?
    She smiles.
    LYDIA
    Chagall.
    (beat)
    It was dull as hell. Now I'm here.
    NICK
    Any regrets?
    LYDIA
    Sure. Things happen. We make plans, God laughs.
    Nick pauses, keeping his emotions in check.
    NICK
    You have a lot of friends on the force?
    LYDIA
    Enough.
    NICK
    Not many I bet. No women in the Boy's Club.
    LYDIA
    You got something against cops?

EXT. WOODED HILLSIDE - ACCESS DOORWAY - DAY - CLOSE ON
    Mike. Showered and sharply dressed, he's all energy as he paces while keeping an eye on the scene behind him where Nick escaped from the wastewater treatment plant. Officers put up police tape as detectives scour the area and a K-9 unit hunts around.
    MIKE
    (into phone)
    Nothing at JFK? How about the border?
    One of the detectives catches Mike's eye and shakes his head. Mike gives him a nod of acknowledgement.
    MIKE
    (lowers his voice)
    Tom, I want you to reach out to everyone we know. Let's keep this internal. I want to find him first. Run everything you get through me.

INT. 21ST FLOOR CORRIDOR - DAY
    Dougherty and the techs are standing in the hall when suddenly the room door opens. Dougherty straightens up as Lydia gets in his face.
    LYDIA
    Can you do your job or do you need to go?
    DOUGHERTY
    Look, Lydia...
    LYDIA
    (pointing)
    I'm primary. You're secondary. You're here to support me. In or out: nothing in between.
    Dougherty looks her over icily as the Techs watch stunned, waiting to see what's going to happen.
    DOUGHERTY
    I'll do my job.
    She turns and walks back into the room, leaving the door open behind her.

INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY
    DAVID ENGLANDER, 50s, confident and serene, wearing a five thousand dollar suit, stands at a wall safe, strapping on a gold Brequet Classique 3137, then grabs a pair of massive emerald cuff-links while he talks on a headset.
    ENGLANDER
    I'll tell you what, Monica. I'll host a dinner for the gold circle donors. Use my name. Whatever you need. I mean, it's the children's wing.
    (beat)
    Hell, in this economy, it's the least I can do. Of course. Bye.
    An ASSISTANT has appeared in the background with a well- dressed 40-year-old Connecticut WASP.
    ASSISTANT
    Mr. Henry is here, sir.
    Englander closes the safe and walks through his massive open office in the 22nd floor of the Roosevelt, where architectural models of different developments are laid out on tables.
    ENGLANDER
    What do you want, Ted?
    The man smiles nervously at Englander's approach.
    TED
    I couldn't do it...
    (beat)
    I've dealt with the planning commission, but the councilman... it's too much of a risk for me.
    Ted sets a Cartier box on Englander's desk. Englander stares at it.
    ENGLANDER
    The hell is that?
    TED
    It's a gift... I'm sorry.
    Englander opens the box, looks at the Pasha watch, and hurls it against the wall... WHAM!
    ENGLANDER
    I don't need a fucking watch, Ted! I need you to do the job you agreed to do!
    TED
    David...
    ENGLANDER
    The job that by not doing you are fucking me and my partners in a way that cannot be unfucked by some pathetic gesture in a red box which does absolutely nothing but make you feel better!
    I...:
    ENGLANDER
    Tell me it's done.
    TED
    Please...
    TELL ME IT'S FUCKING DONE!:
    TED
    (breaking)
    Sure, David. It's done.
    ENGLANDER
    Thanks for the watch.
    He watches Ted turn and leave as his assistant appears.
    ASSISTANT
    We've had to push the presentation thirty minutes: there's a jumper on the building and they closed 45th.
    Englander checks the time on his Breguet, exasperated.
    ENGLANDER
    Why can't people just shoot themselves in the head?
    (beat)
    Go push him off.
    The assistant freezes, unsure what to do.
    ASSISTANT
    The police are supervising the situation, sir.
    He grins.
    ENGLANDER
    You'd do it? I love that.
    (beat)
    Get out of here. You disgust me.

EXT. LEDGE - DAY
    Nick looks over with a bemused smile.
    LYDIA
    What?
    NICK
    You're way prettier than I thought you'd be.
    LYDIA
    Are you flirting with me?
    NICK
    What? You're telling me that never comes up in your line of work?
    LYDIA
    Not too often. Most suicidal people have other things on their minds.

INT. MOBILE COMMAND CENTER - DAY
    The bellhop is here, talking to Marcus.
    BELLHOP
    He gave me a hundred dollar tip on a two-forty tab. Imagine that?
    POLICE TECH #1
    Two hundred forty bucks for breakfast?
    BELLHOP
    It is the most important meal of the day.
    MARCUS
    Anything else unusual?
    BELLHOP
    He's got honest eyes. You can tell a lot about a man by his eyes.
    Marcus glances at the TELEVISION FEED, which now has a closer view of Nick taken from another building, but it's still difficult to see him clearly. Marcus's radio crackles and we...

INTERCUT - INT. ROOM 2105 - DAY
    DOUGHERTY
    Marcus, get this. Techs didn't find a single print up here.
    MARCUS
    What?
    DOUGHERTY
    He wiped everything down.
    Marcus taps his finger, stressed. This isn't adding up.
    MARCUS
    Tell Anderson.

INT./EXT. LEDGE - DAY
    Dougherty hands Lydia a note. She reads it and glances over at Nick who's staring off across the street.
    LYDIA
    Why don't you want us to know who you are?
    NICK
    I can't talk about that yet.
    LYDIA
    But you will?
    NICK
    Maybe.
    Nick moves to the lip of the ledge, looking down, feeling what it's going to be like to go over. On the street below, the crowd CHEERS. Lydia watches Nick balanced exactly on the brink; the thinnest hair away from death. She speaks calmly but emotionally: connecting, controlling.
    LYDIA
    Those people down there don't care about you. They want you to jump. It's why they watch. But I care.
    NICK
    Wouldn't that be amazing? If you actually did?
    LYDIA
    What's so crazy about that?
    Lydia pulls out a pack of cigarettes. Shaking one out, she lights it, takes a drag and looks over, offering... Nick glances at his watch, smiles.
    NICK
    No thanks.
    He studies her: a cool girl just sitting there, relaxed and approachable, like it was a cafe and not a ledge.
    NICK
    I need someone I can count on. I'm hoping that could be you. Odds are this is my last hurrah.
    LYDIA
    It doesn't have to be that way. It's your choice.
    NICK
    Maybe. But it might be yours.
    LYDIA
    (pointed)
    What you mean by that?
    DOUGHERTY (O.S.)
    Anderson. You should see this.

INT. ROOM 2105 - CONTINUOUS
    Looking inside, Lydia sees Dougherty watching the news on TV. RECORDED FILE FOOTAGE. High on the Brooklyn Bridge, a 17 YEAR OLD BOY, illuminated by spotlights, threatens to jump... ...as LYDIA tries to talk the kid down.
    ELENA MORALES (V.O.)
    In breaking news we have just received a tip that the negotiating officer here at the Roosevelt is Lydia Anderson, from last month's tragic incident on the Brooklyn Bridge...
    The boy heads in towards Lydia, as though he's coming down, then stops, smiles, turns away and jumps. People SCREAM. A C.U. of Lydia FILLS THE FRAME, eyes wide in horror...
    LYDIA
    I hate that bitch.
    DOUGHERTY
    Everyone loves a celebrity.
    Lydia grabs the remote and clicks off the TV.
    LYDIA
    This guy left no traces: no credit card, no prints. Who does that?
    DOUGHERTY
    Someone with a history.
    LYDIA
    Exactly. Get some people on mug shots. Start with white collar stuff, but do the boroughs too: his accent says Queens.
    She looks out at Nick, standing there praying.
    LYDIA
    Something is going on.

EXT. 46TH & 5TH AVENUE - DAY
    Out of a sea of New Yorkers, we find a guy in a black hoodie and a girl in sunglasses coming down the street. It's Joey and Angie.
    JOEY
    We're here, we're here, we're here. Don't freak out.
    And we REVEAL he's talking into a radio with...

INTERCUT - EXT. LEDGE - CONTINUOUS
    ...Nick, who's wearing a tiny ear jack and throat mic hidden in his collar.
    NICK
    You're late!
    JOEY
    Midtown's totally grid-locked.
    NICK
    Yeah. And you're the one person in Manhattan who knew it would be!

INTERCUT - INT. ACCESS BUILDING - FOYER - CONTINUOUS
    Joey and Angie head into a building, striding through the foyer.
    NICK
    Overnight timelocks go down in two minutes.
    JOEY
    Relax. Everything's in place.
    NICK
    Everything but you.
    JOEY
    (to Angie)
    He's big and good looking, but kind of high strung. Used to puke before games.
    Joey and Angie step into an elevator...

INT. ACCESS BUILDING - ELEVATOR - CONTINUOUS
    ...and hit the button for the top floor. Angie takes the walkie from Joey as they ride up.
    ANGIE
    (into comm)
    How you doing way up there?
    NICK (V.O.)
    I ever tell you us Cassidys are afraid of heights?
    ANGIE
    Seriously?
    NICK (V.O.)
    Just tell Joey to calm down. I can see his leg shaking from here.
    Joey stops bouncing his leg, caught without even being seen. Angie smiles. DING. The elevator reaches the top floor and Joey leads the way out.

EXT. 45TH STREET - DAY
    ELENA MORALES stands in front of the ever-growing crowd.
    ELENA MORALES
    Someone in this country commits suicide every seventeen minutes.
    ELENA MORALES
    That's eighty people a day; thirty thousand a year. But rarely does it unfold in such a spectacular fashion...

EXT. ACCESS BUILDING - ROOF - DAY
    Joey takes a ladder lying on the roof, puts it up against the taller building next to it, and leads the way up.
    JOEY
    Hey, you see me?

EXT. LEDGE - CONTINUOUS
    Nick looks across the street at an eighteen story building: "ENGLANDER JEWELRY EXCHANGE." Secured to the roof is a BLUE CONSTRUCTION TARP: "24-Hour Roof Repair." And just beyond it is Joey, peeking over the back of the roof.
    NICK
    Don't worry, everyone's looking at me.
    He watches as Joey, then Angie climb onto the roof and duck underneath the blue tarp.

INTERCUT - EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP -
    CONTINUOUS
    Two black duffel bags and assorted gear are already here, stacked up and ready to go.
    Crouching under the tarp, Joey and Angie pull on headsets, throat mics, and gloves.
    JOEY
    I heard on the news that they're still searching the water treatment plant for you.
    NICK
    Couldn't have gone better.
    (beat)
    You could have pulled your punches a little.
    Joey smiles at this.
    JOEY
    What can I say? It's been a rough couple years.
    Nick checks his watch.
    NICK
    Ten seconds...
    Joey notices Angie touching up her lipstick.
    ANGIE
    What?
    NICK
    Five...

EXT. JEWELRY EXCHANGE - CONTINUOUS
    Automated steel-gates behind the front doors slide open revealing a small foyer and a sign: "ENGLANDER JEWELERS, 15TH FLOOR". Another layer of metal gates on the street side remains chained shut, two heavy-duty locks around the door handles.

INT. ELECTRICAL ROOM - CONTINUOUS
    TIGHT ON the computerized central alarm-system. Numbers jump and dance. A light blinks twice with a piercing BEEP. Lights go green. The first layer of security, deactivated.

EXT. LEDGE - CONTINUOUS
    NICK
    Night locks should be deactivated.

EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS
    Joey studies a web page printout, then looks at where the concrete roof has been drilled and several small charges are placed in a circle. Joey screws two wires to a small plastic box and slides a mattress over the charges.
    ANGIE
    This gonna work?
    JOEY
    My friend the Internet thinks so.
    His leg's shaking again.
    ANGIE
    I'm scared too.
    He stops what he's doing and turns to her.
    JOEY
    I have to do this: it's family, but you...
    She puts a finger on his lips.
    ANGIE
    Hey. I love you.
    Joey smiles.
    ANGIE
    Besides you'd probably screw this up without me.
    His smile dies.
    JOEY
    Nobody's screwing anything up.
    ANGIE
    Because I got your back.
    She kisses him and they bunker down, sliding in ear protection.
    JOEY
    It's your show, bro.

