CHAOS Written by Tony Giglio Shooting script March 15th, 2004 FADE IN: BEGIN OPENING CREDITS: A1 EXT. PEARL STREET BRIDGE- NIGHT A1 CLOSE ON... A BRONZE PLAQUE which reads, "PEARL STREET BRIDGE." ON THE BRIDGE... RAIN POURS DOWN. An SUV steers out of control and CRASHES into a STALLED OUT VEHICLE. It's quiet NOW, EXCEPT FOR THE INCESSANT pounding rain. IN THE DISTANCE, police lights approach. SMASH CUT TO: 1 EXT. PEARL STREET BRIDGE - NIGHT 1 THROUGH A TELEVISION CAMERA... The image is GRAINY and FRENETIC. A HEAVY RAIN POURS DOWN on a MELEE OF ACTIVITY. POLICE CARS block either end, their LIGHTS ignite the sky in a dizzying RED and BLUE design. The attention centers on... The SUV and the CRASHED VEHICLE lay in the middle of the bridge. A MAN, 30's, madness on his face, his right hand holds a HOSTAGE, a woman, 20's, racked with fear, tight to his body. His left holds a GUN! Two DETECTIVES, slowly approach the Man. ONLY SEE THE DETECTIVES FROM BEHIND. A News Reporter, KAREN CROSS, 30's, blond with energy to burn, shields herself from the rain, steps in front of the camera... KAREN CROSS ... Police on scene are approaching the suspect. They're at the center of the Bridge now. The Man waves his gun wildly, screams at the Detectives. The Hostage, tears streaming down her face, SCREAMS OUT! FADE TO BLACK. SUDDENLY... THREE GUN SHOTS, almost simultaneously, RING OUT! SHOOTING SCRIPT MARCH 15, 2004 2. KAREN CROSS (OS) We have shots fired. Shots have been fired... Both the suspect and his hostage are down... Police are moving in... Oh my God. FADE IN: 2 INT. LIVING ROOM - CONNERS APARTMENT - NIGHT 2 A loft apartment, scarcely furnished, except for BOOKS, HUNDREDS OF THEM, fill stacks of shelves. Hearing but not watching the television, METICULOUSLY preparing a GIN AND TONIC, is... DETECTIVE QUENTIN CONNERS, a grizzled, intense veteran. His charisma, which he has in spades, gets him into as much trouble as it gets him out of. At present a somber mood. The shadows from the rain stream down Conners's face. IN THE GLASS'S REFLECTION... The TV Report plays. (NOTE: most of, if not all, of the TV report will in reflection.) KAREN CROSS (OS) After a two month investigation, Det. Jason York has been relieved of duty for his role in the Pearl Street Bridge shooting deaths of Lisa ReAnn and John Curtis. Key testimony against York came from Det. Bernard Callo, who was on scene that night. The Seattle Police Department is handing this case over to the King County District Attorney's office. Criminal charges are expected. 3 ON A TELEVISION SCREEN-- 3 The IMAGE cuts to an earlier interview with... CAPTAIN MARTIN JENKINS, 50's, chronically tired and unsympathetic. JENKINS In a civilized society, the men and women entrusted with serving and protecting the community are to be held accountable just like everyone else. Simply put... Just because you are a cop, doesn't mean laws don't apply to you. This is no longer the wild, wild west. 3A EXT. KING COUNTY COURTHOUSE - DAY (THROUGH TV CAMERA) 3A KAREN CROSS stands on the steps, a PHOTO of Conners appears. SHOOTING SCRIPT MARCH 15, 2004 3. KAREN CROSS This same review board last week found Quentin Conners, Det. York's partner, "not responsible" for the same shooting. He remains on suspension without pay. 3B INT. LIVING ROOM - CONNERS APARTMENT - NIGHT 3B Conners turns off the TV, lays the remote next to a PHOTO of Conners and a YOUNG WOMAN (TEDDY) during happy times. He stares at the photo, finishes his drink. FADE TO BLACK. END OPENING CREDITS. 4 EXT. SEATTLE - DAY - ESTABLISHING 4 A COOL, CRISP Pacific Northwestern day. MOUNT RAINIER looms in the distance. The SPACE NEEDLE overlooks downtown. While the sun shines now, the OVERCAST SKY on the horizon FORESHADOWS AN IMPENDING STORM. In the heart of the city... 5 EXT. AMERICAN NATIONAL BANK - DAY 5 An IMPRESSIVE STRUCTURE on a BUSY CITY CORNER. TRAFFIC, street and pedestrian, go about their business. ACROSS THE STREET... A BLACK TRUCK screeches to a stop. 6 INT. BLACK TRUCK - DAY 6 LORENZ, 40's, sits behind the steering wheel. His EYES cold, merciless. He's joined by FOUR OTHER MEN, ALL BLACK CLAD - HEAVILY ARMED with BODY ARMOR! Lorenz stares out at the bank, a last moment of peace. Simultaneously, ALL FOUR DOORS OPEN and... 7 EXT. AMERICAN NATIONAL BANK - DAY 7 Lorenz and the Black Clad exit, quickly cross the street, heading for the bank! Each carries a LARGE BLACK BAG. 7A INT. LOBBY - AMERICAN NATIONAL BANK 7A PATRONS in line, wait impatiently. A SECURITY GUARD in the corner yawns. TELLERS count out cash, access accounts on COMPUTERS. GRAINY SECURITY CAMERA IMAGES depict an average, business day. THE CALM BEFORE THE STORM. SHOOTING SCRIPT MARCH 15, 2004 4. 7B EXT. AMERICAN NATIONAL BANK - DAY 7B Lorenz and the Black Clad arrive at the doors. They RAISE THEIR MASKS and... 8 INT. LOBBY - AMERICAN NATIONAL BANK 8 Off the CROOKED EYEBROW of a BANK TELLER... AT THE FRONT DOORS-- The BLACK CLAD STORM THE BANK! Four of the Black Clad move into position. Lorenz stands center stage. Gun in hand, he aims at the ceiling, PULLS the trigger... BAM! A GUNSHOT RINGS OUT! LOREN Drop to the floor! Slowly! No sudden moves! (to the Tellers) You! Hands on heads, drop to your knees. Now! Do it! PATRONS and TELLERS HIT THE GROUND, TERRIFIED! Lorenz is in COMPLETE and UTTER CONTROL. BLACK CLAD #4 and #3 keep watch on the tellers behind the counters! One on one side, one on the other. BLACK CLAD #2 ushers people out of side offices, gun-points them into the lobby! BLACK CLAD #1 races upstairs, gathers people from the 2nd level, forces them downstairs. From the corner of Lorenz's eye... The SECURITY GUARD's hand creeps toward his gun. LORENZ That... you don't want to do. The Security Guard reluctantly obeys. BLACK CLAD #1 DISARMS the Guard, then GUN BUTTS HIM over the head! The Guard drops, unconscious! CUSTOMERS, EMPLOYEES scream out. Black Clad #1 rips keys from the Guard's belt, tosses them to Black Clad #2! LORENZ Y'all picked the wrong day not to use the ATM. (Beat) You will not be harmed if you do exactly what I say, when I say it. You (MORE) SHOOTING SCRIPT MARCH 15, 2004 5. LORENZ (cont'd) take your chances if you choose not to listen. BLACK CLAD #2, keys in hand, flies across the counter, carrying a large duffel bag... Heading to the vaults! LORENZ No one will say I didn't give you a choice. 9 INT. SAFETY DEPOSIT VAULT - AMERICAN NATIONAL BANK 9 Black Clad #2 arrives, drops his bag, unzipping... BLACK CLAD #2 (into his headset) I'm in. 10 INT. THE LOBBY - AMERICAN NATIONAL BANK 10 Lorenz gets the message, finds THE BANK MANAGER cowering behind his desk. LORENZ You, up. (the Bank Manager obeys) You understood what I just said? BANK MANAGER Yes. LORENZ Your security system, you can electronically lock all entrances... BANK MANAGER Yes. Right-right away. LORENZ With that attitude, you and I are going to get along famously. Now go. The Bank Manager nods nervously. BLACK CLAD #4 holds open his bag. He strides by the CUSTOMERS who deposit CELLPHONES, PAGERS, inside. 10A INT. BANK MANAGER'S OFFICE 10A The Bank Manager taps on his computer keyboard. BANK MANAGER It's done. We're locked down. SHOOTING SCRIPT MARCH 15, 2004 6. Lorenz nods. 10B INT. THE LOBBY-- 10B BLACK CLAD #1 flips the "BANK CLOSED" sign around. 11 INT. MOTEL BEDROOM - DAY 11 Jenkins fastens his cufflinks. In the bed behind him... HEATHER "TEDDY" GALLOWAY, 30's, normally a force to reckon with, appears vulnerable with only a sheet wrapped around her. JENKINS Have you seen my watch? Teddy gestures to the night stand. Jenkins retrieves the watch. He also slides his WEDDING RING back on. This ain't love, this is a relationship of convenience. Jenkins slips on his jacket, secures his tie and, after one last check in the mirror... JENKINS This was fun. You should get out of bed. You'll be late for work. And with that, Jenkins exits. Teddy waits for the door to close, then collapses back onto the bed. 12 INT. SAFETY DEPOSIT VAULT - AMERICAN NATIONAL BANK 12 PLASTIC EXPLOSIVES line the walls, connect all the safety deposit boxes together! BLACK CLAD #2, takes cover, readies the detonation device and... BLACK CLAD #2 (into his headset) Fire in the hole. He FLIPS A SWITCH and... KA-BOOM! AN EXPLOSION RIPS THROUGH THE VAULT! 13 INT. LOBBY - AMERICAN NATIONAL BANK 13 A PILLOW OF SMOKE BLOWS into the lobby! Lorenz stands UNFLINCHING. The explosion was expected. BEHIND THE CUSTOMER SERVICE WINDOWS-- An EAGER TELLER, 30's, seizes the moment. He reaches up and PRESSES THE SILENT ALARM BUTTON! SHOOTING SCRIPT MARCH 15, 2004 7. BLACK CLAD #4 turns just in time to see it, quickly FIRES his weapon! The Eager Teller slumps against the wall, BLEEDS profusely from his neck, not dead yet. Lorenz hustles over to Black Clad #4. LORENZ What do you think you're doing? BLACK CLAD #4 Fucker pushed the alarm. Lorenz GLARES DISGUSTEDLY at his accomplice. LORENZ It would've made more sense to shoot him before he pushes the fucking alarm. Not after. (looks at the Eager Teller) Jesus. Lorenz levels, very calmly, his weapon at the Eager Teller's head and... LORENZ And... If you're going to do something. (FIRES his weapon!) Do it right. The Eager's Teller's body keels over, dead. Lorenz checks his watch... 9:26 a.m. LORENZ (into microphone) Alarm's tripped. We're on a clock. (to Black Clad #4) Get these people out of the way. A14 EXT. MOTEL - DAY - ESTABLISHING A14 The Four Seasons it ain't. 14 INT. SHOWER/ MOTEL BATHROOM - DAY 14 There's not enough soap on the planet for Teddy to feel clean. Doubt and fear present on her face. She turns off the water, and steps out... when she does HER PAGER, off screen, chimes! 15 INT. MOTEL BEDROOM - DAY 15 Teddy, a towel wrapped around her, picks up the pager. The number: 911. She picks up the TELEPHONE, dials. SHOOTING SCRIPT MARCH 15, 2004 8. TEDDY (beat, then) This is Detective Galloway. 16 EXT. AMERICAN NATIONAL BANK - DAY 16 SIRENS BLARE... POLICE CARS brake hard, blocking traffic. OFFICERS fly out, shotguns out! HELICOPTERS circle. NEWS VANS speed onto the scene as the CROWDS builds. Standing in the center of things... DETECTIVE BERNIE CALLO, 40's, a stern, by-the-book cop. Not a popular member of the force. TWO OFFICERS, 30's, follow him. CALLO (into his radio) I want all points of entry identified and covered. We need SWAT here now. Have emergency crews standing by! OFFICER AT BANK (re: the Media) Didn't take them long. CALLO Set a perimeter. Move'em back. OFFICER AT BANK How far? CALLO Portland. A17 INT. SMALL OFFICE - AMERICAN NATIONAL BANK - DAY A17 A phone cord is YANKED from the wall! Black Clad #1 and #4 push Customers and Employees inside! They door SLAMS SHUT. 17 INT. PRIVATE OFFICE - AMERICAN NATIONAL - DAY 17 POV OF LORENZ - Callo approaches the Tech Van. Lorenz peeks through the curtains. A phone pressed between his shoulder and ear. He places a VOICE MODULATOR over the phone's mouthpiece (this will leave his voice sounding LIFELESS and DISTORTED to those on the receiving end). INTERCUT WITH: SHOOTING SCRIPT MARCH 15, 2004 9. 18 EXT. AMERICAN NATIONAL BANK - DAY 18 Callo arrives at the POLICE TECH VAN. So state-of-the-art NASA is green with envy. BRENDAN DAX, 30's, the techno-wizard, with headphones on, hands Callo a phone. Several other OFFICERS listen in. DAX We have them on the line. Dax presses a series of buttons. DAX We're hot. CALLO (into phone) This is Detective Callo, Seattle P.D. Who am I speaking with? LORENZ No questions. It's time to set the rules. I am in complete control of this facility. No one gets in or out without my say and I will execute every last man, woman and child in here if my needs are not met. Do not test me. Today, I am a man of zero patience. CALLO I'm listening. LORENZ See if you can't screw this up, Detective... I have but one demand. One and only demand. 