EXT. LEDGE - CONTINUOUS
    Nick looks down at the crowd as Lydia reappears at the window.
    NICK
    Look at all those people with nothing better to do.
    Lydia looks down.
    NICK
    Can't disappoint them.
    (beat)
    Three, two, one...
    LYDIA
    Jesus. DON'T!
    Nick steps off... ...but jerks back at the last second, tottering on the brink... A LOUD COLLECTIVE ROAR rips across the crowd...

EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS
    ...as Joey presses the button on the electrical detonator. WHUMP. A muted explosion, further muted by the ROARING CROWD. Dust and debris fill the narrow confines. Joey and Angie cover their faces, coughing.

EXT. 45TH STREET - CONTINUOUS
    A cop turns toward the sound, but everyone's staring at the ledge. The cop can't help but look up, too.

EXT. LEDGE - CONTINUOUS
    Nick catches himself, recovers, and backs up against the wall with relief: that was more realistic than he'd planned. Across the street a small cloud of dust floats from under a corner of the blue construction tarp. Lydia's stunned, trying to let go of the panic of almost losing another one.
    LYDIA
    Take a breath... You okay?
    NICK
    I've never felt more alive.
    She shakes her head, at a loss.
    LYDIA
    Do me a favor. Embrace that for a moment.

EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS
    Joey waves at the dust. The canvas tarp undulates gently above his head. Angie climbs higher on the roof arriving at a newly blasted hole. She unrolls a rope ladder, hooking it on a pipe and lowering it into the darkness. Joey shoulders a heavy duffel bag and leads the way down.

INT. JEWELRY EXCHANGE - ELEVATOR SHAFT ACCESS ROOM - DAY
    Angie descends the ladder with a smaller bag, joining Joey in this dust-filled room. Joey shines a flashlight revealing they're at the top of an ELEVATOR SHAFT with the elevator visible three stories below.
    JOEY
    (into radio)
    We're in.

EXT. LEDGE - DAY
    Nick checks his watch, 9:15. Then looks over at Lydia.
    NICK
    Maybe I will have that cigarette now.
    Feeling her pockets, she comes up with the pack and shakes out the last one.
    LYDIA
    Last one. Mind if we share?
    He nods and she lights it and drags. Standing up, she braces herself against the window frame, stretching out... ...as Nick leans across the ledge with a careful lunge and takes it. THE CROWD BELOW "oohs" and "aahs." Nick takes a drag.
    NICK
    I can imagine how it must have felt after that kid jumped. Cops are so superstitious. Third straight loss? I bet they ran from you like the plague. Nicknames. Jokes. And then when they suspend you, you realize everyone you thought was your friend is actually relieved.
    She's angry, but keeps it in check.
    LYDIA
    You're a clever guy.
    NICK
    But you never quit. A year ago you did 68 hours straight in that hostage negotiation down on Fulton. Got everyone out.
    LYDIA
    How come you know so much about me?
    NICK
    Because you and I have a lot in common.
    She eyes him, considering this.
    LYDIA
    (re: cigarette)
    You mind?
    Nick stretches, handing it back to her.

INT. ROOM 2105 - CONTINUOUS
    Lydia walks from the window.
    DOUGHERTY
    Since when do you smoke?
    Lydia hands the butt to the CSI Tech.
    LYDIA
    See if you can get a partial.

EXT. BROOKLYN POLICE PRECINCT - DAY - ESTABLISHING
    Mike pulls up and bounds up the steps.

INT. BROOKLYN POLICE PRECINCT - DUTY ROOM - DAY
    Mike makes his way past COPS and DETECTIVES as a TELEVISION blares in the b.g.
    ELENA MORALES (V.O.)
    There's a Code Red travel advisory for midtown. But we've yet to get a name for the man on the ledge.
    COP #1
    Bet it's a woman, drove him up there.
    COP #2
    It's money. Women jump for love. Men jump for money. Frickin economy.
    Something about this catches Mike...
    MIKE
    Where is that?
    COP #2
    The Roosevelt.
    Mike goes cold.
    INSERT: LONG LENS VIDEO SHOT OF NICK.
    Most people wouldn't be able to tell who it is, but Mike has no doubt.
    MIKE
    (sotto)
    Christ.
    He glances at the other cops: they have no idea. Mike hits the exit.

EXT. LEDGE - DAY
    Nick stands studying the photo of his dad.
    LYDIA
    It's okay to mourn our losses. The pain will get better.
    NICK
    Is it getting better in your life?
    She smiles.
    LYDIA
    I'm a terrible example. But then again, I'm not on a ledge.
    Nick can't help but smile. She's totally endearing... Suddenly a NEWS HELICOPTER roars into view, banking towards the ledge. Nick's buffeted by the high winds, grabbing the side of the building as the chopper ROARS closer. Pissed, Lydia grabs her walkie.
    LYDIA
    Get that chopper out of here before I shoot out its goddammed rotor!
    Nick holds on for all he's worth, but the wind rips the photo from his hand. He scrambles after it, almost going over as it flutters away.

INT. ELEVATOR SHAFT - DAY
    Joey stands on top of the elevator with the bags, watching Angie smoothly rappelling down the shaft.

EXT. LEDGE - DAY
    Chopper gone, Nick turns back, regaining his balance as she looks at him worried.
    LYDIA
    Are you okay?
    NICK
    Yeah.
    LYDIA
    I'm sorry about that.
    (beat)
    You want to tell me about your dad? What he was like?
    Thinking it over, Nick smiles with genuine affection.
    NICK
    He used to say, "Being on the tightrope is living; everything else is waiting."
    (beat)
    He always stuck by me. No matter what.

INT. ELEVATOR SHAFT - DAY
    Joey pops the elevator's top hatch and slowly peers into the blackness. Upside-down, he sees a SECURITY CAMERA. Reaching in, he quickly covers the camera lens with a BLACK LENS CAP.

INT. ELEVATOR - CONTINUOUS
    Joey lowers himself through the hatch into the elevator, landing softly. The lights flicker on as the motion sensor activates.

INT. FIRST LINE SECURITY - CONTINUOUS
    A small high-end security operation with hi-tech equipment and uniformed personnel. Security officer, SAM CHO, 30, sits in front of a large bank of monitors. We see numerous angles inside Englander's, however the monitors for ELEVATORS 1 through 4 remain all black... ...although there's a little light at the edge of #2. Cho gives the monitor a tap. Nothing happens, but he doesn't seem worried.

INT. ELEVATOR - CONTINUOUS
    Angie hands Joey the duffles, then drops down through the hatch. She opens the "OTIS ELEVATOR" CONTROL PANEL on the wall revealing a KEY PAD.
    JOEY
    Five, one, six, something... hold on.
    He digs in his pocket for a scrap of paper. Angie punches a code into the KEY PAD.
    ANGIE
    Five, one, six, double two, star.
    Joey's surprised.
    ANGIE
    Otis override. You'd sit trapped for hours in the Bronx if you didn't know that.
    He just smiles and shakes his head. Angie pushes "15" and the elevator descends.

EXT. 45TH STREET - DAY
    The street's still blocked off, with crowds at either end. All the businesses remain closed.
    COP
    (into bullhorn)
    45th Street between 5th and Madison is closed indefinitely. Cross town detour use 49th.

INT. ROOM 2105 - CONTINUOUS
    Dougherty sidles up to Lydia at the window.
    DOUGHERTY
    What do you think?
    LYDIA
    He's a textbook case... but there's something off. It's like he's waiting for something.

INT. ENGLANDER JEWELERS - RECEPTION AREA - DAY
    Joey and Angie cautiously peek out of the elevator into the well-appointed reception area.
    JOEY
    (into radio)
    Just arrived, fifteenth floor.
    They carefully hug the wall. Joey steals a glance around the corner, spotting a SECURITY CAMERA covering the room. Angie pulls a skateboard out of the duffle-bag. Joey unrolls a seven foot long sheet of cardboard with a marbled pattern painted on it. Joey lies on the skateboard as Angie unfolds the cardboard onto his back, making sure it's perfectly flat. It's been painted to exactly match the marble flooring and as the CAMERA MOVES from PROFILE to LOOKING DOWN on him, it's almost magical as he disappears.
    ANGIE
    Looks good.
    JOEY
    Launch.
    She gives him a gentle push and he glides smoothly into the room.

INT. FIRST LINE SECURITY - CONTINUOUS
    On one of Cho's monitors WE SEE Joey move through a SECURITY CAMERA FRAME... but it's just the slightest ripple as he blends into the floor, almost invisible. Cho's working on a Twinkie, glued to a TELEVISION with another "man on a ledge" update from Elena Morales.

EXT. LEDGE - DAY
    Nick watches the crowd below. People sit on cars and hang from lampposts. Some have folding chairs.
    NICK
    Gotta love New York.
    LYDIA
    I think it's time you told me what's really going on here.
    NICK
    What do you mean?
    LYDIA
    I've worked a lot of scenes. I've never seen a jumper wipe his prints.
    Nick studies her, thinking it over.
    NICK
    You've never wanted to just escape your past? Be someone else?

INT. ENGLANDER JEWELERS - RECEPTION AREA/HALLWAY TURN - DAY
    SERIES OF SHOTS:
    Joey, stands at this 90 degree turn in the corridor, flush against the wall beneath two security cameras that are pointed down each hallway. He holds a point-and-shoot camera above his head near one security camera, duplicating its view and - CLICK - takes the picture. A tiny inkjet printer prints the photo. Joey hangs the photo - in a wire frame - in front of one of the cameras.
    JOEY
    Okay. Clear.
    Angie peeks around the corner.
    ANGIE
    How can you be sure that looks right on the monitors?
    Joey steps in front of the camera and breaks into a terrible and embarrassing dance.
    JOEY
    Because the alarms aren't ringing.

INT. FIRST LINE SECURITY - DAY
    Cho goes for his second Twinkie. The reception area camera displays just the empty hallway.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY
    Moving past the cameras, Joey and Angie cautiously make their way down the main corridor. Joey raises a hand, stopping.
    JOEY
    Hold on. There's something new.
    Halfway down the hall is a DEVICE mounted on the ceiling. Joey pulls out a small pair of binoculars and studies it.
    ANGIE
    Let me see.
    She takes the binoculars from him and peers at the device.
    ANGIE
    Back up. Back up. It's an infrared sensor.
    She pulls him back.
    JOEY
    It is? How do you know?
    ANGIE
    (lying)
    I just... read about it somewhere.
    Joey gives her a look.
    ANGIE
    Do we have to talk about this now?
    JOEY
    That depends on what we're talking about.
    ANGIE
    Okay, look, when I was in high school, I used to sometimes - you know - break into houses.
    Joey stares at her, stunned.
    ANGIE
    Really expensive houses. But then I got caught and I stopped.
    JOEY
    You were a thief?
    ANGIE
    No! Mostly I just watched cable and tried on clothes.
    (beat)
    Unless the clothes fit.
    JOEY
    Jesus Christ, Angie! The whole point of stealing this diamond is that we're NOT criminals! You know how this could look?
    ANGIE
    Don't yell at me! You probably would've set that thing off!
    Joey's steamed, but he decides to let it go for now.
    JOEY
    Nick, we got something wasn't here three weeks ago. Little black bulb thing on the ceiling.

EXT. LEDGE - DAY
    Nick listens, trying to see it in his head, but Lydia's talking to him...
    LYDIA
    I want you to visualize something positive. If this wasn't going on, if you could be anywhere, what would you be doing?
    JOEY (V.O.)
    Angie thinks it's a heat sensor.
    NICK
    (to Joey and Lydia)
    I'm thinking.
    (to Lydia)
    Maybe we'd be having coffee.
    LYDIA
    Come on. You can do better than that. Something to really live for.
    He looks over at her.
    NICK
    Scratch coffee. We'd have a four star dinner and a couple great bottles of wine.
    LYDIA
    That's a little better.
    JOEY (V.O.)
    Talk to me, Nick. Not the girl.
    (sotto)
    Is she hot?
    O.S. We HEAR Angie SMACK him.
    JOEY (V.O.)
    Ow!
    NICK
    (to Joey and Lydia)
    Oh yeah.
    LYDIA
    What else?
    Nick, thinking, remains quiet.
    JOEY (V.O.)
    Yo Nick? Nicholas? Nicky? Hey, numbnuts.
    LYDIA
    What is it?
    NICK
    Sometimes I freeze up.
    JOEY (V.O.)
    Okay. How do I do that?
    LYDIA
    Freeze up?
    NICK
    It's like all my hopes are extinguished.
    JOEY (V.O.)
    Extinguished.
    NICK
    It's like all the oxygen just got sucked out of the room and I just got sprayed with CO2.
    Lydia's a little confused by this turn in the conversation.
    LYDIA
    That sounds like a horrible feeling.
    ANGIE (V.O.)
    Fire extinguisher! CO2 fire extinguisher!
    NICK
    Yes.
    JOEY (V.O.)
    Copy that.
    NICK
    But then sometimes I know everything's going to be okay. You just have to keep moving, because time is running out for all of us.
    JOEY (V.O.)
    I hear you, lover-boy. Just take it easy with the poetry there. It's a little gay.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    Joey pulls a CO2 fire extinguisher off the wall. He fires a long blast at the sensor, approaching quickly, Angie directly behind him, carrying the bags. Closing in, Joey hoses it down, frosting the sensor up with ice condensing on it as they hurry past.

EXT. LEDGE - CONTINUOUS
    LYDIA
    Why is time running out for you?
    Nick checks his watch.
    NICK
    Because that print you pulled off our cigarette is about to come through.
    Lydia looks at him in surprise.

EXT. STORAGE AREA - DAY
    Mike glances left, glances right, then cuts the lock off Nick's container with bolt cutters.

INT. CARGO CONTAINER - DAY
    Pulling on latex gloves, Mike looks around, noting Nick's shaving stuff and prison clothes. Rifling through the place, he finds a stack of papers Nick left: mechanical drawings of a building, electrical schematics.
    MIKE
    (realizing)
    Son of a bitch.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY
    Joey peeks around the corner with a small hand-held mirror revealing the VAULT HALLWAY with STEEL DOOR at the end. On the ceiling in front of the door is a MOTION DETECTOR. Joey turns back as Angie a takes small Styrofoam ice chest from their bag, painting its rim with rubber cement.
    JOEY
    Slow and steady.
    She nods and steps into the hall, moving super slowly. Smooth and even, she starts up the hall, focused on the motion sensor and its little green light.

INT. MOBILE COMMAND CENTER - DAY
    Police Tech #1 tears off a printout and hands it to Marcus.
    POLICE TECH #1
    Got a hit on Anderson's print.
    Marcus studies the paper, stunned.
    MARCUS
    Get a tactical team here now.

INT. ROOM 2105 - DAY
    Lydia stands with Dougherty away from the windows.
    MARCUS (V.O.)
    Your boyfriend's an escaped convict. Nick Cassidy. Was doing hard time in Sing Sing.
    Lydia is more pissed than surprised, eyeing Nick through the windows.
    LYDIA
    The cop from Midtown North, who stole the forty-million dollar diamond from David Englander.
    DOUGHERTY
    I knew I recognized him.
    LYDIA
    Englander owns this hotel. His offices are here.
    MARCUS (V.O.)
    And his Jewelry Exchange is directly across the street.
    LYDIA
    Get his police file over here. I want a line on family. And have someone to toss his cell ASAP.
    DOUGHERTY
    (on the suicide note)
    "I will exit... like I entered. Innocent."
    LYDIA
    He wants us to think he didn't do it.
    DOUGHERTY
    Good luck with that.
    LYDIA
    What escaped felon returns to the scene of the crime?
    DOUGHERTY
    Suicidal ones.
    LYDIA
    Who'd he ride with?
    MARCUS (V.O.)
    Mike Cavanaugh.

I/E. CARGO CONTAINER - DAY
    Mike pours gasoline over the contents of the container, pausing to answer his RINGING cell.
    MIKE
    Cavanaugh.
    He listens for a moment, then takes a breath, prepping his performance.
    MIKE
    Jesus. I can't believe it. How's he doing?

INTERCUT - INT. ROOM 2105 - CONTINUOUS
    LYDIA
    He's playing it very cool. Like this is all some sort of game.
    Mike considers this, worried.
    MIKE
    (hesitates)
    He always insisted he was innocent.
    LYDIA
    You believe that?
    MIKE
    Look, he was my partner for eight years. I stood by him... but, you know...
    She absorbs this, watching Nick, considering.
    LYDIA
    You think he'd jump?
    MIKE
    He's got nothing to lose. I'm on my way.
    Hanging up, he throws a match, walking away as an inferno ERUPTS behind him, framing him in flames.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY
    Beneath the motion sensor, Angie slowly raises the ice chest, sticking it to the ceiling around the motion sensor.
    ANGIE
    We're clear!

INT. FIRST LINE SECURITY - DAY
    Sitting before his monitors, Cho picks up the RINGING phone.
    CHO (V.O.)
    First Line Security. This is Cho.

INTERCUT - INT. MOBILE COMMAND CENTER - DAY
    MARCUS
    This is Detective Marcus from over at the Roosevelt. You work for me today. I need you to open Englander's shop. Right now.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY
    Joey and Angie stand in front of the impenetrable, STEEL REINFORCED DOOR with a CODED COMPUTER-LOCK. Joey's studying schematic diagrams of the building as Angie breaks down the bags, spreading their gear across the floor. Joey traces his finger from an air-conditioning vent in the ceiling - protected by a dozen thick steel bars - down to the wall below.
    JOEY
    It's right... here.
    (like a surgeon)
    Chisel.
    Angie hands him a chisel and Joey carefully pries off the wood paneling exposing cast concrete. Taking a sledge hammer, he starts pounding away at the wall sending chips of cement flying everywhere.

INT. ROOSEVELT HOTEL - LUXURIOUS CONFERENCE ROOM - DAY
    Four wealthy INVESTORS sit at the table, flipping through copies of a PROSPECTUS. Englander faces them, supremely confident, flashing a million dollar smile.
    ENGLANDER
    Gentlemen. Welcome.
    All eyes on him.
    ENGLANDER
    The Bayside parcel. The chance to raze a blighted neighborhood and replace it with high-end condos, shopping, restaurants. Its proximity to the city...
    WEALTHY INVESTOR #1
    (interrupting)
    We've looked at Bayside. There's fierce local opposition, trouble with the planning commission...
    ENGLANDER
    The question isn't who will let me, it's who will stop me. Every man builds the world in his own image, does he not?
    He smiles.
    ENGLANDER
    So imagine for a moment that those obstacles were to disappear.
    WEALTHY INVESTOR #1
    Than I imagine I would be very interested.
    ENGLANDER
    They've all come around to seeing things our way.
    A beat as this sinks in.
    WEALTHY INVESTOR #2
    You can guarantee that?
    ENGLANDER
    The deal is done. All you have to do is decide if you're in or out.
    The Investors are impressed. Suddenly the ASSISSTANT enters, WHISPERING in Englander's ear.
    ASSISSTANT
    They've ID'd the jumper.
    ENGLANDER
    (annoyed)
    So what?
    ASSISSTANT
    It's Nick Cassidy.
    Englander considers this, evenly. He's furious, but keeps it together, smiling for the investors.
    ENGLANDER
    Gentlemen, I'll give you a few moments.

EXT. LEDGE - DAY
    Lydia reappears at the window.
    LYDIA
    Nick Cassidy, convicted felon.
    Nick looks over.
    NICK
    Pleased to meet you.
    (beat)
    Your commander's probably sending a team across the street to check on things right now.

INTERCUT - INT. ENGLANDER JEWELERS - VAULT HALLWAY -
    CONTINUOUS
    Joey freezes in front of the hole he's widening in the wall which exposes a VENTILATION DUCT. He's covered in concrete dust, and the huge mess is everywhere.
    JOEY
    What? We're not ready yet!
    They burst into panicked action: Angie frantically sweeping up the mess as Joey replaces the wooden panel over the hole.
    LYDIA
    You having fun, jerking my chain? You think you can manipulate me?
    NICK
    No. But I thought, maybe, when it came to this moment, you of all people might listen to what I have to say.
    LYDIA
    You overestimate me.
    Nick holds her gaze.
    NICK
    Two years ago I took a moonlighting gig; "Escort David Englander up to Chappaqua with the Monarch Diamond." Yesterday, I was doing forty years for stealing it. But today I'm going to rewrite history. And you're going to help.
    LYDIA
    You're nuts.
    NICK
    You're a good cop, remember? You care.
    LYDIA
    I talked to your partner. He thinks you did it.
    NICK
    David Englander set me up.
    LYDIA
    You should have played it smart and bolted, Nick. You could've been in Mexico sipping tequila on a beach.
    NICK
    Cracking the FBI's Most Wanted list isn't freedom.
    LYDIA
    And sitting on a ledge smiling for the TV cameras is?
    NICK
    No one's gonna shoot me with their grandmother watching.
    Lydia considers. He's got a point.
    LYDIA
    Maybe you should tell me what your plan is.
    He looks at her.
    NICK
    It's real simple. I'm not going back to prison. Either I prove my innocence today. Or I jump.
    She weighs this. Inside the room, Dougherty gestures for Lydia's attention.
    DOUGHERTY
    Marcus wants you downstairs to talk about this.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY
    Angie sprays the infra-red sensor with the CO2 again, and puts the fire extinguisher away as Joey lugs their bags back across the floor piling them beneath the cameras.

EXT. LEDGE - CONTINUOUS
    Nick looks down, spotting Cho from First Line Security, his partner and TWO COPS moving past the barricades and onto the empty street.
    NICK
    Here they come. Party of four.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY
    Dashing back, Joey and Angie arrive at the steel door. Joey places something up under the privacy hood of the steel door's electronic keypad, then runs up the hall.
    JOEY
    We need more time, Nick!
    NICK (V.O.)
    Roger that.
    Alone, Angie takes a breath, slowly pulls the Styrofoam ice chest from the ceiling motion detector, and begins the excruciatingly long walk up the hall.

EXT. 45TH STREET - CONTINUOUS
    Cho's team crosses toward the Jewelry Exchange.

EXT. LEDGE - CONTINUOUS
    Nick pulls a couple grand in two thick stacks of five dollar bills from his jacket... ...and tosses the money off the ledge. Hundreds of bills flutter through the air towards the empty street below.

EXT. 45TH STREET - CONTINUOUS
    The crowd stares up at the fluttering bits of paper drifting down the street, unsure what they're seeing.
    BEARDED GUY
    What is that?
    OLD LADY
    It's money!
    A ROAR rises from the crowd. Police back up, raising their arms trying to contain everyone... ...but the CROWD rushes forward, knocking down barricades and spilling into the street in front of the hotel, trying desperately to catch the fluttering bills. Cho and the cops get overrun, the crowd blocking their way into the Jewelry Exchange.
    ELENA MORALES
    I kinda love this guy!

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    Beside the cameras, just out of sight of the elevators, Joey has a ceiling panel opened up, desperately stuffing their gear up into the ceiling.
    JOEY
    (calling out)
    How you doing babe?

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Dripping sweat from concentrated effort, Angie continues her agonizingly slow trek up the hall.