19 OMIT (COMBINED INTO SC. 17/18) 19 20 INT. CONNERS APARTMENT - DAY 20 Conners wears a T-shirt and some sweats, opens his refrigerator, grabs a bottle of water. When he closes the door... He notices Jenkins and a YOUNG DETECTIVE on his deck. Conners crosses, opens the door for Jenkins and DETECTIVE SHANE DEKKER, late-20s. Dekker's all business when it comes to being a cop. Green, but eager to prove himself. After a long beat... CONNERS Do you have a warrant? SHOOTING SCRIPT MARCH 15, 2004 10. JENKINS I need to speak to you, Quentin. CONNERS There's where your shit out of luck because I don't need to speak to you. JENKINS It's important. Conners and Jenkins trade serious stares. Conners finally relents. Jenkins and Dekker enter. Dekker notices - THE STACKS AND STACKS OF BOOKS. JENKINS Quentin, this is Detective Shane Dekker. CONNERS Huh? You don't look like much of a Detective. DEKKER Funny. I was going to say the same about you. CONNERS Charming. JENKINS Shane just transferred in from Tacoma. His father... CONNERS Save your breath. I really don't care. Before Jenkins can respond, from the bedroom, a TALL, BLOND WOMAN, 20s, emerges, COMPLETELY NUDE. The men WATCH as the Woman, PAYING THEM NO ATTENTION, retrieves a bottle of water from the fridge, then returns to the bedroom. No words spoken at all. After the moment has passed... CONNERS Why don't we can the chit-chat. Get to what's on your mind. JENKINS We've got a hostage situation, American National Bank. The sonsabitches said they wouldn't talk to anyone but you. CONNERS No shit? SHOOTING SCRIPT MARCH 15, 2004 11. JENKINS No shit. I need you to do this. CONNERS Why should I? DEKKER Because people's lives are at stake. That takes priority over your ego. CONNERS (to Jenkins; re: Dekker) You may want to put a leash on him. (beat; thinks) Saying I did want to help... I'm still suspended or did that slip your mind? JENKINS The commissioner's office has ordered me to reinstate you. As of now, you're back on the force. CONNERS Just like that? JENKINS Just like that. (beat) I won't, however, unleash you alone. CONNERS Always a catch. JENKINS Shane, here, is your new partner. Consider him a younger version of me, looking over your shoulder, watching every move you make. The idea of a new partner doesn't sit well with Conners. JENKINS Don't think I endorse this. If it were my call, you'd be with your partner... CONNERS You mean ex-partner. JENKINS ... On the unemployment line with him. CONNERS For a moment there, I thought you cared. SHOOTING SCRIPT MARCH 15, 2004 12. JENKINS I care about those innocent people down there. I hope to God someone hasn't made a monumental mistake letting you back in. CONNERS I appreciate the words of encouragement and the confidence you have in me. I look forward to the continuing, positive relationship we've shared in the past. 21 OMIT (COMBINED INTO SC. 20) 21 22 OMIT 22 23 OMIT 23 24 OMIT 24 25 OMIT 25 26 EXT. AMERICAN NATIONAL BANK - 10:27 AM - DAY 26 POLICE CORRAL the ever-growing group of SPECTATORS. A SWAT TRUCK pulls up, the BACK DOORS FLY OPEN! SWAT exit in a flurry, race into position. Amidst the commotion... JENKINS' CAR navigates the scene, stops next to... KAREN CROSS immediately recognizes Conners, orders her CAMERAMAN to center on him. Conners, Dekker and Jenkins climb out of the car, head towards the crime scene, when... KAREN CROSS Detective Conners? Detective, can we have a few words? Conners turns, recognizes Karen. Relishing the moment... CONNERS I'll give you two... (pauses for effect) Blow me. If you need a follow-up comment let me know? (to Dekker) Cunt made her career off me. AT THE POLICE TECH VAN-- SHOOTING SCRIPT MARCH 15, 2004 13. Conners, Dekker and Jenkins arrive, FIND Teddy, her hair still wet, with her partner, DET. VINCENT DURANO, 40's, a middle of the road, never out on a limb type cop. Callo looks on, the RAGE boiling inside of him. CONNERS Teddy, Vincent... (completely ignores Callo) ... Nice to see you both. JENKINS Conners has been reinstated to full active duty. It's his scene. This info comes as a surprise. Especially to Callo. CALLO The last hostage situation this guy headed, an innocent civilian died. CONNERS I was not responsible... CALLO You never are. That girl would be alive today if it weren't for your cowboy antics. You destroy lives. CONNERS Fuck you. Look who's talking about destroying lives. JENKINS Decision's been made, Bernie. CALLO I was first on scene and I have seniority. (pleads) Don't do this, Martin. JENKINS We'll talk about it later. Take a hike. CALLO (beat) Fine. I'll watch this train wreck from home. Callo exits. CONNERS (sarcastic) I'm going to miss him. SHOOTING SCRIPT MARCH 15, 2004 14. JENKINS SWAT, because of the special circumstances will defer to Conners. He's in charge. VINCENT First time I've heard SWAT defer to anyone. JENKINS (pulls aside Conners) Second chances don't come around often. Don't blow it. Jenkins skeptically eyes Conners before stepping away. He motions for Dekker to walk with him. JENKINS Anything questionable happens today, you let me know. DEKKER Yes, Captain. Out of earshot, Conners watches Dekker and Jenkins. TEDDY Looks like you got yourself a baby- sitter. Conners glares at Teddy out the corner of his eye, then dismisses the comment. TIME CUT TO: 27 EXT. AMERICAN NATIONAL BANK - DAY 27 More SPECTATORS, more MEDIA. Conners, Dekker, Teddy and Vincent hover behind the first barricade. Conners unwraps gum, sticks it in his mouth. VINCENT We have approximately four to seven, heavily armed men holding an unspecified number of customers and employees hostage. CONNERS You're just a wealth of knowledge, aren't you? SHOOTING SCRIPT MARCH 15, 2004 15. TEDDY Witnesses heard shots fired and some kind of explosion. And their only demand has been to speak with you. CONNERS I'm sure it won't be the last. Get me a line into the bank. Let's see what they really want. TIME CUT TO: 28 INT. PRIVATE OFFICE - AMERICAN NATIONAL BANK 28 A PHONE RINGS... Lorenz enters, shuts the door and REMOVES HIS MASK. He lets a few rings pass, before ANSWERING. LORENZ (into voice modulator) Detective Conners? INTERCUT WITH: 29 EXT. AMERICAN NATIONAL BANK - DAY 29 Conners and company gather outside of the Police Tech Van. Dekker pulls a pad and a pen, prepares to take notes. Dax sits, headphones donned, records the entire conversation. CONNERS Who am I speaking with? LORENZ For now... You can call me Lorenz. Dekker writes, "Lorenz." CONNERS Okay, Lorenz, how are we doing in there? Can we get you anything? Food, medical supplies. We heard an explosion. LORENZ Everyone who matters is fine. Of course, I would've preferred not having the authorities involved at all. We weren't planning to be here this long. But, since Seattle's finest needs a presence on the scene, I'm glad it's you. SHOOTING SCRIPT MARCH 15, 2004 16. CONNERS My fame proceeds me. LORENZ Don't be flattered. I needed someone who's been through the experience before. Hopefully this time it will go better for all involved. I plan on living a full, long and rich life. I didn't, however, expect them to find you so quickly. I thought you were suspended. Dekker writes, "In The Know," on his pad. CONNERS I was, but I'm back. You're information's old. LORENZ You never get what you pay for. (back to business) You want to know about the hostages? How many and are they okay? Dekker scribbles, "Pro". CONNERS Yes. LORENZ Approximately forty, they're fine, considering. All except one. We had a situation. CONNERS Someone's dead? LORENZ Theory... put to practice isn't always perfect. Can't expect to keep the hostages in check if a bad deed goes unpunished or they may... randomly decide to revolt. Chaos... has some order to it. (Conners drifts in thought) Detective? Are you still with me? Teddy SNAPS her fingers. That gets Conners attention. There's a new intensity to his demeanor. CONNERS What else will I be looking for? SHOOTING SCRIPT MARCH 15, 2004 17. LORENZ Demands... Probably too much to ask for you and your colleagues to pack up and go home? CONNERS Safe to say. LORENZ Stay by the phone. I'll contact you shortly. CONNERS Lorenz... LORENZ Don't worry, I have no plans until sunrise tomorrow, so hunker down. It's going to be a long one. CONNERS Wait, we're talking here... LORENZ Patience, Detective. We don't want another Pearl Street Bridge, do we? Conners's thrown by the mention of Pearl Street Bridge. Lorenz abruptly HANGS UP. DAX He's off. 30 EXT. AMERICAN NATIONAL BANK - DAY 30 THE CROWDS GROW. The MEDIA BUILD UP INTENSIFIES. THROUGH A TELEVISION CAMERA... Karen Cross reports: KAREN CROSS This standoff is approaching two hours now. We've been told Detectives have made contact with the perpetrators inside the bank. Whether any specific demands have been made, we cannot confirm. As soon as we know something, we'll pass it on to you. Reporting live, Karen Cross, channel two news. CAMERAMAN (OS) We're clear. KAREN CROSS Who the hell writes this shit? SHOOTING SCRIPT MARCH 15, 2004 18. 30A INT. LOBBY - AMERICAN NATIONAL BANK 30A Black Clad #1 and #4 remove from their bag - ropes, pulleys, an iron spike and hammer. #1 also removes... a spear-gun. #1 connects the rope to a spear. FIRES the spear into the wall above the bank's front windows! He snags a 2nd spear, repeats. 31 POLICE TECH VAN-- 31 The Detectives huddle. Impatience level high. CONNERS (to Dax) Try again. DAX He's not picking up. CONNERS (stern) Try again. Dax, humbled, does as ordered. CONNERS (glances about) Where's our fearless Captain? DEKKER Went uptown to brief the Commissioner. CONNERS So you're here in his place. Conners fumbles with the wrapper, but eventually sticks another piece of gum in his mouth. Teddy notices. CONNERS Nicotine gum. TEDDY (shock) You quit smoking? CONNERS Caffeine, too, if you must know. (Another shock) What? A man's capable of change. TEDDY A man, yes. You... I'm not so sure. SHOOTING SCRIPT MARCH 15, 2004 19. CONNERS Don't worry, I still have a vice or two. DAX Fifteen rings. No answer. CONNERS Try again in five. TEDDY What are they doing in there? VINCENT Wasting our time. Time. The word rings in Conners's head. He starts to put it together. CONNERS Precisely. He knows police protocol, not to mention the shit in our own precinct. He's disguising his voice, means he's got a record and has done this before. He's heavily armed and well-connected. He knows he's surrounded. He hasn't asked for a damned thing. He drops that hint about sunrise, prepping us for a long wait. He's buying time. Why? VINCENT (brainstorming) To figure out his next move. He wasn't expecting us. DEKKER No, he wasn't expecting you. He said, he thought you were still suspended. CONNERS Probably thought it would take the whole day for you to find me. Giving him the time he needs. TEDDY He's stalling. DEKKER He almost has what he came for. Conners nods, eyes Dekker as if for the first time. SHOOTING SCRIPT MARCH 15, 2004 20. CONNERS Or... he's got what he came for and he's waiting for his ticket out of here. (the decision) We're going in. TEDDY What? CONNERS The bank has three points of entry. Teddy and Vincent, take a SWAT Team, head to the West side. We'll have the SWAT Commander take the East. Dekker, you're with me. Where is the SWAT Commander? VINCENT I'll find him. Vincent leaves Conners with Dekker and Teddy. TEDDY (to Conners; concern) That's a big call, Quentin. Thought about what you're doing? CONNERS You questioning me, Teddy? TEDDY Unfortunately... yeah. CONNERS I question how you can fuck that asshole and still manage to look in the mirror. TEDDY I'm not going to get into this now. And you're one to talk. I hear... CONNERS (interrupting) The hostages are in imminent danger. They've confessed to killing someone, an automatic murder one charge - that's a life sentence, maybe a needle for all of them. So why keep witnesses around to testify? Longer we wait, the greater the risk. We need to go in. Now. SHOOTING SCRIPT MARCH 15, 2004 21. TEDDY (beat; then relents) Okay. Even Dekker seems to agree with that theory. Vincent arrives with the SWAT COMMANDER, 40's, a former Navy SEAL with a "Don't FUCK with me" attitude. SWAT COMMANDER I got snipers up top and ten soldiers on the ground. CONNERS What's the best way in? SWAT COMMANDER Tear gas, blow the doors... CONNERS Hold on. No explosives. I got forty civilians in there, too great a chance. Any other way? SWAT COMMANDER There's no pussy way in. The doors are locked electronically from the inside. We ain't getting in without force. CONNERS (beat; thinks) What if we cut the power? That will disable the system and we can open the locks manually, come in that way? SWAT COMMANDER (thinks; concedes) That'll work. CONNERS So we'll take the pussy way, Commander. We cut the power and go in at 11:15 sharp! TIME CUT TO: 32 EXT. AMERICAN NATIONAL BANK - 11:13 AM - DAY 32 SNIPERS ON ROOFTOPS ready their weapons. SWAT TEAM moves into position, cover all bank entrances. AT THE TECH VAN-- Conners and Dekker slip into bulletproof vests. Teddy, Vincent and the SWAT Commander arrive. SHOOTING SCRIPT MARCH 15, 2004 22. TEDDY The bank's equipped with emergency generators, which once the power's down, will kick back on in approximately 3-6 minutes. CONNERS It will be over before that. Commander, your men in position? SWAT COMMANDER Standing by. CONNERS I will call for the power to be cut. Once down, wait for my signal and enter. No one moves until I give the "go", understood? They all nod. They're ready. CONNERS You have done this before, right? Wait... I don't want to know. 33 INT. SIDE OFFICES - AMERICAN NATIONAL BANK 33 VARIOUS SHOTS of HOSTAGES. It's quiet, until... Black Clad #1 and #4 burst, grab TWO RANDOM HOSTAGES, drag them out! They put up some fight, but quickly concede. The hostages sit shaking, crying... Scared beyond belief. 34 INT. BEHIND CUSTOMER SERVICE - AMERICAN NATIONAL BANK 34 Lorenz watches out the window... POV OF LORENZ - SWAT, POLICE getting into position. Lorenz turns from the window. LORENZ They're comin'. 34 A IN THE LOBBY-- 34 A Black Clad #1 and #4 drag the TWO RANDOM HOSTAGES, KICKING AND SCREAMING, towards the anchor/pulley! RANDOM HOSTAGE #1 What are you doing?! Let me go! #1 & #4 fasten the Hostages to ropes connected to the pulleys! SHOOTING SCRIPT MARCH 15, 2004 23. 