INT. MOBILE COMMAND CENTER - DAY
    Two cops escort Englander inside the mobile command center.
    ENGLANDER
    Who's in charge?
    Marcus turns, unflappable as always.
    MARCUS
    That would be me.
    ENGLANDER
    What is that sonofabitch doing up on my building?
    MARCUS
    I don't know, Mr. Englander. But I can assure you the situation is under control.
    Englander almost laughs, looking at Marcus like he's an idiot.
    ENGLANDER
    Have you looked outside?
    Marcus regards him icily.
    MARCUS
    Is there something specific I can do for you?
    ENGLANDER
    I want access to my floor of the Jewelry Exchange.
    MARCUS
    We're already working with First Line.
    ENGLANDER
    And I want that thief off my building!
    MARCUS
    We have procedures.
    ENGLANDER
    He's a policeman. He knows your procedures! You're letting him manipulate you.
    Marcus is done being pushed.
    MARCUS
    Cassidy isn't going anywhere except back into custody or splat on 45th.
    ENGLANDER
    Wrap this up, or tomorrow you're sucking fumes on a parking scooter in Staton Island.
    Englander exits, leaving Marcus staring coldly after him.

EXT. ENGLANDER JEWELERS - DAY
    Cho, his partner, and the cops make it through the crowd to the gated door.

EXT. LEDGE - CONTINUOUS
    Nick watches as they enter the building.
    NICK
    They're inside.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Angie continues her walk: she's only half-way up the hall. She's never going to make it.

INT. ENGLANDER JEWELERS - ELEVATOR - CONTINUOUS
    Cho and his team ride up in the elevator.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    Joey jumps for the ceiling, catches it, and pulls himself up.

INT. ENGLANDER JEWELERS - RECEPTION AREA - DAY
    DING! The elevator (not Joey and Angie's) rolls open revealing Cho and his team, but Cho stops the cops from exiting, and dials his phone.
    CHO
    Disarm fifteen, hallway.
    (beat)
    Ok. We're clear.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    Joey listens to them as he hangs upside-down in the ceiling.
    JOEY
    (whisper into radio)
    Go!

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Angie breaks into a sprint, rounding the corner...

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    ...running all-out as...

INT. ENGLANDER JEWELERS - RECEPTION AREA/HALLWAY TURN -
    CONTINUOUS
    ...Cho and the cops stride forward.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS
    Angie jumps and Joey catches her wrists, pulling her up into the ceiling, her feet disappearing... ...as Joey yanks the pictures from the security cameras... ...just as Cho and the cops round the corner... ...and stride up the empty hall.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Cho and the cops arrive at the steel door.
    CHO
    This is where Englander entertains the high-rollers.
    He enters a long combination sequence into the KEYPAD.

INT. ENGLANDER JEWELERS - CEILING - CONTINUOUS
    Joey and Angie lie side by side, surrounded by their gear... ...watching a hand-held monitor with a view from the tiny camera Joey placed under the keypad hood. ...as Joey scrawls the combination on his arm.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    The door CLICKS open with a HUM.
    CHO
    (into phone)
    Disarm the vault room.
    He pulls open the incredibly thick steel door...

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS
    This well appointed inner sanctum is impressive: wood floors, Persian carpets, Modernist paintings, a well stocked wet-bar, leather chairs and felt-covered tables for handling jewels. There's also an enormous steel safe along one wall. Cho holds everyone at the door.
    CHO
    The floor's wired with seismic sensors. And over there we have light sensors and body heat sensors. And that's before you ever get to the safe.
    COP
    No one's getting into that beast.
    Cho swings the door closed and they head back out.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY
    Cho dials his cellphone, pausing as it connects.
    CHO
    It's Cho. Englander's is clear, Detective.
    Overhead, ice on the heat sensor slowly melts. A couple drops of water have already landed at Cho's feet. A WATER DROPLET gathers, hanging precariously, ready to drop.

INTERCUT - INT. COMMAND CENTER - CONTINUOUS
    MARCUS
    Good. I don't need that sonofabitch crawling any further up my ass.
    The water droplet falls... just missing Cho as he starts forward.
    CHO
    Roger that.

EXT. 45TH STREET - DAY
    The TACTICAL VAN pulls up next to the Command Center and a bunch of commandos start unloading equipment.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    Lydia is already here with Marcus as BAUER, the tactical commander walks in.
    MARCUS
    Welcome to the show, Bauer.
    BAUER
    I understand this is a fugitive situation.
    Marcus nods.
    MARCUS
    Where are we at?
    LYDIA
    I think he really believes that he's innocent.
    MARCUS
    Yeah? What's that make him?
    LYDIA
    Either an honest man or a sociopath.
    MARCUS
    He ain't an honest man. Can you get him off the dammed ledge?
    She considers.
    LYDIA
    Yeah. He likes me.
    MARCUS
    Get back up there and make it happen.

INT. ENGLANDER JEWELERS - CEILING/MAIN HALLWAY - DAY
    Joey opens the panel, peeks out, and drops to the ground.
    JOEY
    So other than being a thief, is there anything else you haven't told me?
    WHAM! The big bag hits him in the face, hard. She drops down beside him.
    ANGIE
    You know, you're really starting to chafe me. You don't want to know everything. Nobody does.
    JOEY
    Sure I do.
    ANGIE
    Boyfriends? Girlfriends? Best sex of my life?
    Joey winces.
    JOEY
    Okay! Stop!

I/E. MIKE'S SUV - DRIVING - DAY
    Mike drives like a madman through midtown. Traffic is a mess.

EXT. ROOSEVELT HOTEL - DAY
    Long lens type shot of HOTEL GUESTS leaning out of the windows, craning for a view of Nick. PAN OVER to see Nick, high up on the ledge.

EXT. 45TH STREET - DAY
    People in the crowd stare up, rapt. A carnival atmosphere has taken hold. STREET VENDORS are doing a brisk business in hotdogs and popcorn. A SAXOPHONE PLAYER is playing on the corner.
    OLD ORTHODOX JEW
    He should think of his poor mother.
    OLDER ORTHODOX JEW
    That's probably why he's up there.

EXT. 45TH STREET - DAY
    ELENA MORALES
    The Monarch Diamond was first owned by Charles II, the last King of the House of Hapsburg. It was held by the Englander family for three generations until it was stolen by the man on the ledge, Nick Cassidy, who's said to have cut it into untraceable pieces and sold it.

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Joey pulls off the wood panel revealing the rough hole... ...and the exposed ventilation duct.

INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY
    Englander paces on his headset.
    ENGLANDER
    Because you're the goddammed Mayor, that's why. I want you to get your cops to scrape this turd off my building!
    MAYOR (V.O.)
    David, you're upset, but it's not like they can just shoot him off. Look, I'll call and apply some pressure.
    Englander angrily breaks the connection, and walks to his bar, pouring a short one, and looking out the window... ...across the way at Nick on the ledge.

EXT. LEDGE - DAY
    Nick watches Cho, Cho's partner and the two cops leave the Exchange. Lydia reappears at the window.
    LYDIA
    Tactical is on scene. Your time up here is ticking away.
    NICK
    Everything you think you know about me is wrong.
    LYDIA
    Englander didn't steal his own diamond.
    NICK
    When someone like him is suddenly out of money, greed begets corruption.
    LYDIA
    He's loaded. He parlayed his father's jewelry business in to a real estate empire.
    NICK
    Yeah, and after I drove him up to Chappaqua, he stood there smiling while two masked guys pulled me out of the car and knocked my lights out.
    LYDIA
    No one believes that.
    NICK
    Not even my own lawyer.
    LYDIA
    They found diamond chips in your shirt.
    NICK
    The Monarch never left Englander's hands; he'd never part with it. It's the ultimate symbol of his success.
    LYDIA
    So what did he have to gain?
    NICK
    He was broke. Lost thirty million with Lehman. And at least another twenty in the real estate bust.
    (beat)
    Two weeks after my conviction, Lloyd's of London wired him a forty- million dollar insurance claim. Poof. He's back.
    Lydia weighs it.
    LYDIA
    Why put it on you?
    NICK
    I could never prove it, but the two guys who clobbered me were cops.
    LYDIA
    (disturbed)
    How could you know?
    NICK
    The way they carried themselves. You'd have known. Any cop would've.

EXT. 45TH STREET - DAY
    Mike arrives on scene, flashing his detective's badge and crossing the barricade.

INT. MOBILE COMMAND CENTER - DAY
    Hurrying in, Mike's stunned at the views of Nick on screen. Marcus turns to face him.
    MIKE
    How is he?
    MARCUS
    Anderson hasn't killed him yet.
    MIKE
    Talking?
    MARCUS
    Some. But I'm getting a lot of pressure to end this.
    A uniformed COP enters with a blue folder.
    COP
    I've got some papers from his cell in Sing Sing.
    MARCUS
    Take 'em up to Dougherty and Anderson.
    Mike glances at the folder.
    MIKE
    I'll take it.

EXT. LEDGE - CONTINUOUS
    NICK
    The thing we've got in common, Lydia, is we've both been hung out to dry. You know what it means to be on the outside. You know what I'm up against.
    LYDIA
    I know you tell a good story.
    NICK
    Just like me, today's the day you get another shot.
    She weighs it for a long beat.
    LYDIA
    If you're fucking with me on this, I'll push you off myself.

INT. ROOM 2105 - CONTINUOUS
    Lydia walks inside past Dougherty, picking up her cell phone.
    LYDIA
    Watch him!

INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY
    Joey finishes cutting into the air duct. Angie has stripped down to her underwear and starts pulling on a skintight mylar suit. Joey watches. She's smoking hot and she knows it. He knows he should keep his mouth shut, but...
    JOEY
    So... what was the best sex of your life?
    ANGIE
    You, baby.
    He can't decide if she's fucking with him or not.
    JOEY
    Yeah?
    ANGIE
    Well, there was this one guy in high school. He was older...
    JOEY
    Don't even mess with me.
    Joey zips up her suit. Angie pulls on a climbing harness and peers into the tiny vent.
    ANGIE
    I won't fit in there.
    Joey looks to his watch, stressed.
    JOEY
    C'mon hon. There's no time for this. Just like we practiced or Nick'll kill me.
    ANGIE
    Not if I kill you first.
    JOEY
    Be mad. But be mad in the vent.

INT. ROOM 2105 - CONTINUOUS
    Lydia paces, listening to someone on her cellphone - apparently getting more information about Nick's case.
    LYDIA
    (into phone)
    When was this? Did IA have something?
    (beat)
    Okay. Thanks.
    She hangs up and turns to Dougherty.
    LYDIA
    Are we sure nothing's happening across the street?
    DOUGHERTY
    You can't steal something twice. Especially not after it's been diced up into a dozen pieces.
    SLAM! Elena Morales bursts through the door with her cameraman in tow, a confused uniformed cop chasing after her, the camera light hitting Lydia in the face.
    ELENA MORALES
    Detective Anderson, we've heard that Cassidy chose you. That he has a death wish. Care to comment?
    Lydia, pissed, controls her emotions for camera.
    LYDIA
    Bob, get rid of her.
    Dougherty and the cop shove Morales and her cameraman into the hallway.
    DOUGHERTY
    Move it, sweet cheeks.
    Lydia picks up her walkie.
    LYDIA
    Marcus.

INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS
    MARCUS
    Go.
    LYDIA
    What if he didn't do it?
    MARCUS
    What are you talking about?
    LYDIA
    What if there were cops involved? A lot of people moonlighted for Englander.
    MARCUS
    If you're trying to make yourself even more despised within the department, I'd say you're really on to something.
    Lydia doesn't back down.
    LYDIA
    Cassidy was cooperating with Internal Affairs.
    Marcus pauses. She has his attention.
    MARCUS
    About what?
    LYDIA
    Remember when someone disappeared a million bucks of cocaine out of evidence? He gave them a guy named Jack Walker. Same name he checked in under. A week after Cassidy goes down, Walker and his car were pulled out of the Hudson.
    MARCUS
    He had blood alcohol level of .23. Stop while you're behind.
    LYDIA
    Whoever was in it with Walker had every reason to set Cassidy up.
    MARCUS
    You don't even know Walker did it. It was just an allegation!
    LYDIA
    I know this: Cassidy's not out on that ledge to say good-bye.
    MARCUS
    Then what's he saying?
    LYDIA
    "Fuck you."
    Marcus turns to Bauer, frustrated.
    MARCUS
    Let's get tactical in position. Quietly. I want to have some options.
    BAUER
    Roger that.
    (keys walkie)
    Game time, gentlemen. To the roof on the QT.