35 EXT. FRONT ENTRANCE - AMERICAN NATIONAL BANK - DAY 35 Behind a barricade, Conners crouches down beside Dekker and his SWAT Team. CONNERS (into radio) Let's go around the horn. 36 ON THE WEST SIDE-- 36 Teddy, Vincent and a SWAT Team... TEDDY One, check. 37 OMIT 37 38 ON THE EAST SIDE-- 38 The SWAT Commander and his team... SWAT COMMANDER Two, check. 39 ROOFTOP #1-- 39 A SNIPER holds his eye to the scope. SNIPER #1 Three, check. 40 ROOFTOP #2-- 40 SNIPER #2 Four, check. 41 AT THE MAIN ENTRANCE-- 41 Conners glances at his watch... CONNERS Here we go... Cut the power. 42 INT. AMERICAN NATIONAL BANK 42 Instantly... EVERYTHING BLACKS OUT! LIGHTS, COMPUTERS, etc. THE HOSTAGES grab each other TIGHTLY. PANIC evident. Lorenz and the Black Clad calmly react. 43 EXT. AMERICAN NATIONAL BANK 43 Conners makes the call... SHOOTING SCRIPT MARCH 15, 2004 24. CONNERS Doors! Each Team makes their move, when... 44 INT. PRIVATE OFFICE - AMERICAN NATIONAL BANK 44 LORENZ (into his headset) Now! 44A INT. LOBBY - AMERICAN NATIONAL BANK 44A Black Clad #1 PULLS A CORD, instantly... ALL THE CURTAINS DROP! 45 EXT. MAIN ENTRANCE - AMERICAN NATIONAL BANK 45 Conners freezes... CONNERS (into radio) Hold it. What just happened? 45A INT. LOBBY - AMERICAN NATIONAL BANK 45A Black Clad #3 FLIPS A SWITCH. Suddenly, a canister attached to the pulleys race up the ropes! The HOSTAGES have their feet yanked out from under them, then shoot INTO THE AIR! They SMASH THROUGH A GLASS HANDRAIL ON THE SECOND FLOOR, then... 45B EXT. MAIN ENTRANCE - AMERICAN NATIONAL BANK - DAY 45B SHOOT to the TOP OF THE WALL-LENGTH WINDOWS! They hang, dangle helplessly! On FULL DISPLAY for the outside to see! DEKKER (looking up at the windows) Holy shit...?! DEKKER. CONNERS. SWAT. ONLOOKERS. Everyone in the vicinity react in HORROR! THE NEWS CREWS, led by Karen Cross, race to grab the story. 46 ON THE EAST SIDE-- 46 The SWAT Commander: SWAT COMMANDER We're going in! SHOOTING SCRIPT MARCH 15, 2004 25. 47 AT THE MAIN ENTRANCE-- 47 Officers try to control the situation, but can't. Pedestrians racing around. Conners, in the middle of the anarchy... CONNERS No. Do not go in. It's a trap! SWAT COMMANDER (VO) Stand down, Detective. This is my show now. CONNERS (flustered) SONOFABITCH! 48 ON THE EAST SIDE-- 48 The SWAT Commander makes his own call... SWAT COMMANDER On my count... One... two... three... The SWAT TEAM bum rushes the bank, just as... KABOOM! A FIREBALL BLASTS through the door, BLOWS off its hinges! The SWAT guys are blown off their feet! Then... 48A EXT. AMERICAN NATIONAL BANK - DAY 48A THE FRONT WINDOWS BLOW OUT! AN EXPLOSION! FIRE SHOOTS IN ALL DIRECTIONS! A POLICE BARRICADE BLOWS OVER! Everyone outside is BLOWN OFF THEIR FEET! Conners, Dekker HIT THE DECK! SHARDS OF GLASS FLY! SMOKE FLOODS INTO THE STREETS! Simultaneously, An EXPLOSIONS BLASTS OUT THE WEST SIDE DOORS! THE DETECTIVES AND SWAT TEAM DUCK FROM THE BLAST! 49 ACROSS THE STREET-- 49 THE BLACK CLAD'S TRUCK EXPLODES, FLIPS IN THE AIR! It's a genuine WAR ZONE! SMOKE, FIRE AND DEBRIS LITTER THE AREA AROUND THE BANK! 50 FROM THE BANK-- 50 Conners peers up as... The HOSTAGES RUN OUT, SCREAM IN TERROR! SHOOTING SCRIPT MARCH 15, 2004 26. Conners and Dekker head for the bank, pass two groups of FOUR UNIFORMED OFFICERS... DEKKER (to the first group) Round up all the hostages, anyone that comes out, grab'em! Conners glares at Dekker. CONNERS (to the second) The rest of you, come with us. The OFFICERS rush to protect the HOSTAGES, pull them to safety. CAMERA CREWS and REPORTERS pounce on the opportunity. Conners and Dekker lead the charge inside, guns drawn. 51 INT. LOBBY - AMERICAN NATIONAL BANK 51 EMERGENCY LIGHTS BURN! GLASS CRACKLES UNDER FOOT as Conners, Dekker and the Officers move through. Caution with each step. The lobby's clear. Conners pulls the Officers close. CONNERS (whispers; to Dekker) We split up. (whispers; to the officers) You two with him. You two with me. (to Dekker) Check the back. Dekker nods, leads his group away. Conner proceeds... 52 BEHIND THE COUNTERS-- 52 Nothing. Conners spots a DOOR in the back marked, "Bank Employees Only." 53 THE VAULT-- 53 Dekker checks it out, but it's empty. The remnants of the explosion remain. Suddenly... THE GENERATORS ROAR TO LIFE! THE POWER BLINKS BACK ON! Dekker jumps, startled by the sudden blast of lights. SHOOTING SCRIPT MARCH 15, 2004 27. 54 EMPLOYEE'S ONLY OFFICE-- 54 ALL THE LIGHTS COME UP, as... Conners KICKS IN THE DOOR, but... It's empty. 55 A BANK CORRIDOR-- 55 Dekker leads his group. His heart POUNDING THROUGH HIS CHEST. His Gun up and ready. Suddenly... A NOISE up ahead... He bares down, takes a DEEP BREATH, carefully proceeds until... Teddy and Vincent emerge. Teddy EXHALES, lowers her weapon. So does Dekker. 55A INT. LOBBY - AMERICAN NATIONAL BANK 55A Conners strides out from behind the counters... CONNERS (to Vincent) See anyone come your way? VINCENT No. No one went by me. The SWAT COMMANDER approaches holding a couple of the BLACK MASKS, some BLACK BODY ARMOR. SWAT COMMANDER Detectives... We found these. Conners takes one of the masks in his hands. CONNERS We let them walk right past us. Dekker, Teddy, the SWAT Commander, Officers, Vincent and the SWAT Team stand in the middle of the lobby, STUNNED. Conners, his anger SIMMERS TO A BOIL, until finally... CONNERS SHIT! TIME CUT TO: 56 EXT. AMERICAN NATIONAL BANK - 11:48 AM - DAY 56 An OFFICER unfurls a FRESH ROLL of "POLICE: CAUTION" TAPE around the scene. Still mayhem, but gradually coming under control. Police interview HOSTAGES, so do REPORTERS. PARAMEDICS administer oxygen. Two CORONERS load the EAGER TELLER's body into their truck. SHOOTING SCRIPT MARCH 15, 2004 28. 57 INT. LOBBY - AMERICAN NATIONAL BANK 57 Vincent, covered in debris, confers with Conners. VINCENT We got the one Teller dead, the two that were strung up are alive, but in critical condition. A few SWAT incurred 2nd degree burns, but that's the worst of it. Now, depending on who you talk to... there was anywhere from five to nine perps. And nobody got a good look at any of'em, wore their masks the whole time. Dax is rounding up the security tapes now. That should give us a firm number. CONNERS I want background checks on every hostage. They're all suspects until they're not. VINCENT You don't think one of them's still here? CONNERS After this, nothing would surprise me. 58 EXT. TECH VAN - AMERICAN NATIONAL BANK - DAY 58 Dax pulls cables, power cords, etc., getting set to go inside with them. Dekker approaches. DEKKER Excuse me... I need to listen to the conversation between Lorenz and Conners again? DAX It'll have to wait. DEKKER How long? DAX Hour. Maybe more. DEKKER (too long) Show me how to play it myself? SHOOTING SCRIPT MARCH 15, 2004 29. DAX Look, this isn't how it works. I don't take orders from you. I don't know you and NO ONE touches my stuff. You're going to have to wait. Dax gets his shit, starts to go. Dekker waits, then proceeds into the van. Dax turns, notices. 59 INT. TECH VAN 59 Dekker inspects the equipment, when... DAX What the hell are you doing? DEKKER Along with whatever they stole and this war zone they left behind... A man's dead, and the killers are running free. I don't have time to wait. (looks at the equipment) I'll figure it out. Thanks for your help. DAX (relents, demonstrates) Here. This DAT machine. Play, stop, rewind... It's just like using a tape player. Headphones are jacked in. Tape's already inside. DEKKER Thank you. 60 EXT. AMERICAN NATIONAL BANK - DAY 60 A CAR PULLS UP... Jenkins steps out. Stares out over the scene, the mess. He's a volcano ready to erupt. 61 INT. SECURITY ROOM - AMERICAN NATIONAL BANK 61 A SERIES OF EIGHT BLACK AND WHITE VIDEO MONITORS... as we rewind. SEVEN of the eight show recorded images of the bank. The eighth shows only STATIC. Dax sits in front of the monitors. Conners stands nearby. CONNERS (re: the eighth monitor) What's with this one? DAX That's the camera in the vault. It blew in the first explosion. SHOOTING SCRIPT MARCH 15, 2004 30. The SEVEN DIFFERENT MONITORS all begin in sync. ON SCREEN... TIMECODE burns in the corner. The HOSTAGES are dragged across the LOBBY, where the Black Clads hook them up to the pulleys. The Black Clads get into position. Conners CAREFULLY scrutinizes the images. ON SCREEN... THE TIMECODE CLOCK: Hits "11:15:00 AM" and... STATIC FILLS THE SCREENS! DAX That's when you cut the power. CONNERS So we can't ID them. DAX There's a four minute, fifty-two second gap, before the image returns. But... CONNERS They're long gone by then. (beat; thinks) Go to the head of the tapes, from when they first went in. Document each move they've made for the two hours they were inside. DAX You got it. Hey... Awful lotta news cameras outside. Maybe one got a look at them coming out? CONNERS (good idea) Have Vincent check it out. Teddy enters... TEDDY Conners, you better come out here. 62 INT. LOBBY 62 Conners and Teddy walk in to discover... Captain Jenkins confers with FOUR FBI AGENTS in suits. CONNERS (to Teddy) Shit. Feds. Jenkins turns to Conners, gestures him over. SHOOTING SCRIPT MARCH 15, 2004 31. JENKINS Detective Conners, join us, would you? 63 INT. TECH VAN 63 Dekker listens through HEADPHONES makes notes as he goes. CONNERS (VO) (beat; stern) What does that mean? LORENZ (VO) Theory... put to practice isn't always perfect. Can't expect to keep the hostages in check if a bad deed goes unpunished or they may... randomly decide to revolt. Chaos... has some order to it. Dekker, hits STOP, then REWIND. He checks his... IN HIS NOTEBOOK-- Several words and phrases fill the page. "Lorenz, sunrise, Pro Theory, 40 hostages, Theory, Randomly Revolt, and Chaos." DEKKER studies the words intently, figuring something out. He presses PLAY on the DAT machine. LORENZ (VO) Theory... put to practice isn't always perfect. Can't expect to keep the hostages in check if a bad deed goes unpunished or they may... randomly decide to revolt. Chaos... has some order to it. Dekker presses STOP. Dekker finds a pattern, circles the words, "Lorenz, Chaos, Theory." 64 INT. LOBBY - AMERICAN NATIONAL BANK 64 Conners, Jenkins and Teddy converse with AGENT VICTOR DOYLE, 40's, and the BANK MANAGER still a bit rattled. AGENT DOYLE Prince Amar Alle Alban is one of the wealthiest and least popular Arabs in the Middle East. There's been countless threats on his life and fortune in the past. But for better of worse... he is an ally to the United States. The Prince keeps a safe deposit box in twenty institutions (MORE) SHOOTING SCRIPT MARCH 15, 2004 32. AGENT DOYLE (cont'd) across the country. Along with this bank, he also had a box at Eastern Federal Savings in Charlotte, North Carolina, which was hit last month. Same M.O. TEDDY What was in the box? BANK MANAGER We don't keep records. The boxes are private. Since 9/11, we screen for live tissue, viruses or explosives, but if it passes those tests, we don't ask. CONNERS This is all real fascinating shit, but what about the money? Bank robbers still like cash, don't they? BANK MANAGER The cash drawers don't appear touched. Neither does the cash vault. TEDDY So they broke into a bank and didn't steal any money? Odd glances all about. AGENT DOYLE We believe the Prince's box was the target. We're trying to reach him now. JENKINS Thank you. Agent Doyle and the Bank Manager leave. JENKINS Helluva come back, Conners. Are you familiar with the term franchise-sized fuck-up... CONNERS Depends, are we talking about your sex life? Because I've heard shortcomings. JENKINS You got played, Quentin. Congratulations, you just topped Pearl Street Bridge. SHOOTING SCRIPT MARCH 15, 2004 33. TEDDY That's not fair. It was by the book. Everything was according to standard procedure. Jenkins ignores Teddy. CONNERS You came to me. I didn't ask for this. JENKINS Commissioner's office is scrambling to cover their ass. They need a scapegoat... And I have zero problems serving you up. CONNERS You wanted this to happen. JENKINS No. But if it had to happen to somebody. Jenkins exits. 