INT. ROOSEVELT HOTEL - MENS' ROOM STALL - DAY
    Mike has the blue folder of papers from Sing Sing open and is furtively flipping through them. Amongst the papers are "EVIDENCE ROOM LOGS" and "OFFICER WORK SCHEDULES" with dates and times highlighted. Mike pulls the papers from the file, and tosses them in the toilet.

EXT. 45TH STREET - DAY
    Elena Morales interviews a LATINO CONSTRUCTION WORKER in the crowd, who's looking up at Nick.
    ELENA MORALES
    Now that you know he's a fugitive, does it change your opinion?
    CONSTRUCTION WORKER
    Yeah. This guy's my hero.
    ELENA MORALES
    Why's that?
    CONSTRUCTION WORKER
    Man always said he didn't do it. Maybe he didn't. Anyway, vato's got cojones, you know?

INT. ENGLANDER JEWELERS - AIR DUCT - DAY
    A long narrow tube. Dark. Cramped. Angie crawls along, scared, fighting claustrophobia with each movement. She squirms toward a vent up ahead.
    JOEY (V.O.)
    Angie, you okay?
    She ignores Joey, fuming. Finally reaching the vent, she peers down into...

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS
    Englander's well-appointed private sanctum.

INT. ROOSEVELT HOTEL - LOBBY - DAY
    The tactical team loads gear into the elevator.

EXT. 45TH STREET - DAY
    The Bearded Guy addresses the crowd with a MEGAPHONE.
    BEARDED GUY
    This is what happens when a guy gets pushed too far! This is what happens when you take away everything a man has! When the only dignity a man can salvage... is death. It's the little guy who always takes the hit. There are no rich guys in prison. Nick Cassidy could be any of us!
    The CROWD is getting more and more riled up. Two COPS manning the barricade, nervously eye the mass of people.

EXT. HOTEL ROOF - DAY
    The tactical team bursts out the roof access door and begins setting up.

INT. ROOM 2105 - DAY
    Mike flashes his badge, entering the room. Dougherty gives him a nod.
    DOUGHERTY
    Welcome to the party, Cavanaugh.
    MIKE
    Got some papers from Sing Sing.
    Lydia, on her cell phone, walks from the window, takes the blue file from Mike and gives it to Dougherty.
    MIKE
    (to Lydia)
    I want to talk to him.
    LYDIA
    No.
    Mike's taken aback.
    MIKE
    Why not?
    LYDIA
    You were buddies with Jack Walker, right?
    MIKE
    The hell does that have to do with anything?
    Mike tries to walk past her. She gets in front of him.
    LYDIA
    I said no.
    MIKE
    That's my friend out there!
    Angry, he turns to Dougherty.
    MIKE
    Dougherty? You wanna fix this?
    Dougherty weighs it out.
    DOUGHERTY
    It's the lady's call, Mike.
    Mike's furious... but then he tucks it away, turns, and walks out. There's an uneasy beat.
    LYDIA
    Thanks.
    DOUGHERTY
    (cold)
    You better know what you're doing.
    Suddenly the bellhop appears in the door with a room service cart. Lydia and Dougherty stare at him.
    BELLHOP
    I brought up some food. Thought the kid might be hungry.

EXT. LEDGE - DAY
    The bellhop pokes his head out. Takes a look at Nick.
    BELLHOP
    How you doin, son?

EXT. LEDGE - DAY
    Nick munches on a cheeseburger and fries. The crowd watches, rapt. They're loving it.

INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY
    Englander stands at his window, watching Nick eat his lunch on the east tower. Nick gives him a big smile and flips him off.

INT. ENGLANDER JEWELERS - AIR DUCT - DAY
    Angie ties a shoelace to the vent screen, pops it out, catches it with the lace and tapes it to the wall. Stressed, she pokes her head out and spots the COMPUTERIZED KEY-PAD on the wall.
    ANGIE
    Nick, I'm in.

EXT. LEDGE - CONTINUOUS
    Nick glances back through the window into the room, then turns back to face the Jewelry Exchange.
    NICK
    Let's do this fast before that heat sensor catches up with you.

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM/VAULT HALLWAY -
    CONTINUOUS
    Angie clicks on a red LED head lamp and inches forward, slipping out of the vent...
    ...falling, before the rope catches her...
    ...jerking Joey forward.
    JOEY
    (sotto)
    Light as a feather.
    ANGIE
    I heard that!
    She maneuvers in front of the panel, flicks open a switchblade, and pops it revealing a tangle of electronics.

EXT. LEDGE - CONTINUOUS
    Suddenly Lydia reappears at the window.
    LYDIA
    I just threw Cavanaugh out of here. Tactical is setting up on the roof. You need to come in.
    NICK
    I can't yet.
    ANGIE (V.O.)
    Nick?
    LYDIA
    The whole world knows who you are now.
    LYDIA
    You've inspired every reporter in the country to dig into your story. If you're innocent, it'll come out.
    NICK
    If I end up back in custody, they will kill me.

INTERCUT - INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY
    Angie sweats it out, dangling from ropes.
    ANGIE
    Nick? Don't leave me hangin'!
    NICK
    I need you to buy me some time.
    (beat)
    Please. Trust me.
    She hesitates.
    LYDIA
    I thought I could trust that kid on the bridge, you know? I thought I had him wired. I was supposed to be relieved, but I stayed on because I knew. And then suddenly I didn't know.
    DOUGHERTY (V.O.)
    Anderson, you need to get in here!

INT. ROOM 2105 - CONTINUOUS
    Dougherty has papers from the blue folder spread across the bed. Lydia comes over and he hands her two sheets.
    DOUGHERTY
    He had bomb schematics in his cell.
    She looks at the pages stunned, then back at Nick wondering if she's misjudged this situation. She hardens.
    LYDIA
    Call it in.

EXT. LEDGE - CONTINUOUS
    NICK
    What do you see, Angie?

INTERCUT - INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY
    She looks at the electronics in the panel...
    ANGIE
    Mass of wires, four orange ladybugs, two silver cuff-links.
    Nick closes his eyes, envisioning the layout.
    NICK
    Okay, the cuff-links are processors. We're going to short one out and take down all the sensors. Cut the red wire...
    Under the red light they all look red.
    ANGIE
    They're all the red wire!
    NICK
    Pick the reddest.
    Joey strains on the rope.
    JOEY
    You're doing great, babe.
    Angie sorts through the spaghetti of wires: she makes a choice and...
    ANGIE
    Please God...
    CLIP! Nothing happens.
    ANGIE
    Done.
    NICK
    Great. Now bridge it to one of the cuff-links. It might spark a bit...
    Angie touches it and gets a huge shock, jerking violently.
    ANGIE
    Ahhh!

INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS
    Joey looses control of the rope... ...dropping Angie with a horrible THUD.
    JOEY
    Angie?
    There's no response. Pulling back his sleeve, he frantically punches in the combination they lifted from Cho. Dragging open the door... ...reveals Angie, pissed, standing in the disarmed room.
    JOEY
    It has to be me, right? That time I took you upstate for the weekend. You actually passed out...
    She starts stripping out of the suit.
    ANGIE
    I'm not speaking to you right now.

EXT. 45TH STREET - DAY
    The BOMB SQUAD VAN pulls up across from the hotel. Four BOMB SQUAD GUYS pour out, unloading their gear.

INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR - DAY
    Mike paces, on his phone.

INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS
    MIKE
    This chick is completely off the reservation!
    MARCUS
    Take it easy...
    MIKE
    Pull her! Let me take over.
    Marcus considers.
    MARCUS
    I think you should sit this one out.
    MIKE
    Listen to me...
    MARCUS
    Mike! You're done.
    Furious, Mike ends the call.

EXT. ROOSEVELT HOTEL - ROOF - DAY
    The TACTICAL LEADER studies a TOP-VIEW of Nick on a small hand-held screen of a SNOOP CAM peeking over the roof. Three commandos are harnessed up, ready to go over the edge.
    TACTICAL LEADER
    (into radio)
    We're in position.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    Bauer looks at Marcus.
    BAUER
    On your word. Just need to clear the negotiator for a clean exit.

INT. ROOM 2105 - DAY
    Dougherty's on the radio
    DOUGHERTY
    Stand by.
    (to Lydia)
    Clear the window. Tactical's a go.
    Lydia can't believe it. She doesn't move an inch.
    LYDIA
    (into radio)
    The hell is this, Marcus?

INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS
    MARCUS
    We're accelerating.
    LYDIA
    This makes no sense!
    MARCUS
    It's not your call.
    LYDIA
    Negative. He'll go off before he gets taken down.
    MARCUS
    That's assuming our track record is on par with yours.
    Lydia feels it... she's getting shut-out of the Boys Club.
    LYDIA
    You do NOT fuck with me on my turf. I'm trying to draw him out on this bomb threat!
    MARCUS
    This bomb threat is a stall. He set it up just like he delayed his ID. He's playing you. He picked you because you're in no condition to do your job! This bullshit is finished!
    LYDIA
    This is my scene! My negotiation!
    MARCUS
    Don't make me relieve you.
    LYDIA
    Try it. I'll go to the press.
    MARCUS
    And end your career?
    LYDIA
    Been there, done that.
    MARCUS
    Dougherty, pull her out of there.

EXT. LEDGE - CONTINUOUS
    Lydia leans out the window, meeting Nick's eyes, then glancing up as the commandos appear at the roofline. ...and before anyone can do anything... ...she steps out the window, across the gap, and onto the ledge. Two-hundred feet below, the crowd goes crazy, cheering like a rockstar just took the stage.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    Marcus and Bauer watch it on their screens.
    MARCUS
    Jesus.
    BAUER
    Hold! Repeat no go, no go!

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY
    Joey's sweating hard, drilling a small hole in the safe's lock mechanism, finally breaking through.
    JOEY
    Okay. Thermos?
    Angie steps in with heavy gloves, funnel, and a thermos full of LIQUID NITROGEN which she pours into the drill hole.

EXT. LEDGE - CONTINUOUS
    Lydia presses against the wall, trying not to look down.
    LYDIA
    Well this is scary.
    Dougherty stares through the window in shock, then starts shouting into a radio as Nick looks at her, stunned.
    NICK
    The hell are you doing?
    LYDIA
    Just a spur of the moment thing to save your life.
    NICK
    You're crazy.
    LYDIA
    That's real funny coming from you.
    Nick breaks into a big grin.
    LYDIA
    What?
    NICK
    You finally believe I'm innocent.
    LYDIA
    It's a possibility.
    (beat)
    Just please tell me there's no bomb.
    NICK
    Course not. I just need ten more minutes.
    LYDIA
    Ten more minutes for what?

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY
    The safe door is covered in frost as Angie pours the last of the liquid nitrogen into the hole.
    ANGIE
    Batter up.
    Joey steps up to the plate with the sledge hammer. Joey swings: WHAM! The combination lock shatters to bits.
    JOEY
    Moment of truth, Nick.
    Angie spins the bolt retractor and the safe swings wide... ....REVEALING THE MOTHERLODE: trays of gemstones, piles of jewelry, and bars of gold. It's absolutely stunning. Joey dives in, quickly riffling through the drawers of the safe, searching. Angie presses up against him.
    ANGIE
    I am so hot for you right now.
    She reaches out for the goods; he lightly slaps her hand.
    JOEY
    We're only here for one thing.
    ANGIE
    And while that's true, I suddenly question our plan.