64A EXT. AT THE TECH VAN - AMERICAN NATIONAL BANK - DAY 64A Conners approaches... DEKKER I think this Lorenz was trying to tell us something. CONNERS You don't say. DEKKER The way he spoke... he paused before certain words. Have you ever heard of the Chaos Theory? CONNERS What? 65 INT. DINER NEAR THE BANK - DAY 65 A grade "B" rating, tops. CUSTOMERS dine, choke down coffee. AT A BOOTH-- Empty plates and crumpled napkins litter the table. Conners finishes a cup of coffee, enjoys a slice of pie. Dekker, all about work, goes over his notes. SHOOTING SCRIPT MARCH 15, 2004 34. DEKKER Edward Lorenz invented the Chaos Theory in the 1960's. It's the study of phenomena that appear random, but in fact have an element of regularity which can be described mathematically. CONNERS (confused) Try that again? DEKKER Pretty much... initial state of events may seem unrelated and random, but eventually patterns emerge and in the end all the pieces fit together. The Waitress refills Conners' coffee, lays down the check. WAITRESS Anything else, officers? CONNERS That'll be all. (to Dekker) You're a College boy. Which one? Someplace I've heard of or one of those inbred state schools no one's heard of? DEKKER U Dub. CONNERS Not exactly Princeton, but not bad. How did you end up on the force? DEKKER It's kind of the family business. CONNERS Family business? What, your Dad, Dad's Dad and so on and so back? Dekker squirms when it comes to revealing personal info. DEKKER Do we really need all this "get to know you" crap? Couple hours ago you didn't give a shit. CONNERS You've grown on me. Besides, I am entrusting my life to you. I should know something about you. I would (MORE) SHOOTING SCRIPT MARCH 15, 2004 35. CONNERS (cont'd) think you'd like to know a little something about me. DEKKER I know about you, Detective. Everyone does. CONNERS You don't say that with much enthusiasm. DEKKER Not much to be enthusiastic about. Conners reaches his limit. Time to put him in place. CONNERS Listen, my reputation often proceeds me. You, however, have no reputation; a fact I need to deal with. After you've been through the shit I have, then you can judge me. Now... we can try to work together, make the best of a bad situation or we can compare Dick sizes all day... Up to you. But since this is your first day here... today... mine's bigger. VINCENT (VO) (over radio) Conners, come in? Both men hold steely stares on one another. Until... CONNERS (into radio) Go. VINCENT (VO) Got something you'll want to see. Conners drops a TEN DOLLAR BILL on the table. CONNERS Lastly... I don't like the Pac-10. It's overrated. I'm an Ivy League guy. Conners gets up, heads for the door. Dekker, humbled, scoops up Conners's ten, puts it in his wallet and drops a twenty down on the table, slides out of the booth. SHOOTING SCRIPT MARCH 15, 2004 36. 66 EXT. AMERICAN NATIONAL BANK - DAY 66 Conners, Dekker and Teddy approach a NEWS TRUCK. Vincent stands with Karen Cross and her CAMERAMAN who sports TWO BLACK EYES AND A BLOODY NOSE. KAREN CROSS (to Conners; w/ a smile) Detective... Can't keep away from me, can you? Conners ignores her, but Dekker doesn't. He gives her the ONCE OVER. She notices, smiles. VINCENT Watch. He points to a monitor in the van, presses PLAY. 66A ON SCREEN-- 66A HANDHELD IMAGES of the POST BANK MELEE. HOSTAGES scatter in all directions. COPS race into the bank. A SHAGGY BROWN HAIRED MAN, 40's, with a MOUSTACHE and an ANGRY EXPRESSION, CHARGES TOWARDS THE CAMERA and BARRELS OVER IT! KNOCKS the Camera and the Cameraman DOWN! CONNERS (to the Cameraman) Well, that explains you. VINCENT (to Karen) Rewind it a little bit. (She does, until...) Okay. There. Stop. ON SCREEN... the IMAGE FREEZES on the SHAGGY MAN'S FACE. VINCENT Damon Richards. Career loser. Busted him two years ago on attempted robbery of the Western Federal Bank. Stupid bastard. Never learns. DEKKER What's he doing back on the street? VINCENT He gave up his partners and cut a deal with the D.A. SHOOTING SCRIPT MARCH 15, 2004 37. TEDDY Gotta love the system. CONNERS Got an address? VINCENT Only thing on file is in Spokane, but I recall he did have a girlfriend in town. Gina, I believe. 67 EXT. BIKER BAR - LOWER CLASS NEIGHBORHOOD - 1:13 PM - DAY 67 The streets are quiet. A ROW OF HARLEY DAVIDSONS park in front. Above the bar, a small, lower class apartment complex. 68 INT. HALLWAY - LOWER CLASS APARTMENT 68 TWO POLICE OFFICERS along with Conners, Dekker, Teddy and VINCENT position themselves by the APARTMENT. Vincent knocks his fist on the door... VINCENT Gina, it's the police. Open up. There's no response. But SOUNDS can be heard on the opposite side of the door. VINCENT (Pounds louder) We can hear you. Again no response. It's quiet. Too quiet. CONNERS (to Vincent; low) Step back. Clear the door. Now. Just as Vincent does... BAM! A GUNSHOT BLOWS APART THE DOOR! Fired from the inside of the apartment! BAM! BAM! BAM! The BLASTS KEEP COMING! Everyone's pinned down, on the defensive. A WOMAN SCREAMS FROM INSIDE THE APARTMENT! Dekker gathers himself together. Conners TURNS INTO THE OPEN DOORWAY, FIRES A FULL CLIP INTO THE APARTMENT! SHOOTING SCRIPT MARCH 15, 2004 38. Conners reloads. Everything's quiet. Conners looks... 69 IN THE APARTMENT-- 69 A THIN LAYER OF SMOKE hovers. But that's all. Nobody in sight. 70 IN THE APARTMENT HALLWAY-- 70 Conners steps inside, just as he reaches the living room... BAM! ANOTHER BLAST! This one FROM THE BEDROOM! Conners DROPS TO THE FLOOR, falls back into the kitchen! TEDDY QUENTIN! Dekker enters the apartment. 70A IN THE HALLWAY-- 70A TEDDY (into radio) Shots fired, officer down! Need an ambulance and back up. 70B APARTMENT HALLWAY/ KITCHEN-- 70B Dekker passes the kitchen door, looks in on Conners. DEKKER You hit? CONNERS (in pain) I'm fine. OFF SCREEN: A Window BREAKS... from the bedroom. Dekker heads that way. 71 IN THE BEDROOM/LIVING ROOM 71 DAMON RICHARDS crawls onto the FIRE ESCAPE! DEKKER (in the doorway) FREEZE! But Richards doesn't. He FIRES another shotgun BLAST! Dekker DUCKS BACK into the living room. He aims his gun into the bedroom without looking... RAPID FIRES! SHOOTING SCRIPT MARCH 15, 2004 39. A bullet HITS Richards IN THE SHOULDER! HE YELPS IN PAIN, but manages to... 71A EXT. FIRE ESCAPE - LOWER CLASS APARTMENT BUILDING 71A Richards scrambles out. 71B INT. BEDROOM/ LIVING ROOM - LOWER CLASS APARTMENT 71B Dekker looks inside the bedroom, doesn't see Richards. He takes one step inside when... GINA, 20's, Latino, wearing only a pair of red panties with NO BRA, runs up behind Dekker and JUMPS ON HIS BACK, FISTS FLYING! Dekker pushes her down, aims his gun at her. DEKKER Stay down! Vincent enters, grabs Gina. DEKKER Control her! He does. Dekker runs to the bedroom window, peeks out over... 72 OMIT 72 73 OMIT 73 74 OMIT 74 75 OMIT 75 76 I/E FIRE ESCAPE/ LOWER CLASS APARTMENT - DAY 76 Richards... floors below. Clutches his shoulder in pain, yet fearlessly charges downward. DEKKER (into radio) Suspect fleeing on foot. North on Curson. He's armed and dangerous. I'm in pursuit. DISPATCH OFFICER (VO) (a beat; over radio) And who are you? But he's already gone. SHOOTING SCRIPT MARCH 15, 2004 40. DEKKER hops onto the fire escape, hoofs down the iron stairs. Richards... drops to the pavement. Heads for the street. DEKKER, a flight from the bottom, realizes his disadvantage and HURLS himself over the rail! Hits the ground HARD, WIPES OUT! Jumps up, shaking it off. STAYS IN PURSUIT! 77 EXT. BIKER BAR - LOWER CLASS APARTMENT - DAY 77 Dekker races around the corner... A FORD F-350 SPINS the corner. Targeting DEKKER! Dekker jerks out his Glock. FIRES! BULLETS RICOCHET OFF THE GRILL, SPARKS FLY! Windshield spiderwebs. But this train ain't slowing down. The F-350 swerves, clips a Harley. Dekker JUMPS before impact, bounces off the hood and rolls away. The truck hits the street, speeds away. Dekker, grimacing through the pain, scrapes himself off the pavement. Dekker's eyes dance... spot THE HARLEYS. DEKKER I'm a police officer in pursuit of a murder suspect. I need your bike, now! THE BIKER (beat; tosses the keys) It's all yours. Dekker picks up the bike, hops on. Fires up the engine. 78 I/E HARLEY-RICHARDS'S TRUCK/ CITY STREETS - DAY 78 Richards' Truck speeds around a SLOW MOVING VEHICLE and whips into an alley. The Slow Vehicle skids to a stop! Dekker's hog, cuts inside, between the vehicle and the sidewalk, rips into the alley. 78A I/E HARLEY-RICHARDS' TRUCK/ ALLEY #1 - DAY 78A Richards fishtails down the alley. Barely maintaining control. GARBAGE DUMPSTERS are littered about creating an obstacle course. Dekker pursues. SHOOTING SCRIPT MARCH 15, 2004 41. 78B I/E HARLEY-RICHARDS'S FORD TRUCK/ INTERSECTION - DAY 78B Richards barrels out of the alley, through the intersection and into another alley. Opposing traffic skids out. ANGRY DRIVERS let him have it. Dekker skids sideways, steers around the blockage. Catches sight of... DOWN THE BLOCK... A PATROL CAR speeds down Hastings Street. Dekker revs the engine, maneuvers around the ANGRY DRIVERS and follows Richards into the SECOND ALLEY! 78C I/E PATROL CAR/ HASTINGS STREET - DAY 78C Conners, behind the wheel, speeds towards the scene. 78D I/E HARLEY-RICHARDS'S TRUCK/ ALLEY #2 - DAY 78D Richards races, checks the rearview mirror... Dekker's Hog closing in. UP AHEAD... The alley exits onto RICHARDS STREET. Richards approaches the mouth of the alley, just as A STREET CLEANER appears, starts to block the exit. Richards STAMPS ON THE ACCELERATOR, speeds through the small opening, just past the Street Cleaner! Dekker's not so lucky. Sees the Street Cleaner too late... Lays out the hog and rolls just as... The Hog slides into the Street Cleaner! 78E I/E RICHARDS' TRUCK/ STREET INTERSECTION/ PATROL CAR - DAY 78E Dekker gets up, looks down the street, SEES... Richards getting away, speeds down the street, through another intersection, when... CRASH! Conners, in a patrol car, plows into the rear of the truck, spinning it around. Dekker races towards the crash site. Conners climbs out of the car. Richards shakes his head, clearing it. Blood squirts from his mouth. He sees, through the windshield, Conners coming for him. He scrambles for his handgun, looks up to see Conners, but he's not there. Richards turns as... SHOOTING SCRIPT MARCH 15, 2004 42. Conners appears in the Driver's side window, grabs the back of Richards' head and SLAMS it into the steering wheel! Again! Conners reaches inside, grabs the handgun. As Dekker arrives... RICHARDS I want... my... lawyer. His last words before PASSING OUT. 79 INT. LIVING ROOM - LOWER CLASS APARTMENT 79 A HALF A DOZEN CRIME SCENE INVESTIGATORS go through the place. 79A INT. HALLWAY - LOWER CLASS APARTMENT 79A Gina, a cop's jacket around her, is led away in handcuffs. Dekker smirks. 79B INT. LIVING ROOM - LOWER CLASS APARTMENT 79B A PARAMEDIC, 30's, checks Conners out. Teddy concludes her cellphone conversation. TEDDY (to Conners; re: Richards) He's unconscious, with a nice knot on his forehead, but stable. Three officers are watching the room. CONNERS He wakes, they call. (to the paramedic) Hey Quincy, give it a rest, I'm fine. PARAMEDIC (beat) Quincy was a coroner. You may have a cracked rib. You should go to the hospital. CONNERS I should do a lot of things. The Paramedic gives up, exits. Teddy leans down beside Conners. TEDDY You sure you're all right? SHOOTING SCRIPT MARCH 15, 2004 43. CONNERS I'm fine. Conners and Teddy share a look, when... Dekker enters. DEKKER Girl's name is Gina Lopez, twenty- eight. Done some time for possession, has two kids... Am I interrupting? CONNERS No. TEDDY Excuse me. Teddy exits. DEKKER Gina claims she doesn't know anything about a bank robbery. CONNERS Of course she doesn't. Vincent! Vincent trudges out of the kitchen. CONNERS Have'em put Ms. Lopez in interrogation one and turn the A/C on full. Leave her alone and cold. Let me know when her nipples can cut glass. VINCENT Will do. (To Dekker) Detective... I didn't realize when we first met who you were. I worked with your father. It was only for a brief time when I first got outta the academy, but it was an honor. CONNERS (surprised) Your father was Harry Dekker? VINCENT I wish it could've been for longer. DEKKER Thanks. Vincent exits. Conners looks at Dekker in a new light. Dekker starts away, until... SHOOTING SCRIPT MARCH 15, 2004 44. CONNERS (new subject) That was some fancy riding. You have a bike? DEKKER Used to, but I sold it. (shows his scrape on his arm) They're dangerous. MARNIE ROLLINS, 20's, a CSI OFFICER, wears gloves, pokes her head in the room. MARNIE Detectives. Ready for you. 80 THE BEDROOM-- 80 TWO LARGE SUITCASES rest OPEN on the bed. Marnie prepares a report. CONNERS Somebody going on a trip? MARNIE Looks like it, don't it? CONNERS Marnie, you're looking well. MARNIE Heard you were back, Conners... and keep dreaming. Marnie gives DEKKER an amorous glance, which he returns. MARNIE (to Dekker) You, on the other hand... I gotta bike myself. Maybe we can go for a ride sometime? Or maybe I can just ride you. Conners looks at both of them. CONNERS Can we get back to work? MARNIE We got passports, sun tan lotion, Bermuda shorts, thong bikini, hopefully hers and this... SHOOTING SCRIPT MARCH 15, 2004 45. She opens a LARGE DUFFEL BAG. Conners and Dekker look inside the bag... It's FULL OF CASH! All denominations. DEKKER Must be a fifty large there easy. His cut? MARNIE You'd think, right? DEKKER It's not? MARNIE Don't put words in my mouth, but... Two things jump out here. First, each bank branch has their own money bands. This is not American National's. After a little checking, it belongs to Pacific Savings of Seattle. DEKKER That sounds familiar. MARNIE It should. Four months ago, a half million dollars was stolen in an armed robbery there. Just a smash-n-grab job. They caught the guys a day later, recovering about $400,000. Those guys have been in lock up since and their trial's still pending. Which leads us to point number two. Do you smell that? DEKKER (smells the bills; grimaces) What is it? MARNIE When evidence is taken in, any physical contact might affect the ability to lift prints, so, to mark it, we now spray a scented solution directly on the bill. CONNERS Is that new? MARNIE Wave of the future. Gotta keep up with the times, Conners. SHOOTING SCRIPT MARCH 15, 2004 46. DEKKER So this money's not from our bank. MARNIE No. This is the money from the Pacific Savings job and our evidence room. (smiling; to Dekker) Now... For a list of things you can put in my mouth. 81 INT. HALLWAY - LOWER CLASS APARTMENT - DAY 81 Conners and Dekker confer with Teddy and Vincent. CONNERS Do you remember who headed up the Pacific Savings case? TEDDY I think it was Callo. Why? CONNERS No reason. Just thinking out loud. 82 I/E CONNERS'S CAR/ CITY STREETS - DAY 82 Conners and Dekker head back to the police station. It's quiet between these two, until... CONNERS When you said it was your "family business" I didn't think... I guess I just didn't connect the dots. DEKKER Don't worry about it. CONNERS Your father was a hero. DEKKER Yes he was. CONNERS At first I thought maybe you were related to the Captain. DEKKER No. No relation. CONNERS The Captain, he just kind of "discovered" you. Through the academy, to excellent evaluation reports, while (MORE) SHOOTING SCRIPT MARCH 15, 2004 47. CONNERS (cont'd) on the beat, to the high test scores on the detective's exam. DEKKER Something like that. CONNERS That's how he found me. This surprises Dekker. CONNERS Maybe we're not as different as you think. 83 INT. INTERROGATION ROOM - SEATTLE POLICE DEPARTMENT 83 A small, cold room with a large mirror along the WEST WALL. Gina sits at the table, shivering. Her breath visible, so are her nipples through a WHITE, SEATTLE P.D. T-SHIRT. Conners paces around her like a CIRCLING SHARK. Dekker's in the corner, observing. CONNERS We found the money. GINA That money was Dwayne's... CONNERS That money came from our evidence room. GINA I told you. I don't know nothing about a bank robbery. Whatever Damon was into, I didn't know! CONNERS So, where were you going? GINA Vacation. CONNERS This isn't possession or solicitation, Gina. This is felony-murder one. You could get life. GINA Me!? I didn't do nothing! SHOOTING SCRIPT MARCH 15, 2004 48. CONNERS (frustrated) It's "I didn't do anything." "Didn't do nothing" is a double negative, infers the positive. The grammar in this country sucks. GINA Then I didn't do ANY-thing! Conners takes a seat next to Gina. His EYES BURN through her. CONNERS This isn't going away. You want to walk out of here, you tell me something... now. GINA I swear I don't know. Now I'm done talking. I want a lawyer. Dekker lowers his head. Disappointed. CONNERS You sure that's what you want? GINA Yeah. CONNERS Fine. Then it's two phone calls I'll make. The first will be to the public defender's office. The second to children's services. GINA What? Suddenly Gina's bravado disappears. Suddenly a scared and lonely girl. CONNERS It's simple... if you insist on a lawyer, I take your kids. GINA No. CONNERS Not like you cared about them anyway. You were ready to fly the coop with "Shit-for-brains." SHOOTING SCRIPT MARCH 15, 2004 49. GINA No. You can't do that. CONNERS I can and I will. GINA Don't. CONNERS Tell me what I want to know! Dekker stares incredulously at Conners. GINA (broken) I don't know anything. Please don't take my kids. Please. Conners stares into Gina's eyes. She's telling the truth. Conners wraps his coat around Gina's shoulders. CONNERS Get her some coffee... Something hot. 84 INT. BULLPEN - SEATTLE POLICE DEPARTMENT - DAY 84 Dekker and Conners... DEKKER You believe her? CONNERS I think for the first time in that girl's life she's telling the truth. DEKKER You had to know, once she asked for a lawyer anything she told us would have been inadmissable. CONNERS Who would've known? It would've been my word against hers. Who do you think the jury would've believed? DEKKER Justice by any means. Even if you cross the line. CONNERS The only line around here is the `blue line', you cross that one, then you got (MORE) SHOOTING SCRIPT MARCH 15, 2004 50. CONNERS (cont'd) problems. Ask Callo, he knows what I'm talking about. Teddy enters, hands Conners a sheet of paper with: "EVIDENCE: ITEM #4958378" scribbled on it. TEDDY Those serial numbers Marnie faxed me... According to our computers, that money should be downstairs. 85 INT. EVIDENCE ROOM - SEATTLE POLICE DEPARTMENT 85 Occupies almost the entire basement of the police station. A STEEL CAGE protects the contents. AT THE FRONT COUNTER-- Conners and Dekker wait. No one's working at present. Dekker peers inside, anxiously looking for someone. Dekker RINGS the service bell. Finally... HARRY HUME, 50's, the cop on watch, limps to the desk. Crotchety, with an overgrown belly, Frank's seen better days. There's no love loss between Harry and Conners. CONNERS (cold) Buzz us in. HARRY (colder) You gotta sign first. Conners and Dekker scribble their signatures down. HARRY I heard you were back. Kinda liked not having you around, Conners. Harry takes the clipboard, examines it until satisfied. Then reluctantly BUZZES them in. CONNERS Have another donut, Frankie. Dekker and Conners proceed inside. They walk ALONG THE VAST ROWS OF EVIDENCE, scan the shelves, checking the number. CONNERS That fat fuck is the sole guardian of the city's biggest source of contraband. Drugs. Weapons. Cash. (MORE) SHOOTING SCRIPT MARCH 15, 2004 51. CONNERS (cont'd) All totalled, about $50 million or so just sitting here for the taking. Finally, finding the right row, they turn in. DEKKER You'd have to have some major firepower, not to mention an extra large set of balls to try and knock off a police station. CONNERS Not if you were a cop. You could just walk right in and... AN EMPTY SPACE, marked in tape, "ITEM #4958378." CONNERS ... Take whatever you want. Shit. 85A AT THE FRONT DESK-- 85A Dekker and Conners surround Harry as he digs through his file box. After a few moments, grabs a clipboard. HARRY Here is it. Line seventeen. DEKKER Bernie Callo. HARRY Like I said... No one takes anything out of here, unless they sign for it. CONNERS So what... He showed you a warrant? What? HARRY He must've. CONNERS You don't remember? HARRY You know how many times someone signs shit in and out? I see the same guys all the time. I can't remember one instance two weeks ago. But if his signature's there, that means he signed for it. Take it up with him! SHOOTING SCRIPT MARCH 15, 2004 52. 86 INT. CAPTAIN JENKINS'S OFFICE - SEATTLE POLICE DEPARTMENT 86 Jenkins listens as Conners and crew brief the situation. CONNERS The money from Richards's place traced back to the Pacific Savings heist a few months ago, a case Callo headed up. TEDDY Callo signed the money out of evidence two weeks ago. JENKINS How much? TEDDY $433,000. VINCENT If it's Callo, it would explain how they knew police protocol and how our department operates. TEDDY Also explains why he was so pissed this morning about being replaced by Conners. He wanted to be the point so everything went according to plan. CONNERS He doesn't need another reason to be pissed at me. JENKINS What about motive? Do we have one? VINCENT Pressure might've been getting to him. He's been getting the cold shoulder from cops since he testified about Pearl Street Bridge. JENKINS No. Don't buy that. TEDDY (beat) He was also getting divorced. This is news to everyone. SHOOTING SCRIPT MARCH 15, 2004 53. TEDDY About a month ago, he told me he and his wife might be splitting. Asked if I knew a lawyer who wouldn't clean him out. I didn't think it was this bad. JENKINS (conflicted) Bernie Callo is a first rate cop. A boy scout. This doesn't make any sense. CONNERS They never do, Captain. JENKINS Don't act like you're not enjoying this, Conners. I know what you think of him. CONNERS Doesn't matter what I think. Facts here speak for themselves. DEKKER No they don't. We haven't asked the question... Why, if Callo's involved, don't they ask for him at the bank? (points to Conners) They asked for you. All eyes find Conners. Then, Jenkins' PHONE RINGS... JENKINS (answering the phone) Jenkins. TIME CUT TO: 87 EXT. BERNIE CALLO'S HOME - 4:18 PM - DAY 87 The small home in a RURAL AREA is now COMPLETELY SURROUNDED by COP CARS. 88 INT. BERNIE CALLO'S HOME 88 A typical family-themed home. FAMILY PICTURES adorn the walls. Everything in its right place. Except for... MRS. CALLO, 40's, sits in the kitchen SOBBING. Police encircle her. In the center of the Living Room... BERNIE CALLO LIES DEAD, a bullet wound right between the eyes. SHOOTING SCRIPT MARCH 15, 2004 54. SEVERAL UNIFORMED OFFICERS and CSI OFFICERS muddle through every nook and cranny of the tiny home. Conners, Teddy and Dekker are led around by a UNIFORMED OFFICER... OFFICER AT CALLO HOUSE Wife came home approximately forty-five minutes ago. Found him here. None of the neighbors heard anything. There's no forced entry and no one saw anyone fleeing the scene. Vincent enters from the basement carrying a LARGE BOX. VINCENT Blueprints from the bank, schematics, pictures... Also, about a dozen internet articles on the Saudi Prince. Found it behind the furnace. Conners nods. DEKKER Well, that's it, right? Suddenly... THE HOUSE TELEPHONE RINGS! Everyone peers around. After the second ring, the ANSWERING MACHINE PICKS UP... CALLO (VO) You've reached the Callo residence. No one can get to the phone right now. Please leave a message. Then... After the TONE... LORENZ (VO) (from the machine) Detective Conners... Are you there? Conners and everyone turns, listens. INTERCUT WITH: 89 INT. DARK BEDROOM - NIGHT 89 Lorenz stares ahead, transfixed by something. LORENZ Are you connecting the dots? Are you putting it together? Is the pattern emerging? They wouldn't punish you, but I will. Conners GRABS the phone... SHOOTING SCRIPT MARCH 15, 2004 55. LORENZ Vengeance will be mine, Detective. CONNERS Then come and get me you piece of shit. Lorenz smiles, hangs up. He resumes staring at the wall in front of him. REVEAL: HUNDREDS OF PHOTOGRAPHS, NEWSPAPER CLIPPINGS - ALL OF CONNERS - DECORATE THE WALL! 90 EXT. BERNIE CALLO'S HOME - DAY 90 Dekker leans back against the car, Conners approaches... CONNERS What they told Callo was the plan and what the plan really was may be two different things. Clearly this wasn't part of a plan Callo would've agreed with. DEKKER You'd think a cop would be smarter. CONNERS As cops we come across every temptation in the book. Money, drugs, power. We'd all like to think we can resist any urge, but... We're not saints. DEKKER So, Callo was involved and now they're dragging you into it. Why? CONNERS Man said he wanted vengeance. DEKKER Piss anyone off lately? CONNERS Me? Both can't help but smile. Jenkins walks up. JENKINS I just got off the phone with Agent Doyle. After the Charlotte break in, the Prince withdrew all his possessions from every safe deposit box in this country. SHOOTING SCRIPT MARCH 15, 2004 56. DEKKER Let me get this straight, they didn't touch the cash or the safe deposit boxes. So, they... break into a bank, blow it up, and steal nothing? (to Conners) Still make sense to you? CONNERS Nothing about today makes sense. Dekker watches as BERNIE CALLO's body is loaded into the Coroner's vehicle. Teddy assists MRS. CALLO into a police car. Vincent carries the box of evidence from the home. Dekker's mind works overtime, then... DEKKER "Return to the earth now if your mind is troubled and your heart is uncertain. For it is by returning to the beginning that we can clearly see the path." Conners and Jenkins share a confused look. CONNERS (to Jenkins) Don't look at me, he's your find. JENKINS Say that again, Detective? DEKKER We go back to where this all started. We go to the bank. 91 EXT. SEATTLE - 6:08 PM - NIGHT 91 The sun SINKS below the horizon. 91 A EXT. AMERICAN NATIONAL BANK - NIGHT 91 A As night settles, POLICE and EMT workers are still on site. 92 INT. SECURITY ROOM - AMERICAN NATIONAL BANK 92 Dekker and Conners watch as Dax operates. DAX The tapes confirm five bad guys, but since the vault cam blew in the explosion what they did in there was a mystery. SHOOTING SCRIPT MARCH 15, 2004 57. ON A COMPUTER MONITOR - The EIGHT SECURITY CAMERA ANGLES appear. ON THE MULTIPLE SCREENS... Just as in the opening, Lorenz leads this crew through the bank. Immediately the group splits up. IN THE VAULT... One of the Black Clads arrives and radios in. DAX I've been through these tapes twenty times already and nothing... CONNERS Shutup. MONITOR #5... IN THE VAULT, Black Clad #2 fires the explosives! The image goes to STATIC. DEKKER Wait, hold on a second. Did you see it? DAX See what? DEKKER Go back a little. CONNERS What? DEKKER Notice the camera angles, they're all fixed. They don't rotate or pan. Dax rewinds, to before the explosion... DEKKER There. Stop. Play it. Look closely, camera five, the vault cam, dominates our attention because of the explosion. But while that's happening, check out Camera two, customer service. ON SCREEN... Several BANK EMPLOYEES cower to the Black Clad. Suddenly, another Black Clad DISAPPEARS UNDERNEATH THE SECURITY CAMERA. DAX Where'd he go? ON SCREEN... As the EXPLOSION GOES OFF, CAMERA #2 PANS AWAY FROM THE CUSTOMER SERVICE SECTION, TOWARDS THE LOBBY. SHOOTING SCRIPT MARCH 15, 2004 58. CONNERS He moved it. Changed the angle. He didn't want us to see something. DEKKER What's in that corner they didn't want us to see? Dax rewinds the tapes again, before the camera was moved and FREEZES FRAME ON: a lone COMPUTER TERMINAL in the corner. 