INTERCUT - EXT. LEDGE - CONTINUOUS
    Nick turns the Rubik's Cube, giving Lydia a wink and...
    NICK
    Talk to me Joey. Tell me what we've got.
    Lydia stares at him as he for the first time does not hide the fact that he is talking to someone else.
    LYDIA
    Who the hell are you talking to?
    (realizes)
    You're stealing the diamond.
    Nick grins.
    NICK
    Oh yeah.
    Lydia can't believe it. Joey's now systematically turning out every drawer in the safe, dumping them on the floor: riches of every sort... Angie watches as he dumps out the last tray. No diamond.
    JOEY
    No...
    He starts tapping around the inside of the safe looking for secret panels or anything. Angie's stunned.
    ANGIE
    It's gotta be here! What the hell are we going to do?
    Joey looks lost. Then he sets his jaw.
    JOEY
    We keep going.
    He hits his comm.
    JOEY
    Nick, it's not here.
    The Rubik's Cube slips from Nick's grasp... In SLOW MOTION, it tumbles through the air, falling twenty- one floors... and SMASHES to bits on 45th street.
    NICK
    Are you sure?
    JOEY
    I'm sorry, Nick.
    Nick looks to Lydia, grim.
    NICK
    It's not in the vault.
    Lydia stares at Nick, stunned realizing what this means.
    LYDIA
    Oh shit.

INT. MOBILE COMMAND CENTER - DAY
    Marcus studies Nick and Lydia on the ledge from one of the tactical team's camera feeds.
    BAUER
    You want us to try to grab her too?
    MARCUS
    Christ no. We squiff this, it's gonna be all our asses.

EXT. 45TH STREET - CONTINUOUS
    Suddenly ALARMS ring out at the Jewelry Exchange. EVERYONE REACTS.

INT. FIRST LINE SECURITY - CONTINUOUS
    CHO jumps up staring at his screens.
    CHO
    Christ.

INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - CONTINUOUS
    Englander stares out at the Jewelry Exchange, the ALARM audible from here.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    POLICE TECH #2
    We've got an alarm at Englander's!
    Marcus is stunned.
    MARCUS
    Seal that building! No one gets out!

EXT. LEDGE - DAY
    Nick and Lydia stare out across the street.
    LYDIA
    Jesus.

INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY
    Englander strides up the hall with Cho and an array of security men and cops. They note the ceiling panel askew where Joey and Angie hid earlier.
    CHO
    (into walkie)
    They're in here somewhere. Maybe the ceiling.
    MARCUS (V.O.)
    We're searching it floor by floor.

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS
    Striding in past the ripped out panel and vent, they discover tools and the cracked safe, jewels scattered everywhere. Englander walks straight past the safe to the back of the room, swiping a magnetic card at a blank spot on the wall... ...and a secret panel slides open revealing a hidden safe and a retinal scanner which lights up. Englander has his eye scanned, then punches in a long code and the secret vault CLICKS open. Inside is a single red velvet bag.
    ENGLANDER
    (sotto)
    Thank god.
    He slips open the bag to check its contents and we glimpse something sparkling, the size of a golf ball. He pauses for a moment, as if to consider whether it was all worth it. Smiling, he tucks it into his pocket and shuts the secret safe then turns to Cho and the cops.
    ENGLANDER
    Tear this place apart.

EXT. LEDGE - CONTINUOUS
    Nick and Lydia watch the commotion around Englander's. He turns to her, nervous and worried.
    NICK
    I need you to try something.
    LYDIA
    What?
    NICK
    You can pull the IA file on Walker. See if there's anything there.
    A long moment between them.
    LYDIA
    Don't go anywhere.
    NICK
    I'll do my best.

INT. ROOM 2105 - DAY
    Dougherty gives her a hand climbing back inside.
    DOUGHERTY
    You got some big balls. They're going to hang you by 'em, but Jesus they're big.
    Lydia picks up her cell phone and walks out into the hall. REVEAL Mike standing in the stairwell, watching her go.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    A tech calls out to Marcus.
    POLICE TECH #2
    She's off the ledge, sir!
    Marcus checks the screens.
    MARCUS
    Bauer, get 'em set.

INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR - CONTINUOUS
    Lydia stands at the end of the hallway, on her cell phone.
    VOICE (V.O.)
    Internal Affairs.
    LYDIA
    Gordon, it's Lydia. I need your help.
    Behind her, Mike walks into 2105.

INT. ROOM 2105 - CONTINUOUS
    Dougherty looks up as Mike enters.
    DOUGHERTY
    What do you want, Cavanaugh?
    Mike grabs him, propelling him out the door and slamming it behind him. As SHOUTS of PROTEST rises from outside, Mike flips the dead- bolt and the security hasp, then braces a chair under the door handle. He calmly walks to the window, looking out at Nick.
    MIKE
    Hey, partner. You going to jump here or what?
    Nick glances over, uneasily.
    NICK
    We alone here, Mike?
    Mike smiles.
    MIKE
    This isn't exactly helping your chances for parole.
    NICK
    My first chance at parole is in 2043.

EXT. JEWELRY EXCHANGE - STREET - DAY
    Escorted by two cops, Englander exits the building and crosses the empty street towards the Roosevelt, nervously eyeing the rowdy crowds at the barricades and Nick on the ledge.

INT. 21ST FLOOR HALLWAY - DAY
    Lydia runs up. Dougherty's on the radio as the uniform cop kicks at the door.
    DOUGHERTY
    (into radio)
    Cavanaugh just locked us out...

INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS
    Marcus listens in disbelief, then checks the monitor revealing Mike at the window.
    MARCUS
    Get in there and find out what he's up to!

I/E. ROOM 2105 - CONTINUOUS
    MIKE
    I want to help, Nick. I know you think it was a cop who set you up.
    MIKE
    But do you know? Do you have proof?
    Nick looks him over.
    NICK
    I'm working on it.
    MIKE
    Because if you take a fall before it's all played out, it's all just get brushed under the carpet.
    NICK
    What do you suggest?
    MIKE
    Let me bring you in. I'll stand by you, like I always have.
    NICK
    You come out here and bring me in. See what it's like to live on the edge.
    MIKE
    You're a son-of-a-bitch, Cass.

INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR
    Dougherty and the Uniform throw their weight against the door: nothing.
    LYDIA
    Shoot the lock.
    DOUGHERTY
    Somebody might get hurt.
    LYDIA
    Don't be a pussy.

INT. MOBILE COMMAND CENTER - CONTINUOUS
    Glued to the monitor, Marcus watches Mike step up into the window frame. Outside the CROWD ROARS.
    MARCUS
    Oh hell no. No. No. No. Bauer that's a GO for tactical.
    MARCUS
    Right now, before he gets out there!
    BAUER
    (into radio)
    Team leader, you are go for take down.

EXT. HOTEL ROOF - CONTINUOUS
    The tactical leader nods to three of his men on the edge.
    TACTICAL LEADER
    Take him.

EXT. LEDGE - CONTINUOUS
    Mike steadies himself, adjusting to the height. Forcing a smile, he extends his hand to Nick.
    MIKE
    I'm here for you, Nick.
    Nick looks from Mike's hand down 200 feet to the pavement... ...then checks out the Rolex Milgauss GV116400 on Mike's wrist.
    NICK
    Nice watch.
    MIKE
    Come on, Nick.
    The moment draws out between them, thick with tension.
    NICK
    You set me up.
    Mike looks at him, expression going hard and dark, then glances up at a flicker of motion. Three commandos ZIP down from above in an upside-down rappel position, looking for the catch. Hanging onto the window, Mike lunges for Nick. Nick reacts, exploding into action, turning, running, dodging the middle commando... But SLAMS into the one on the end who grabs him... ...as Nick's momentum sends them both swinging thirty feet out away from the building on the commando's rope.
    THE CROWD
    ...SCREAMS! People go nuts!
    BEARDED GUY
    Oh no! No! No!
    ELENA MORALES
    Yes! Yes! Yes!

INT. ROOM 2105 - CONTINUOUS
    Mike strides toward the room door as BLAM BLAM BLAM the lock is shot to pieces.

EXT. LEDGE - CONTINUOUS
    NICK
    ...pendulums back, slamming the commando into the side of the building, breaking free in impact, falling, but just catching himself as he goes over.
    Scrambling back up he runs, continuing along the ledge wrapping the building.
    ...and shoulders a 4th commando out of his way, spinning the man out into space.
    COMMANDOS
    ...pay out their ropes, running after Nick.
    THE CROWD
    ...goes wild, the bearded guy charging through police barriers, backed by hundreds as they chase after Nick, running along the front of the building.
    COPS ON THE STREET
    ...are overwhelmed as spectators charge past.
    ELENA MORALES
    ...charges with her camera man.
    NICK
    ...sees two other commandos above him. He's screwed.
    Smashing a window, Nick ducks back into the hotel.

INT. ROOSEVELT HOTEL - 21ST FLOOR HALLWAY - DAY
    Dougherty and Lydia kick in the broken door and are startled as Mike runs out, charging past them and up the hall, paralleling Nick's direction. Lydia races to the window and looks out just in time to see the last commando disappear into the hotel after Nick.
    LYDIA
    Dammit!

INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY
    A DETECTIVE kneels down, examining something on the floor: a chemical HEAT PACK.
    DETECTIVE #1
    Look at this. Heat pack.
    His PARTNER looks from the heat pack up to the heat sensor on the ceiling... the styrofoam cooler has been removed.
    DETECTIVE #2
    That's what tripped the sensor.
    DETECTIVE #1
    Why would they set off the alarm?

INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICES - DAY
    Englander enters, locking the door behind him. Opening a wall panel reveals the safe. He spins the combination lock... and freezes... ...listening to the TINKLE OF ICE behind him. Englander turns to see Joey swirling a glass of his scotch as Angie pours herself another at his office bar.
    ENGLANDER
    And who are you?
    Joey sets down his drink and snaps open a steel baton.
    JOEY
    The brother. The one sitting behind Nick in court every day for five weeks?
    Englander smiles disdainfully.
    ENGLANDER
    How quaint. The loyal brother. And what an adorable little chihuahua.
    ANGIE
    Hijo de puta.
    ENGLANDER
    And it speaks!
    Joey shoves Englander against the wall, patting him down... ...and coming up with the MONARCH DIAMOND. He hands it to Angie, who stares astonished. It's stunning: impossibly large and glittery beyond belief.
    JOEY
    Thanks for defeating those last couple levels of security. Nick had you wired.
    Tossing Englander's cell phone across the room, he snaps handcuffs on his wrist and secures him to the desk. Englander looks them over icily.
    ENGLANDER
    I can't decide which I'll enjoy more: having you killed or watching you suffer through your pathetic little lives.
    Angie blows him a kiss as they walk out.

INT. ROOSEVELT HOTEL - 21ST FLOOR - PARALLEL HALL - DAY
    Nick runs all-out up the hall, ducking into the stairwell... ...as Mike glimpses him from another corridor.

INT. ROOSEVELT HOTEL - STAIRWELL - CONTINUOUS
    Three floors below, cops pour into the stairwell. Nick charges up... But coming down from the roof, the booted feet of the tactical team POUND DOWN the stairs. Nick ducks out onto 22.

INT. ROOSEVELT HOTEL - 21ST FLOOR - ELEVATORS - DAY
    Mike plugs an earpiece into his radio, following the chase. The elevator opens, he hits 22 and draws his full-frame black .45.

INT. ROOSEVELT HOTEL - 23RD FLOOR - HALL - DAY
    Joey and Angie hold hands walking quickly up a hall as police run past them the other direction.
    RUNNING COP
    Stay in your rooms!
    As the cops round a corner, Joey and Angie duck into a stairwell, hurrying down.