93 INT. AMERICAN NATIONAL BANK 93 AT THE COMPUTER TERMINAL... A FORENSICS TECHNICIAN, 30's, carefully dusts the computer keyboard for fingerprints. Dekker and Conners look on. DEKKER Are you at all concerned that there's some whacko out there looking to get you? CONNERS If I worried about every threat made against me, I'd never leave the house. The Technician turns on a BLACK LIGHT and... FINGERPRINTS APPEAR ALL OVER THE KEYBOARD! Conners looks to Dekker, impressed. CONNERS (to the technician) Those are priority one. If he's got a record, I want an I.D. yesterday. FORENSICS TECHNICIAN I'm on my way. CONNERS Dax, can you hack in there and find out what they were doing on this machine? DAX Hack into a nationwide bank's central computer system? Love to. DEKKER What do we do in the meantime? CONNERS You like Italian? SHOOTING SCRIPT MARCH 15, 2004 59. 94 INT. ITALIAN RESTAURANT - NIGHT 94 The ITALIAN RESTAURANT HOST, 50's, jolly with a thick accent, greets Conners and Dekker. ITALIAN HOST Detective, where you been? Much too long. Sit, sit. I give you best table in house. It'll just be the two? CONNERS No, four. More are coming. ITALIAN HOST Wonderful, wonderful. Who's this young man? CONNERS For all intents and purposes... he's Big Brother. ITALIAN HOST (confused) He's your brother? CONNERS No. ITALIAN HOST No matter, no matter... I bring you bottle of house wine! DEKKER We're still on duty. No wine. ITALIAN HOST (insulted) No wine? CONNERS A little wine. ITALIAN HOST That's better. They get to the table, Conners looks at it. CONNERS Last time I was here, you said that table in the corner was the "best in the house." SHOOTING SCRIPT MARCH 15, 2004 60. ITALIAN HOST It was. Anywhere you sit becomes best table in house. Now relax, I bring you food. 95 LATER, STILL AT THE RESTAURANT-- 95 A PIANO PLAYER recreates the sweet sounds of Italy. PATRONS sing along. Eating, drinking and being merry. AT THE DETECTIVE'S TABLE-- Vincent and Teddy have joined Conners and Dekker. A MOUNTAIN OF FOOD still remains. A COUPLE BOTTLES OF WINE have been consumed, empty plates and basket rolls spread about. The mood is happy, light. Not thinking about their day. Conners tells an anecdote, something that Teddy and Vincent have heard before, but don't care. Dekker watches the Detectives, admires in their closeness. CONNERS Shane, what was that thing you said back at the house about "returning to the beginning path" or something? DEKKER It's a Buddhist story. CONNERS We're all ears. DEKKER One day the Buddha found his heart in turmoil. So he retreats to the forest, to the earth, to the base of a great tree and, I'm paraphrasing, but... this elephant comes up and tells Buddha he doesn't like seeing him discouraged. TEDDY He can talk to an elephant? DEKKER He's the Buddha. He's attained the 6th level of consciousness. He's capable of communicating with plants, trees... even rocks. VINCENT Rocks? DEKKER You asked. SHOOTING SCRIPT MARCH 15, 2004 61. CONNERS Continue. DEKKER The Buddha was troubled so he went back to where he came from, the beginning, to find the path, the answer. So when you hit a dead end, go back to the beginning to find your way. Or something like that. CONNERS We have a genuine philosopher in our midst. VINCENT You're a Buddhist? DEKKER No. Just something I picked up along the way. TEDDY But you're religious? DEKKER Not particularly. Conners stares curiously at his new partner. Then excuses himself to go to the men's room. DEKKER You're all pretty tight. TEDDY We've been through a lot together. DEKKER I guess I just thought... I don't know. With all the trouble he's been in lately, coming back from suspension, everyone would treat him differently. VINCENT You can't believe what you read or see on TV. If anything, our tie to Conners is stronger. He's one of the best. Even when things got pretty wild today and everyone else panicked, he was in control. That doesn't just happen. He's just that good. TEDDY Excuse me. SHOOTING SCRIPT MARCH 15, 2004 62. Teddy heads for the ladies room. VINCENT What was the Buddha looking for? DEKKER The divine in himself. Art's confused. Dekker's cellphone rings. DEKKER How long does it usually take to for fingerprints to be ID'd? VINCENT Hours, maybe days. We could be waiting a while. DEKKER (answering) Dekker./ Okay. (Snapping the phone shut...) They got a match. 96 INT. BY THE RESTROOMS - ITALIAN RESTAURANT - NIGHT 96 LONG CURTAINS divide the rooms. Conners exits the men's room, Teddy appears and before a word can be spoken... SHE KISSES HIM HARD, PASSIONATELY ON THE LIPS. Conners gives in for just a moment. He breaks the embrace. CONNERS What are you doing? TEDDY I realized something today. Being around you, all that's happened... I can't... I think I made a mistake. CONNERS It's too late. You've made your choice. Live with it. This jab hurts Teddy and Conners knows it. Dekker parts the curtains... DEKKER We got a match. Teddy separates from Conners. SHOOTING SCRIPT MARCH 15, 2004 63. CONNERS You got a name? DEKKER Chris Lei. CONNERS (a knowing disgust) Sonofabitch. 97 INT. CONNERS'S CAR - NIGHT 97 Conners drives, Dekker reads Chris Lei's file. On top of the file is a MUGSHOT PHOTO of, "Lei, CHRIS". He's an early-30's Chinese-American with a "weasel factor" off the charts. CONNERS Prick used to work for some big-time software company until they caught him dipping into the company's slush fund. They didn't want the publicity so they didn't press charges. Couple years later, he was busted for looting the pension plans of retired cops. For a genius... he's a fucking moron. DEKKER This was your case. You and York. You made the bust. Why didn't it stick? CONNERS His lawyer put us on trial. Said we were crooked, abusive, that we planted evidence... We were in the midst of the Pearl Street Bridge fallout. Jury bought it. They let him walk and we were the scapegoats. DEKKER Was it true? CONNERS The guy was guilty. He was scum. That was the truth. (beat) There's something they don't teach you. The system breaks down. You have to compensate to get results. DEKKER That gives you the right to break the rules? SHOOTING SCRIPT MARCH 15, 2004 64. CONNERS Break, no. Bend... if it means justice... Absolutely. DEKKER Another thing they don't teach you. 98 EXT. CHRIS'S HOUSE - NIGHT 98 Off the main road, sits a DARK, TWO-STORY HOME on a HILLSIDE. 99 INT. CHRIS'S HOUSE - NIGHT 99 The design is MODERN, FLAWLESS and COLD. Every room is equipped with VIDEO CAMERAS and MONITORS. ON THE MONITOR... The screen is divided into 16 small boxes showing the actions simultaneously throughout the house. Our concentration settles on BOX #7... 100 INT. BEDROOM - CHRIS'S HOUSE - NIGHT 100 CHRIS LEI, live and in the flesh, quickly stuffs belongings into a suitcase. He's nervous, tense. From the top drawer of his dresser, he grabs an armful of underwear, socks, dumps them into the suitcase. What Chris doesn't see... IN THE REFLECTION OF THE MIRROR ON THE DRESSER... LORENZ! 101 EXT. CHRIS'S HOUSE - NIGHT 101 Conners pulls the car to the curb. He and Dekker hop out. 102 INT. COMPUTER ROOM - CHRIS'S HOUSE - NIGHT 102 From his second floor window, Chris sees Conners and Dekker. CHRIS Shit. Chris turns, FINDS HIMSELF STARING DOWN A BARREL! LORENZ Fare thee well, Chris. Chris swallows, Lorenz pulls the trigger and... 103 EXT. CHRIS'S HOUSE - NIGHT 103 BAM! THE GUNSHOT ECHOES OUTSIDE. Conners and Dekker draw their weapons, quickly descend on the house! SHOOTING SCRIPT MARCH 15, 2004 65. 104 INT. FRONT HALL - CHRIS'S HOUSE - NIGHT 104 THE FRONT DOOR KICKS IN! Dekker and Conners cautiously enter. They move the way veteran partners would. No indications that these two just met today. The House is almost PITCH BLACK. Conners motions that he's going up, signals for Dekker to take the back of the house. 105 INT. KITCHEN - CHRIS'S HOUSE - NIGHT 105 Dekker proceeds inside. After a scan, the kitchen's clean. 106 INT. UPSTAIRS HALLWAY - CHRIS'S HOUSE - NIGHT 106 Conners emerges from the stairway. 107 INT. LIVING ROOM - CHRIS'S HOUSE - NIGHT 107 Dekker steps from the back hallway into the DARKENED living room. Eyes straight ahead and sharp. What he doesn't see... LORENZ STEPS FROM THE DARKNESS. 108 INT. COMPUTER ROOM - CHRIS'S HOUSE - NIGHT 108 Conners moves from the hall, into the bedroom where he finds... Chris's dead Body. He checks for a pulse when he notices... ON THE MONITOR... Conners sees A SHADOWY FIGURE BEHIND Dekker! 109 INT. LIVING ROOM - CHRIS'S HOUSE - NIGHT 109 Dekker, oblivious to Lorenz's presence, continues on. Heads for the front hallway. Lorenz raises his gun, narrows his sites on Dekker. Simultaneously... CONNERS DIVES, TACKLES DEKKER BEHIND the living room wall -- LORENZ OPENS FIRE, UNLOADS A FULL CLIP! A BULLET GRAZES DEKKER'S SHOULDER! THE REST LITTER THE WALLS, BLOW APART A MIRROR! Conners and Dekker, behind the wall, regroup. Conners RETALIATES. FIRES FOUR ROUNDS AT LORENZ, but... 110 OMIT 110 111 OMIT 111 SHOOTING SCRIPT MARCH 15, 2004 66. 112 EXT. BACKYARD - CHRIS'S HOUSE 112 Lorenz bursts through the back door, down the stairs! 113 INT. LIVING ROOM - CHRIS'S HOUSE 113 Conners and Dekker... CONNERS You okay? DEKKER Yeah. 114 EXT. BACKYARD - CHRIS'S HOUSE - NIGHT 114 Dekker and Conners emerge from the house... LORENZ, on the other end of the yard, OPENS FIRE! The Detectives DIVE FOR COVER! Lorenz exits through the fence's door... 114A INT. ALLEY BEHIND CHRIS LEI'S HOUSE - NIGHT 114A ... and climbs into a BLACK MERCEDES-BENZ, quickly peels away! 114B EXT. BACKYARD - CHRIS'S HOUSE 114B Dekker and Conners bounce up, run out the back fence, but... 114C EXT. ALLEY BEHIND CHRIS LEI'S HOUSE - NIGHT 114C As they get there... LORENZ'S MERCEDES, turns out of the alley and disappears into the night. Dekker stares out, deflated. DISSOLVE TO: 115 OMIT 115 116 OMIT 116 116A OMIT 116A 116B OMIT 116B 117 OMIT 117 118 EXT. CHRIS LEI'S HOUSE - NIGHT 118 POLICE AND EMERGENCY CREWS surround the house. SHOOTING SCRIPT MARCH 15, 2004 67. An EMERGENCY MEDICAL TECHNICIAN, 30's, attends to Dekker's injured shoulder. Dekker grimaces from the pain. Conners approaches... CONNERS First day in the city and you've already been shot. EMERGENCY MEDICAL TECH It just grazed him. DEKKER Why don't I "just graze" you with a bullet and see how you feel. POLICE OFFICER #3 Your Damon Richards is awake. 119 EXT. HOSPITAL - NIGHT 119 To establish. 120 INT. TRAUMA ROOM - HOSPITAL 120 HANDCUFFS lock Richards to his bed. Richards is hooked up to an IV and a tube's up his nose. A HEART RATE MONITOR chimes rhythmically. Two UNIFORMED OFFICERS look on as Conners and Dekker enter. CONNERS (to the officers) Take five, guys. The officers exit. Conners LOCKS the door, walks to the bed, leans over Richards. CONNERS Hiya, Damon. How you feeling? DEKKER (taps Conners) May I? Conners concedes the floor. Dekker addresses Richards. DEKKER You remember me, don't you? (Damon gives an EVIL GLARE) Thought so. Dekker turns his attention to Richards' IV, the tubes which carry medication into his body. SHOOTING SCRIPT MARCH 15, 2004 68. From a nearby medicine cabinet, Dekker rummages around. DEKKER I was skiing about three years ago. Aspen. Beautiful country. Ever been? Never mind. I hit a mogul, landed on a sheet of ice and slammed into a tree. Broke myself up pretty bad. Kinda like you did today. I was in a hospital bed for three months. Had it not been for... Here it is. (he finds) Morphine. Without this stuff, I wouldn't have made it. Dekker fills a syringe with the entire bottle. DEKKER Now this IV drip administers a small dosage every minute. Makes you feel relaxed and calm. No pain. But... Dekker sticks the syringe needle tip into the IV bag. DEKKER If I were to inject this whole thing... That would be all she wrote for Damon. RICHARDS You don't have the balls. Dekker PRESSES down on the syringe, just a little, but enough to go into the bag. Richards can't believe it. DEKKER This equipment malfunctions all the time. Overdoses are quite common. Besides, I don't think the DA's going to launch a full-scale investigation over a scum like you. Richards attempts to signal for a nurse, but Dekker pulls the call button away. DEKKER You don't have to tell us a damn thing. Plead the fifth... roll the dice. Dekker SQUEEZES in some more, until... Richards gives in, signals that he'll talk. 120A EXT. HOSPITAL - NIGHT 120A Conners and Dekker exit, head to their car... SHOOTING SCRIPT MARCH 15, 2004 69. CONNERS You fuckin' hypocrite. You give me shit for my interrogating skills... least I don't threaten them with a lethal overdose. Dekker holds the empty vile up, hands it to Conners. DEKKER There's never been a single case in recorded medical history of someone overdosing on 200 milliliters of saline. Conners checks the label, smiles. DEKKER Bend, not break. That's what you said, right? A121 EXT. SEATTLE SUBURB - NIGHT A121 Lorenz, AKA SCOTT CURTIS, enters his car. JENKINS (VO) Lorenz's true identity is Scott Curtis. He's wanted in connection to three other bank robberies, extorsion and kidnapping. 