INT. MOBILE COMMAND CENTER - DAY
    Marcus directs cops as Bauer directs tactical, both men shouting orders into radios as fast as they can.
    MARCUS
    Lock down floors twenty-one through twenty-four. Assemble personnel on twenty with guest lists. We'll sweep up, room to room...
    BAUER
    Everyone not in first squad, break teams of two, floor by floor, rolling cover...
    Marcus's cell RINGS in the middle of this, and he snaps it up.
    MARCUS
    What?
    He listens, going cold.

INTERCUT - INT. ENGLANDER'S OFFICE - CONTINUOUS
    REVEAL: it's Englander, talking to Marcus.
    ENGLANDER
    The brother and his girlfriend. They have the diamond!
    MARCUS
    Christ.
    ENGLANDER
    They're in the goddammed hotel!
    Marcus hangs up. Bauer looks at him.
    MARCUS
    Cassidy has a bomb trigger.
    Bauer reacts.
    MARCUS
    Tell tactical to take him out. Kill shots.
    Marcus heads for the door.
    BAUER
    Where are you going?

INT. ROOSEVELT HOTEL - STAIRWELL - DAY
    Lydia runs up the stairs, chasing the action, reaching for her RINGING phone.
    LYDIA
    Go.

INTERCUT - INT. NYPD IA OFFICE - CONTINUOUS
    GORDON EVANS sits at his desk, on the phone, studying a file.
    EVANS
    It looks like we knew Walker had accomplices. We were leaning on him hard when he turned up dead, which ended the case.

EXT. 45TH STREET - CONTINUOUS
    Marcus walks towards the hotel, unsnapping his gun holster.
    EVANS (V.O.,
    There was no hard evidence, but circumstantially we suspected officers Michael Cavanaugh... and Nathan Marcus.

INT. ROOSEVELT HOTEL - SERVICE ENTRANCE - DAY
    Joey and Angie walk through this service hallway, heading for the back doors, seconds from freedom...
    MARCUS (O.S.)
    Joey Cassidy.
    Marcus angles in on them, gun leveled.
    ANGIE
    There's been some mistake.
    MARCUS
    On your knees. Both of you! Hands behind your heads!
    JOEY
    We didn't do anything!
    As they kneel he moves behind them, patting them down. He comes up empty. There is no diamond.
    MARCUS
    Where is it?

INT. ROOSEVELT HOTEL - SERVICE KITCHEN - DAY
    Nick runs through this service kitchen as employees stare after him in confusion. Bursting out the back, he collides with...

INT. ROOSEVELT HOTEL - SERVICE KITCHEN HALLWAY - CONTINUOUS
    The bellhop spilling them both to the ground.
    BELLHOP
    Slow down, Kid.
    Nick pauses to help the old man back up, and the bellhop dusts off Nick and straightens Nick's jacket.
    NICK
    Thanks.
    He takes off to the right as enters the kitchen.
    DOWN!
    DOWN! DOWN!
    The commandos burst out of the door, covering the hall. The bellhop points off to the left, the opposite direction Nick went.

INT. ROOSEVELT HOTEL - 22ND FLOOR - ELEVATOR FOYER - DAY
    Nick works on the elevator doors, prying them open with the door of a fire extinguisher box... ...when the elevator next to him, suddenly DINGS and opens. Two commandos step into the foyer... ...but Nick's disappeared, having rounded the corner into the hall.

INT. ROOSEVELT HOTEL - 22ND FLOOR CORRIDOR - CONTINUOUS
    Nick hurries up the hall knocking on doors, quietly but intensely, first door... second door... third door... The commandos appear in the hall behind him... ...as the third door opens. Nick dives into the room, knocking down a stunned BUSINESSMAN... ...as bullets chew up the door frame around him.

INT. ROOSEVELT HOTEL - ROOM 1 - CONTINUOUS
    Charging through the suite, Nick hits the connecting door to the next room, breaking through to...

INT. ROOSEVELT HOTEL - ROOM 2 - CONTINUOUS
    ...a couple watches TV about Nick, as he charges through, hitting the next door as pours into room 1.

INT. ROOSEVELT HOTEL - ROOM 3 - CONTINUOUS
    Bursting into this room, Nick collides with WOMAN, spilling both of them to the ground as the shouts of pursuit rise.
    COMMANDO (O.S.)
    Get down!
    There's no connecting door here and Nick breaks for the hallway...

INT. ROOSEVELT HOTEL - 22ND FLOOR CORRIDOR - CONTINUOUS
    ...which has two more commandos who open fire, rounds flying past Nick, shattering the room's windows.

INT. ROOSEVELT HOTEL - ROOM 3 - CONTINUOUS
    Nick slams the door, cornered as closes in from both directions. He runs past the terrified woman, through the broken window and back out onto the ledge... ...disappearing from sight just as commandos burst in from both sides. Leaning out the open window, MP5 ready, the lead commando just catches a glimpse of Nick disappearing as he climbs up the corner of the building.
    LEAD COMMANDO
    He's back outside!

INT. ROOSEVELT HOTEL - STAIRWELL - DAY
    Tactical pounds up the stairs... ...followed by Lydia shouting into her radio.
    LYDIA
    You have to call off tactical! There is no bomb threat.

INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS
    LYDIA (V.O.)
    Trust me on this, Bauer.
    Bauer watches a monitor where Nick claws his way up the side of the hotel.
    BAUER
    (into radio)
    Confirmed, he's still climbing. I want coverage on every floor.
    (into police radio)
    This is nuts Anderson. I have orders.
    LYDIA
    Then where's Marcus? Where's the intel on the threat? Where's this supposed trigger?

INT. ROOSEVELT HOTEL - SERVICE KITCHEN - DAY
    Angie stands handcuffed to a stove in this now deserted kitchen as... CRACK! Marcus pistol whips Joey, who's cuffed to a pole, dropping him to his knees.
    MARCUS
    Where's the diamond?
    ANGIE
    Leave him alone!
    Joey regains his feet, smiling through the blood.
    JOEY
    You hit like a girl. Where are you from, Jersey?
    Marcus throws a brutal right to Joey's gut, doubling him over, leaving him gasping for air. Without missing a beat, Marcus fires up a stove burner and grabs Angie by the hair.
    ANGIE
    AAAAGH!
    He forces Angie's face towards the flames.
    MARCUS
    I'm from the Bronx.
    Joey wrenches at his cuffs.
    ANGIE
    No! Please!
    JOEY
    NO!
    Marcus looks at him. He's not fucking around.
    MARCUS
    Last chance, kid.

EXT. ROOSEVELT HOTEL - CORNER CORNICE - DAY
    Clinging to decorative masonry, Nick struggles, climbing up the corner of the building... ...as below him the CHEERS of the crowd drift up. Dragging himself up to the 24th floor ledge, Nick pauses for a second, looking out at the world: - The crowd below fills the street, gridlocking traffic. - The building across the street littered with homemade banners proclaiming their support. "NICK CASSIDY" and "MAN ON A LEDGE." - People on the opposite roof cheering for him. Nick continues his climb.

EXT. 45TH STREET - CORNER - CONTINUOUS
    Nick slips, people on the street GASPING... ...but Nick catches himself, and continues.
    ANGRY TRAFFIC MAN
    This guy is awesome!
    Elena Morales reports.
    ELENA MORALES
    ...and clearly the mood here has shifted. Nick Cassidy may be an escaped convict, but today he has provided one of the most heart stopping shows the city has ever seen and the crowd here, well, they love him...

EXT. HOTEL ROOF - DAY
    NICK pulls himself up onto the roof, gasping but alive...

..as shots ring out, sending him diving behind an air- conditioning unit as...
    TACTICAL

..moves in, firing, keeping him pinned.
    NICK

..crawls into the gravel of the roof as the machinery around him is shredded by rounds.
    He moves right... but more fire pours in. Ducking the other way almost gets him shot as well. Bullets are landing around him like rain until...
    OKAY!
    I GIVE UP!
    LYDIA

..pushes the lead tactical officer.
    LYDIA
    Hear that! Let him give up! He's not armed!
    MARCUS (O.S.)
    Stand down. It's okay.
    And we REVEAL him striding onto the scene, weapon out, dragging Joey and Angie handcuffed... ...and with Englander at his side. Brushing past, he points at Lydia.
    MARCUS
    Arrest her for obstruction and get her off my roof.
    Lydia is grabbed by a tactical officer and quickly cuffed.
    LYDIA
    No!
    The officer drags her to the stairwell as commandos move in on Nick.
    TACTICAL LEADER
    Hands! Show me hands!
    NICK

..raises his hands, and slowly steps out.
    80 feet in front him are and Marcus. Right behind him is a 250 foot drop and the crowd below. MARCUS

..moves beside the tactical leader, talking softly.
    MARCUS
    There's intel he's placed a bomb, so I need you to pull your men back while I negotiate. Keep your team in the stairwell. Tell Bauer to clear the choppers.
    The tactical leader nods as Angie goes off.
    ANGIE
    He's lying! He's going to kill him.
    MARCUS
    Take her with you.
    As the tactical team retreats, dragging Angie with them away from Joey, she flips out, struggling wildly.
    ANGIE
    No! Joey! JOEY!
    JOEY
    Hey! Angie! Look at me. Right here baby.
    (beat)
    It's going to be okay. I promise. You understand. I promise.
    She calms down, nodding, and Marcus, Joey, and Englander watch as she's lead away, the hard truth settling out as they are left alone on the roof.
    MARCUS
    It's not going to be okay.
    JOEY
    I know.
    NICK
    ...watches Englander and Marcus walk over with Joey.
    Marcus stops ten feet away, holding Joey securely, but carefully positioning him by the edge of the roof: a subtle push and off he goes. No one would even know it's murder.
    JOEY
    Sorry bro.
    NICK
    (to Marcus)
    I'm going to fuck you up.
    MARCUS
    You're going to do what you're told, or your brother is going to jump off the roof.

EXT. 45TH STREET - CORNER - CONTINUOUS
    Everyone watches, waiting to see what's going to happen. From the street, people can see Nick on the brink and just a bit of Joey up there. No Marcus.

EXT. ROOSEVELT HOTEL - ROOF - DAY - CLOSE ON
    MIKE...
    ...already on the roof, watching the action. Circling, keeping cover, approaching Nick's flank, he looks for a shot at Nick.
    Englander walks up to Nick, staring him down.
    ENGLANDER
    Here's where we're at Mr. Cassidy: you're dead. But what your efforts have earned you is the opportunity to negotiate for the lives of your family.
    (beat)
    I understand you have something of mine. Tell me where the rock is or your brother dies right here.
    Nick looks Marcus over.
    NICK
    You okay with this?
    MARCUS
    You never should have gone to IA, Cassidy. You earned what you got coming.
    He nudges Joey to the brink.
    NICK
    Wait!
    Nick reaches into his pocket...
    JOEY
    Nick, don't.
    ...and pulls out the Monarch Diamond. Englander reacts with surprise.
    ENGLANDER
    Impressive.
    Nick tosses it to Englander.
    ENGLANDER
    There's two kinds of people in this world, Mr. Cassidy...
    He checks it with a loupe to confirm it's real.
    ENGLANDER
    People who will do anything to get what they want... and everybody else.
    He nods to Marcus.
    ENGLANDER
    Clean this up.
    Marcus turns to Nick as Englander walks off.
    MARCUS
    You have ten seconds to jump or I throw your brother off the roof.
    Joey starts struggling wildly, but Marcus lifts up his cuffs, ripping up his shoulders, easily controlling him.
    MARCUS
    Eight seconds.
    JOEY
    Don't do it!
    Nick looks over the edge.
    JOEY
    Not like this, Nick.
    MARCUS
    Five seconds.
    NICK
    Give me your word he goes free.
    Marcus nods.
    MARCUS
    Two bodies would be tough to explain.
    Nick steps to the edge.
    NICK
    I'm sorry, Joey.
    He can't believe what he's about to do.
    JOEY
    No! Please!
    MARCUS
    Give the people what they want, Nick. They've been waiting all day!
    NICK
    I love you, Joey.
    He's going to jump. BANG! BANG! BANG! High caliber rounds slam into Marcus's chest dropping him to the roof... MARCUS

..rolls prone, saved by his vest, and unloads, firing a full magazine of 19 at...
    MIKE

..diving for cover behind a ventilation stack.
    JOEY AND NICK
    ...scramble for cover in opposite directions as the gunfight rages.