121 INT. BULLPEN - SEATTLE POLICE DEPARTMENT - NIGHT 121 Jenkins stands before Conners, Dekker, Teddy, Vincent and two new Detectives - DET. TOMMY BRANCH, 40's and DET. JEROME KNIGHT, 50's. JENKINS He's also the brother of John Curtis, the perp Conners shot at Pearl Street Bridge. (Moving on) Richards testifies that he was hired by Curtis to pull the bank job with a dirty cop on the inside, Bernie Callo. Curtis hoped that Conners would take the fall for American National turning ugly, disgracing him even further. We also have the names of two more accomplices, Lamar Galt and Xander Harrington. Everyone was set to meet tonight at ten and we have that address. (beat) After finding Callo and Lei dead today, (MORE) SHOOTING SCRIPT MARCH 15, 2004 70. JENKINS (cont'd) it doesn't take a rocket scientist to know Curtis is eliminating his accomplices. Doesn't matter what Curtis told Galt and Harrington, he's going to finish them off tonight. 122 I/E CONNERS'S CAR/ CITY STREETS - NIGHT - TRAVELLING 122 Conners drives, Dekker shotgun. Conners more intense than normal. CONNERS You never think of the repercussions. The suspect's mother, father... Brother. How your decision affects them. (beat) He had murder in his eyes. DEKKER John Curtis. CONNERS It was pouring. Lights everywhere. If he had only done what I said. CUT TO: 123 EXT. PEARL STREET BRIDGE - NIGHT - FLASHBACK 123 Conners, RAIN POUNDING DOWN, aims his gun, MOUTHS THE WORDS... CONNERS (VO) Drop the weapon. JOHN CURTIS, the kidnapper on the bridge, aims his gun, FIRES! CONNERS FIRES! BAM! SMASH CUT BACK TO: 124 I/E CONNERS'S CAR/ CITY STREETS - NIGHT - TRAVELLING 124 CONNERS But it was not to be. DEKKER My father died when I was twelve. He walked into a liquor store in the middle of a stick up. Guy just opened fire. Never even had time to react. They said he was a hero. Know what (MORE) SHOOTING SCRIPT MARCH 15, 2004 71. DEKKER (cont'd) that means to a twelve year old? (beat) Because he died on the job, he's a hero? Never made sense to me. CONNERS So why become a cop? DEKKER Finish what he started. Every day he went out, trying to do some good. Help the people who couldn't help themselves, just give'em a chance is what he always said. Didn't always work out right, but he tried. You tried to help save that girl on the bridge. If you weren't there, the girl still would've died. She had a chance because you were there. That's all we can do. 125 EXT. HOUSE - 10:25 PM 125 A two story house sits on a quiet corner in a quaint neighborhood. CRICKETS CHIRP, break the silence of the night. Two CARS sit in a gravel driveway. 125A ON THE FRONT PORCH-- 125A Through the open windows... Two men, LAMAR GALT, 40's, and XANDER HARRINGTON, 30's, sit in silence. Their patience thinning. A125A IN CONNERS'S CAR-- A125A IN THE SHADOWS... In various HIDING SPOTS... Conners and Dekker look out at the house. 125B IN DET. BRANCH'S CAR-- 125B DET. BRANCH, looks at his watch, then to DET. KNIGHT. BRANCH (frustrated; into radio) It's twenty-five after. How much longer we wait? 125C IN CONNERS'S CAR-- 125C CONNERS (into radio) We go now all we get is Galt and Harrington. We want Curtis. Now relax and keep the line free. (MORE) SHOOTING SCRIPT MARCH 15, 2004 72. CONNERS (cont'd) (to Dekker) This prick's driving me crazy. Conners digs into his pocket, realizes... CONNERS Shit. DEKKER What? CONNERS I'm out of gum. TEDDY (VO) (over radio) Head's up. Car's coming. 125D EXT. HOUSE - NIGHT 125D A BROWN CHEVY drives past the house, but KEEPS GOING. 125E IN CONNERS'S CAR-- 125E DEKKER Shit. 125F ON THE FRONT PORCH-- 125F Galt and Harrington react the same to the car driving by. Harrington CHECKS HIS WATCH, barks at Galt. Heads for his car. 125G IN TEDDY'S CAR-- 125G Teddy and Vincent watch... TEDDY (into her radio) Conners, we got a problem. 125H IN CONNERS'S CAR-- 125H CONNERS (into radio) We hold. No one move. 125I IN DET. BRANCH'S CAR-- 125I BRANCH (into radio) We can't let him walk. We have to go now. SHOOTING SCRIPT MARCH 15, 2004 73. 125J CONNERS'S CAR-- 125J CONNERS (into radio) No. Stand down. 125K OMIT 125K 125L TEDDY'S CAR-- 125L VINCENT (into radio) We're going to lose'em, Conners. 125M IN CONNERS'S CAR-- 125M CONNERS (into radio) No. No go. We wait. 125N AT THE HOUSE-- 125N Harrington curses at Galt who stands on the front porch. Harrington waits while Galt he makes a cellphone call. 125P IN TEDDY'S CAR-- 125P VINCENT (into radio) We bust them now, we got something. But if they get in that car we don't have jack squat. 125Q IN CONNERS'S CAR-- 125Q CONNERS We have three cars here and uniformed backup in all directions, if they ride, we'll get them. I want Curtis. We don't go in that house until I say! 126 AT THE HOUSE-- 126 Galt hangs up. Harrington unlocks his car door. 127 I/E HOUSE AND ALL CARS - NIGHT 127 TEDDY'S PAGER CHIMES! Harrington's the first to hear it. In the dead silence, everyone soon does. Just as Teddy's able to silence it... Harrington SPOTS her car, doesn't think twice, just starts FIRING! SHOOTING SCRIPT MARCH 15, 2004 74. His bullets keep Vincent and Teddy pinned down. Knight hurries out of the car... HARRINGTON sees this, FIRES! The bullet STRIKES KNIGHT IN THE NECK! GALT FIRES! Simultaneously... BRANCH FIRES! HARRINGTON FIRES! THE BULLET RIPS INTO HARRINGTON'S ARM! He's hit, but not down. He and Galt duck back inside the house! Branch takes a bullet in the leg. He goes down. 128 IN CONNERS'S CAR-- 128 CONNERS Trigger happy, Sons of bitches! 129 AROUND THE HOUSE-- 129 Conners, Dekker, Vincent, Teddy converge on the house. CONNERS We take them alive! DEKKER (into radio) All units, all units. Shots fired! Requesting backup immediately! They all rush inside... 130 INT. HOUSE 130 Conners and Dekker make their way up the stairs... 131 DOWNSTAIRS HALLWAY-- 131 Teddy and Vincent head down the hall... 132 UPSTAIRS HALLWAY-- 132 Conners and Dekker move carefully. Conners points for Dekker to go in the other direction. Dekker obeys, slides down the other side of the hall. 133 IN THE KITCHEN-- 133 Teddy's on her toes. She smells something, but keeps moving. SHOOTING SCRIPT MARCH 15, 2004 75. ON THE FLOOR... A trail of BLOOD leads to the DINING ROOM. Teddy signals to Vincent. "That way." 134 FIRST BEDROOM-- 134 Conners enters, checks it out. 135 SECOND BEDROOM-- 135 Dekker stands outside the closet. He opens it quickly, but it's empty. Except for... On the far wall -- HUNDREDS OF PICTURES of Conners. The same shrine we saw Lorenz in front of earlier. 135A DINING ROOM-- 135A Vincent swings in from one entrance, Teddy the other. She takes a cautious step out, when... BAM! A BULLET ZINGS PAST TEDDY - HITS THE WALL BESIDE HER HEAD! HARRINGTON, from the corner, takes aim again! VINCENT drops to the floor, aims through the dining room table legs and FIRES! THE BULLET TEARS INTO HARRINGTON'S SHIN! He SCREAMS IN PAIN, DROPS TO THE FLOOR! 135B FIRST BEDROOM-- 135B Conners HEARS THE SHOTS, runs out of the room. 136 SECOND BEDROOM-- 136 So does Dekker. 136A DINING ROOM-- 136A Teddy moves in on Harrington. TEDDY Drop the gun! Harrington holds his gun UP AND OUT towards Teddy. Is he aiming or surrendering? TEDDY Drop it now. Last warning. But he doesn't. SHOOTING SCRIPT MARCH 15, 2004 76. BAM! TEDDY PUTS A HOLE IN HARRINGTON'S CHEST! He slumps down, dead. 137 UPSTAIRS HALLWAY-- 137 Conners and Dekker meet by the top of the stairs. CONNERS Teddy!? What's happening? Vincent appears at the bottom of the stairs. VINCENT We got one down. He's dead. 138 UPSTAIRS HALLWAY/ STAIRCASE-- 138 Dekker and Conners share a look, disappointed. But then something catches Conners's eye. BEHIND DEKKER... a door OPENS... LAMAR GALT AIMS HIS WEAPON! CONNERS GUN! GALT FIRES! Conners PUSHES DEKKER OUT OF THE WAY, just in the nick of time! DEKKER TUMBLES DOWN THE STAIRS! Vincent breaks his fall. GALT FIRES AT CONNERS, until he's out of bullets. He ducks back behind a door. Conners FIRES! But did he hit anyone? Conners pursues... 138A AT THE BOTTOM OF THE STAIRS-- 138A Dekker grabs his head, in pain, but okay. 138B DINING ROOM-- 138B Teddy leans against the wall, spots A VENT... A FLASH GOES BY! 139 UPSTAIRS BATHROOM-- 139 Conners creeps inside the partially open doorway. It's quiet, until... LAMAR GALT lunges, tackles Conners! His gun flies from his hands. SHOOTING SCRIPT MARCH 15, 2004 77. 140 DINING ROOM-- 140 Teddy's EYES fall to... ON THE FLOOR... next to the base of the door is a FUSE. It runs from the wall into the vent. She follows it into THE KITCHEN. TEDDY Gas. (loud) Get out of here! Get out of here NOW! 141 FRONT HALLWAY-- 141 Vincent and Dekker get up. Dekker looks upstairs... DEKKER Conners! 142 UPSTAIRS BATHROOM-- 142 Conners and Galt struggle. Conners PUNCHES Galt, sends him back! He then SLAMS Galt against the wall, Galt KNEES Conners in the gut. Galt goes for the gun, Conners KICKS out his legs from underneath him! But before Conners can get the upper hand, Galt fights back! The two continue... 143 INT. KITCHEN 143 The fuse comes out of the vent... IT'S LIT! THE OVEN... HEAR the gas emission... 144 EXT. HOUSE - NIGHT 144 Teddy rushes from the house... TEDDY Everyone get down! 145 INT. KITCHEN 145 The spark. The Gas. The EXPLOSION! 146 INT. FRONT HALLWAY 146 THE BLAST BLOWS DEKKER AND VINCENT THROUGH THE FRONT DOOR AND OUT OF THE HOUSE! SHOOTING SCRIPT MARCH 15, 2004 78. 147 INT. UPSTAIRS BATHROOM 147 The EXPLOSION KNOCKS Conners and GALT OFF THEIR FEET! Conners HITS THE FLOOR HARD! Galt's head slams against the toilet. 148 EXT. HOUSE - NIGHT 148 Teddy watches as... A COUPLE OF UNIFORMED COPS race to Vincent and Dekker, drag them away. 148A UPSTAIRS BATHROOM-- 148A Conners leans over Galt, a giant GASH across his forehead, feels for a pulse. He's dead. Conners looks into the hallway, SEES THE FIRE! 148B EXT. HOUSE - NIGHT 148B Dekker looks around... DEKKER Where's Conners? Dekker and Teddy look to the house, when... KA-BOOM! A SECOND EXPLOSION! THE ENTIRE HOUSE BLOWS! DEKKER, VINCENT AND THE TWO OFFICERS DUCK FOR COVER! TEDDY STARES AT THE HOUSE, HORRIFIED! DEKKER gets up, watches the FLAMES CONSUME THE HOUSE! TEDDY runs towards the house, when... DEKKER stops her. TEDDY No! No, we have to go save him! DEKKER We can't. TEDDY We have to. DEKKER Teddy... TEDDY No! They both stare at the house. Dekker holds her, she's a mess. SHOOTING SCRIPT MARCH 15, 2004 79. 149 EXT. A FEW MILES AWAY - NIGHT 149 Lorenz AKA SCOTT CURTIS watches through a pair of binoculars. No emotion evident. DISSOLVE TO: 150 EXT. HOUSE - 11:10 PM - NIGHT 150 FIRE TRUCKS, POLICE CARS and EMERGENCY VEHICLES surround the house. The LIGHTS FLASH AN EERIE RED across the scene. FIREMEN try to extinguish the flames. Several NEWS TRUCKS have arrived, always after the story. A CORONER, 40's, zips shut a body bag. Inside the BADLY BURNT BODY of Detective Conners. The BADGE ON HIS BELT still visible. They load him into the truck. TEDDY, her face drained of life, stares at the truck. A Fireman walks behind them, back towards the fire truck. JENKINS huddles with a group of Detectives. JENKINS ... If it had to be someone... Teddy and Dekker overhear this. TEDDY (To Jenkins) You sonofabitch. JENKINS Teddy... TEDDY You've always been jealous of him. JENKINS Jealous? TEDDY It's because he wasn't only a better cop... He was a better man. JENKINS Detective. Go home. Teddy really wants to explode, but doesn't. She walks away. Jenkins digests what she said, then his eyes find Dekker... JENKINS You have something you want to say? SHOOTING SCRIPT MARCH 15, 2004 80. DEKKER No, Captain. She said it perfectly. CUT TO: KAREN CROSS finds Teddy, has her Cameraman FOCUS in on her. KAREN CROSS Detective Galloway, could you give us a comment? Teddy looks STRAIGHT INTO THE CAMERA, but can't say a thing. That's when DEKKER grabs the camera, PUSHES it out of her face. KAREN CROSS We just wanted a statement. DEKKER Shame on you. KAREN CROSS This is more than just news for us. American National's CFO sits on the Board of Channel Two. They have a vested interest in what's going on. DEKKER Find another source. Karen and her Cameraman leave Teddy and Dekker alone. TEDDY Conners was right. We should've never gone in. How many more mistakes can we make in one day? He was eliminating his accomplices. We thought he was going to show up? We didn't even think he could do this... How dumb are we? 151 INT. BULLPEN - SEATTLE POLICE DEPARTMENT 151 Quiet, mostly dark. A few fluorescent lights and a desk lamp... Dekker sits at Conners' desk. A somber moment, reflecting on the man, his career. He shuts off the lamp, heads for the door. DAX Detective? Dekker turns to find... Dax, cradling a 3,000 PAGE DOCUMENT. SHOOTING SCRIPT MARCH 15, 2004 81. DAX I know what they were doing inside the bank. DEKKER