INT. ROOFTOP STAIRWELL - CONTINUOUS
    The tactical team, packed in the stairwell with Lydia handcuffed behind them, reacts to the SHOTS. The tactical leader taps his man, who peeks onto the roof.
    COMMANDO
    Cavanaugh's out there!
    Lydia muscles her way forward.
    LYDIA
    Marcus is corrupt.
    TACTICAL LEADER
    What are you talking about?
    LYDIA
    Take these off!
    He looks her over, worried and unsure.
    LYDIA
    You have no idea what's going on here.
    She focuses in, calm and unthreatening.
    LYDIA
    I'm not armed. Trust me. I can help.
    He weighs it, then unlocks Lydia's cuffs... ...and she grabs his thigh-holstered pistol and goes bolting across the roof.
    TACTICAL LEADER
    Hey!

EXT. ROOSEVELT HOTEL - ROOF - DAY
    Mike lies with his back against a vent, gut-shot, hands drenched in blood as Nick scrambles to his side.
    NICK
    Jesus...
    MIKE
    Yeah well. I always tell people that this is the kind of thing that happens when you shoot at cops.
    NICK
    (brave face)
    I thought you were gunning for me Mikey.
    Bloody and scared, Mike looks up at him, heart breaking.
    MIKE
    I stole the drugs, Cass. But I had no idea they were going to set you up. I swear. Never in a million years.
    (beat)
    But after... I couldn't go to prison Nick. I'm not that tough. I'm just not. I'm sorry...
    Nick takes Mike's .45 from the gravel beside him.
    NICK
    Direct pressure. I'm going to kill that son of a bitch.
    He gets up... ...but Marcus steps out behind him. He's got Nick dead to rights. Nick sees the expression on Mike's face, knows what's coming. Marcus's finger tightens on the trigger and...
    LYDIA
    Freeze!
    Marcus glances at her. Then at Nick. And back at Lydia. And he goes for it, throwing himself back as he whips the gun around firing... BANG! His neck explodes in blood as Lydia drops him with one shot. She stands frozen for a moment, jacked on adrenaline, looking at Marcus in shock... ...then lowers the gun and grabs her radio.
    LYDIA
    Officer down! Request immediate medical assistance on the roof...
    JOEY (O.S.)
    Nick! NICK!
    Following his voice, Nick runs to where his brother stands at the edge of the roof looking down. As soon as Nick appears, a CHEER goes up from the crowd. Joey points down where...

EXT. 45TH STREET - ROOSEVELT HOTEL - CONTINUOUS
    Englander walks up the street in front of his hotel, heading towards a waiting limo at the edge of the police barriers. Hearing the crowd on the corner, he looks up to see Nick, 25 floors up, staring down at him. Englander smiles wide.

EXT. HOTEL ROOF - CONTINUOUS
    Nick watches Englander give him a wave, then flip him off and continue on his way.
    JOEY
    That's the end of our lives. It's over.
    He looks over, but his brother is no longer beside him: he's twenty feet back along the edge of the roof.
    NICK
    One way or another...
    And Nick breaks into an all-out run.
    BELOW
    ...the crowd goes wild realizing what's happening as he runs along the brink.
    LYDIA
    ...steps out to see Nick streak past her.
    LYDIA
    No!
    JOEY
    ...watches, paralysed as...
    JOEY
    NICK!
    NICK
    ...leaps from the building...
    ...falling... ...250 feet through open air... ...and hits the airbag. ESU officers and firefighters scramble in. Elena Morales and her camera man charge forward, running all out. The bearded guy stands paralysed in shock as the crowd runs past, breaking around him like a river on a stone.
    BEARDED GUY
    Oh no...

INT. CHOPPER - CONTINUOUS
    Looking down on the action, watching the crowd run back towards the front of the hotel and the airbag... ...as NICK crawls free of the bag.

EXT. 45TH STREET - CONTINUOUS
    Pushing past two firemen, Nick breaks onto the street to see Englander staring at him in utter shock. There's nothing between them.
    NICK
    Hello, David.
    Englander backs away towards his limo where Cho holds the door open. Nick charges for him. Cho steps forward, swinging, but Nick drops him with a flurry of blows, then turns on Englander... ...who suddenly has a gun leveled at his head, smiling.
    ENGLANDER
    I love your drive, Nick. Your can- do attitude is inspiring. So what'll it be? Get shot in the head? Or go back to prison?
    ELENA MORALES (O.S.)
    David! Nick!
    Englander glances off at Elena and her cameraman racing over, leading a huge crowd... ...as Nick lunges, stripping the gun. INSERT: POV ELENA MORALES' VIDEO CAMERA ...shaking wildly as they run up to see... ...Nick pull the Monarch Diamond from Englander's pocket. Englander looks at the camera in horror, realizing it's all on film, then looks back at Nick.
    NICK
    They're gonna eat you up in prison.
    ELENA MORALES
    Nick Cassidy! Nick! What do you have to say to the world?
    He looks at the diamond in his hand, then into the camera.
    NICK
    I'm innocent.
    RETURN TO SCENE...
    ...as the crowd rushes in, surrounding them, desperate to get close to Nick.
    BEARDED GUY
    I love you, man! I love you!
    ENGLANDER
    ...is dragged off in cuffs.
    INSERT: POV VIDEO Elena Morales grabs Nick's arm, struggling to hang on as they are jockeyed around.
    ELENA MORALES
    This couldn't have been written! New York has a new hero: cop wrongly accused, leaping for his life. Nick Cassidy: I apologize. In fact, I want a date! This is Elena Morales live for Eyewitness News!
    WHAM: A pack of cops tackles Nick. He goes down under the blue uniforms, smiling and laughing. INSERT - POV CHOPPER ...high above, looking down at the crazy chaotic mob out of control and we... CUT TO:

INT. MANHATTAN DETENTION COMPLEX (THE TOMBS) - FOYER - NIGHT
    A heavy door BUZZES and Nick is released from jail, still wearing his suit from that morning as several cops slap his back and smile. The place is deserted... except for Lydia.
    LYDIA
    You okay?
    NICK
    Yeah. Thanks. You?
    LYDIA
    Yeah.
    Lydia nods to the front where through the glass doors a mob of international press is assembled.
    LYDIA
    I thought maybe I'd walk you out the side.
    Cutting into a side hall, they walk in silence. Finally, Nick breaks a smile.
    NICK
    Now that I'm not on a ledge, you run out of things to say to me?
    She smiles back.
    LYDIA
    I was just thinking about taking you up on that drink we talked about.
    NICK
    Coffee.
    LYDIA
    What was right after the coffee?
    NICK
    Candle-lit dinner?
    LYDIA
    Sure. Since you ask.
    He grins.
    LYDIA
    So how on Earth did you get the diamond?

EXT. MANHATTAN DETENTION COMPLEX - SOUTH SIDE - NIGHT
    Exiting an unmarked door, they step into the crisp New York night... ...where the BELLHOP stands waiting. The old man pulls Nick into a huge hug.
    NICK
    Dad. I want you to meet my friend, Officer Lydia Anderson.
    Her jaw drops as FRANK CASSIDY extends a hand.
    BELLHOP
    Frank Cassidy.
    LYDIA
    Unbelievable.
    Joey and Angie run up holding hands.
    ANGIE
    Sorry we're late, he got lost.
    JOEY
    Did not!
    Nick pulls his brother into a huge hug. When they break, Angie gives Nick a hug and a big kiss. A little too big.
    JOEY
    Hey. Whoa. That's my brother there!
    ANGIE
    Come on Joey, he's a hero.
    JOEY
    There's not a mark on him! Look at me. I'm the hero.
    ANGIE
    Don't start with me, Joey Cassidy.
    JOEY
    (turning on Nick)
    And you keep your mitts off my wife.
    ANGIE
    Girlfriend.
    Joey drops to one knee, whipping out a massive diamond ring from Englander's safe. Angie SQUEAKS in excitement.
    JOEY
    Angie will you marry me?
    ANGIE
    Hell yes!
    She pulls him up and they kiss sloppily.
    LYDIA
    I'm just going to assume that's a family heirloom.
    NICK
    It is now.
    FRANK CASSIDY
    Come on, let's get a drink.
    Nick slips his arm around Lydia and the five of them saunter off into the New York night. FADE OUT.:

Summary: A man named Joe Walker checks into the Roosevelt Hotel, enters his hotel room on the 21st floor, and climbs on the ledge, apparently ready to commit suicide. The crowd below calls the police. Dante Marcus controls the crowd, while Jack Dougherty talks with Walker. Walker will only speak to negotiator Lydia Mercer, who is on a leave of absence after failing to save a suicidal policeman. Mercer arrives at the hotel room and acquires Walker's fingerprints from a shared cigarette. Dougherty has them analyzed and discovers that "Walker" is actually Nick Cassidy, an ex-policeman who was given a 25-year sentence for stealing a diamond from businessman David Englander; Nick escaped one month earlier during his father's funeral. Nick maintains his innocence and claims that Englander has framed him as part of an insurance fraud scheme, as Englander lost his fortune in a bad business deal and was too proud to sell the diamond. Nick distracts the police while his brother, Joey, and Joey's girlfriend, Angie, break into Englander's vault across the street to recover the diamond and prove his innocence. Cassidy must use double entendres to provide instructions to Joey and Angie through an earpiece while speaking to Mercer. Dougherty informs Marcus of Nick's identity, and Marcus orders the jewelry store's security to check the vault. Joey and Angie evade them but do not find the diamond. They deliberately set off an alarm, trick Englander into retrieving the diamond, and ambush him in his office, where they steal the diamond at gunpoint. Nick's ex-partner, Mike Ackerman, arrives at the hotel with evidence that Nick is planning something and demands to be allowed into the hotel room. Mercer distrusts him, and Dougherty backs her up. Ackerman claims he has found bomb schematics in a storage unit Nick rented and is convinced that he will detonate an explosive somewhere. While the crowd is evacuated by the bomb squad, Mercer, believing in Nick's innocence, calls internal affairs and discovers that three of the cops employed by Englander were suspected of being corrupt: Ackerman, Marcus, and a deceased officer called Joe Walker. Joey and Angie enter the hotel and hand the bag containing the diamond to the hotel concierge. The concierge pockets the diamond while placing the bag onto the rack. Englander calls Marcus, one of the corrupt cops who helped him frame Nick, and has him capture Joey and Angie as they reach the street. Nick attempts to escape through the hotel, pursued by a tactical team. The concierge aids him by handing him a disguise containing the diamond. Marcus chases Nick to the roof, where he has Mercer arrested for obstruction to clear the roof. Englander brings Joey and Angie, threatening to kill Joey unless Nick gives him the diamond. Nick turns it over, and Englander leaves. Mercer escapes custody in an elevator and rushes back to the roof. Marcus demands Nick jump off the roof. Ackerman arrives, shoots Marcus, and is shot in return. Ackerman apologizes to Nick and says he did not know Englander would frame him. Marcus' bulletproof vest saves him. As he prepares to kill Nick, Mercer arrives and shoots him. Englander mocks Nick as he leaves the area. Nick jumps from the roof onto an airbag set up earlier by the police and catches up to Englander. With the assistance of a crowd member, Nick evades capture and pulls the diamond from Englander's jacket, publicly proving his innocence. Englander is then arrested for insurance fraud. Nick is cleared of all charges and released from custody. He meets Joey, Angie, and Mercer at a bar owned by Nick's father, Frank Cassidy, who had faked his death and pretended to be the hotel concierge. Mercer asks Nick to "explain everything" to her as Joey proposes to Angie with a diamond ring, presumably stolen from Englander's vault. She accepts, and they all celebrate together.