AND DAX-- Dax flips through the huge document. DAX These are today's transaction records from the bank. An average day produces about 400 pages, give or take. Today, there were over 3,000 pages. DEKKER Meaning? DAX We've just witnessed the largest heist in history. Somewhere in the neighborhood of a billion dollars. DEKKER Come again? DAX It's a computer virus. "The Computer Virus." It randomly withdraws money from all the accounts and deposits it into the bad guys' account. If you check the transactions, no two withdrawal amounts are the same and none of'em are over $100. Most security systems work on the size of the money, not number of transactions. Wire out one million from a handful of accounts and red flags go up. Wire out a less than a hundred from ten million accounts, no flags. DEKKER Where's the money now? DAX I tried following one of the transactions. It took me an hour and when I finally had it... It went away. DEKKER How is that possible? DAX The virus created a host of phantom accounts where the money goes (MORE) SHOOTING SCRIPT MARCH 15, 2004 82. DAX (cont'd) temporarily, then transfers to another account, then to another. It's never in one place long enough to get an accurate fix. DEKKER It's still moving the money around? DAX Yeah. Any deposit or withdrawal from any bank doesn't usually go into affect until the next business day. So it's going to keep jumping around until it clears at 9 AM tomorrow. DEKKER (realizes) Or 6 AM Pacific time. Sunrise. So why break in? If they're just wiring money? Couldn't they do that from anywhere? DAX That's the regional manager's computer terminal. There's no outside/remote access to it. There you have unlimited entry to the bank's mainframe. No passwords to work around, no "hacking" in. It's all nice and clean. DEKKER A billion dollars is missing and we're only discovering this now? DAX Ironically, when the power went out, it helped hide the virus and bought it time to work. DEKKER So they weren't trying to make it look like they were robbing a bank, to rip off a Saudi Prince? They were making it look like they ripped off a Saudi Prince to rob a bank. (realizes) The Chaos Theory. DISSOLVE TO: 152 EXT. SEATTLE POLICE DEPARTMENT - NIGHT 152 Dekker shuffles to his car, his cellphone rings. Answering... SHOOTING SCRIPT MARCH 15, 2004 83. DEKKER Dekker. DISPATCH OFFICER (VO) Detective Dekker, there's a call for you. Says it's urgent. DEKKER Put it through. LORENZ/ CURTIS (VO) Good evening Detective. I just wanted to compliment you on a fine day. You were an unexpected adversary that was most challenging. DEKKER It's not over yet. LORENZ/ CURTIS (VO) Wishful thinking. DEKKER No. My wish is to catch you. You're a murderer. A cop killer at that. LORENZ/ CURTIS (VO) I didn't kill anyone who didn't deserve it. Callo was insignificant and Conners crossed me. In years to come you'll thank me for getting rid of him before he corrupted you. DEKKER I know about the money. You steal a billion dollars... They will find you. LORENZ/ CURTIS (VO) A risk I'm willing to take. It's almost sunrise. Fare thee well. Lorenz hangs up. Dekker surprisingly calm, hangs up the phone, heads back inside the station. 153 INT. BULLPEN - SEATTLE POLICE DEPARTMENT - NIGHT 153 Dekker at his desk, piles through mounds of paperwork. Not sure what to look for, he goes through everything. His notes from the bank. The file on Galt, Harrington, Chris Lei. He even digs through Conners and finally... Callo's file. Jenkins heads for the exit. SHOOTING SCRIPT MARCH 15, 2004 84. JENKINS You're still here? DEKKER (in complete work mode) Callo's insignificant. JENKINS What? DEKKER That's what he said, Callo's insignificant. But he wasn't. JENKINS What are you talking about? DEKKER Lorenz... Curtis... Called me. JENKINS He called you? DEKKER He said he didn't kill anyone who didn't deserve it. He said Callo was insignificant. But without Callo he wouldn't have had the knowledge of our department and... (grabs a clipboard) ... He wouldn't have had the front money to hire the crew. JENKINS He was screwing with your head. Go home, Shane. You did good today. Your Dad would be proud. Get some sleep. There will be more bad guys tomorrow. Jenkins exits. Dekker falls back into his chair. Then... discovers... Callo's file... The Property Room Sign-Out Sheet. The signatures. 154 INT. INTERROGATION ROOM - SEATTLE P. D. - 1:43 AM 154 Harry Hume, the evidence room cop, out of uniform, walks inside, sits across from... Dekker, already here, with two DIFFERENT FILES available to him. HARRY I was in bed already. This couldn't wait til morning. SHOOTING SCRIPT MARCH 15, 2004 85. DEKKER (cold) How did he come at you, Harry? It's the only thing that doesn't make sense. HARRY What are you talking about? DEKKER All day long we thought Callo was the dirty cop. All day long we were wrong. Dekker slides some papers in front of Harry. DEKKER That's the sign-out sheet from the evidence room. Here's one of Callo's reports. Here's another one... and another -- The SIGNATURES ARE DIFFERENT, but Harry doesn't even examine them. He knows. DEKKER They're not the same signature, Harry. They're not even close. HARRY (shrugs it off) Maybe he had a cramp in his hand. I don't know. DEKKER (re: file #1) This is your file... You were reprimanded, a month ago after you confronted Callo at the courthouse. You punched him. That ring a bell? HARRY And I'd do it again. Cops who testify against cops shouldn't be breathing the same air I do. There's a line you don't cross! DEKKER So you set him up! You forged Callo's signature, you gave him the money and you helped him with his plan because you thought he got a raw deal at Pearl Street Bridge! Don't deny it, Harry cause I know. SHOOTING SCRIPT MARCH 15, 2004 86. HARRY OF COURSE HE GOT A RAW DEAL AT PEARL STREET BRIDGE! EVERYBODY GOT A RAW DEAL! 155 OMIT 155 156 OMIT 156 157 EXT. PEARL STREET BRIDGE - NIGHT - FLASHBACK 157 Images FLASH before our eyes... The RAIN POURS DOWN! An SUV CRASHES into a STALLED-OUT VEHICLE. JOHN CURTIS (THE KIDNAPPER) crawls out of the SUV! He sees cop's lights approaching. He drags LISA REANN (THE VICTIM) out of the truck. A BRIGHT LIGHT (from a helicopter) strikes John in the eyes! LIGHTS! EVERYWHERE BRIGHT! It's all very BLINDING! COPS block both sides of the bridge! TV REPORTERS AT EITHER END OF THE BRIDGE! John holds the gun up to Lisa's head as... OVER JOHN'S SHOULDER... CONNERS APPROACHES, GUN DRAWN! Lisa struggles, tears streaming down her face. A FLASH OF LIGHT ENVELOPS CONNERS! CLOSE ON... A GUN FIRES! John DROPS lifeless to the pavement. BACK TO: 158 INT. INTERROGATION ROOM - SEATTLE POLICE DEPARTMENT 158 Harry pounds the table... DEKKER You're helping a cop killer, Harry. You're a year from pension. This is how you want to go out? HARRY My conscience is clean. DEKKER This has been a very long, trying day. And I'm tired. We're chasing a (MORE) SHOOTING SCRIPT MARCH 15, 2004 87. DEKKER (cont'd) phantom. Just when we have him... he disappears. He's been two steps ahead of Conners and me all day. HARRY Of course he has. Who knows Conners better than him? DEKKER (what?) How the hell does Curtis know Conners better than anyone? Harry goes silent. Realizes he just let the cat out of the bag. DEKKER (realizes) We're not talking about Curtis, are we, Harry? (still no response) Who would know Conners better than anyone? Who would you protect? And who in your mind got the raw deal at Pearl Street Bridge? 159 EXT. PEARL STREET BRIDGE - NIGHT - FLASHBACK 159 IN REVERSE MOTION - JOHN CURTIS GETS UP... THE BULLET RE- ENTERS CONNERS'S GUN... LISA REANN SCREAMS! REVEAL THE ENTIRE SCENE: LORENZ/ CURTIS STANDS NEXT TO CONNERS ON THE BRIDGE HOLDING A GUN. LORENZ/CURTIS IS YORK! NOW RESUME ACTION... Conners and York aim their guns at... John holds Lisa tight. CONNERS Drop the weapon. Let the girl go. John PUSHES the barrel of the gun TIGHTER into Lisa's temple. YORK That, you don't want to do. York narrows his aim on John Curtis. JOHN CURTIS One step closer and the girl dies. SHOOTING SCRIPT MARCH 15, 2004 88. CONNERS Think about this... you kill her, where are you going to... SIMULTANEOUSLY... YORK FIRES just as Lisa STRUGGLES, MOVES! The Bullet intended for John Curtis, HITS Lisa, kills her instantly. Lisa's body crumples to the ground. Conners and York look on in horror, knowing York's bullet felled an innocent. John turns to fire on the detectives... Conners fires - KILLS John Curtis! John's body hits pavement. RAIN POURS DOWN! 160 INT. INTERROGATION ROOM 160 Dekker puts it together... DEKKER It was York who was the bad cop. He assumed Scott Curtis's identity to throw us off the trail. 161 INT. THE OTHER SIDE OF THE GLASS 161 Dax and Teddy are speechless. 162 INT. INTERROGATION ROOM 162 DEKKER York plays his old partner, knowing all his moves, frames his enemy for the crime, kills him too and pulls off the biggest robbery in history. HARRY Do what you want to me. He called to tell me he was going and he's gone and you ain't never going to find him. DEKKER Watch me. 163 INT. BULLPEN - SEATTLE POLICE DEPARTMENT 163 Dax and Dekker gather at Dax's desk. Dax is on the phone. DAX The number York used to call Harry Hume is a cellphone number. Ran it through (MORE) SHOOTING SCRIPT MARCH 15, 2004 89. DAX (cont'd) local service providers. Nextel got a match. DEKKER Can they get a location on him? DAX That particular phone he's using is equipped with the latest GPS technology. Should be able to trace his location within 100 meters or less. (into phone) Yeah? (to Dekker) They got him. 163A INT. DAX'S OFFICE - SEATTLE POLICE DEPARTMENT - NIGHT 163A Dekker and Dax examine a map. DAX The signal's coming from around 175th street. That's about fifteen miles north of us. (deflated) From the harbor he can take a boat or a sea-plane out. He's gone. DEKKER (beat; thinks) No. If there's a signal. Means he's still here. He's waiting for something or someone. DAX Waiting? Where? Ain't nothing down there that's open at this hour. DEKKER (thinks) 175th street... There's is one place. 164 EXT. PARKING LOT - SEATTLE POLICE DEPARTMENT - NIGHT 164 Dekker runs to his car and as he gets there, Teddy's waiting for him. TEDDY I'm going with you. DEKKER Detective Galloway... SHOOTING SCRIPT MARCH 15, 2004 90. TEDDY (w/ a steel glare) It's not a request. 165 EXT. HARBOR NEAR PUGET SOUND - NIGHT 165 A BEAUTIFUL, BRIGHT FULL MOON hangs in the dark sky. Dozens of COMMERCIAL LINERS, CARGO SHIPS and SEAPLANES line the piers. 166 EXT. DINER NEAR PUGET SOUND - NIGHT 166 Open twenty-four hours a day, 365 days a year. A handful of cars occupy the spaces out front. Including the MERCEDES. 167 INT. DINER NEAR PUGET SOUND - NIGHT 167 A scattering of PATRONS, some at the counter, some in booths. A PRETTY WAITRESS, 20's, rings up a bill. PRETTY WAITRESS That'll be $8.48, please. YORK AKA LORENZ/CURTIS hands the Cashier a twenty. YORK Keep the change. PRETTY WAITRESS Thanks, mister. A BUS BOY, 19, carries some garbage out the back. York heads for the exits, opens the door and... STEPS OUTSIDE! 168 EXT. DINER NEAR PUGET SOUND - NIGHT 168 York hoofs two steps outside when... A BRIGHT SPOTLIGHT STRIKES YORK'S FACE! He shields his eyes... BEHIND THE LIGHTS... Dekker and Teddy aim their pistols. DEKKER Jason York... this is the police. Put your hands in the air and slowly get on your knees. Do it. Now! YORK Don't shoot. You win. York RAISES HIS HANDS HIGH, takes a small step backwards. SHOOTING SCRIPT MARCH 15, 2004 91. DEKKER Get down on the pavement! YORK I'm cooperating. You win. York takes another tiny back-step. DEKKER GET DOWN NOW! FINAL WARNING! YORK I SAID... I... GIVE... UP! York bends down to ONE KNEE, DRAWS A 9 MM... FIRES! DEKKER AND TEDDY DUCK FOR COVER! YORK RUSHES BACK INTO THE RESTAURANT! DEKKER AND TEDDY RETURN FIRE! THE GLASS WINDOW DOORS EXPLODE! DEKKER (to Teddy) Take the back! 169 INT. DINER NEAR PUGET SOUND - NIGHT 169 CUSTOMERS SCREAM AS... Dekker enters, surveys the restaurant. A LOUD BANGING FROM THE KITCHEN! Dekker approaches the kitchen door, pushes it open and... BAM! BAM! BAM! BULLETS RIP APART THE KITCHEN DOOR! Dekker spins out of the way. As gunfire stops, Dekker KICKS through the door! Leans in gun first... 170 THE KITCHEN -- 170 In the center of the room... York neck-holds the Pretty Waitress, gun to her head. Dekker moves in... YORK Was it Harry? It was Harry, right? That fat fuck! SHOOTING SCRIPT MARCH 15, 2004 92. DEKKER Let the girl go. It's over. York's EYES BLAZE WITH ACTIVITY! Something brewing. YORK Easy for you to say. I'm a plane ride away from a King's Ransom. THROUGH A SIDE DOOR... Teddy slides in, unnoticed. DEKKER Drop the weapon, let the girl go. YORK And spend the rest of my days in a cage? Let me ponder... (beat) Don't think so. If you're going to stop me... I'm gonna make you earn it. DEKKER That you don't want to do. YORK (realizes) That's exactly what I said to him. Do you see the irony here? Am I the only one? Two months ago I was in your shoes. Some punk holding a gun to an innocent girl. What should you do? (beat) YOU'D DO EXACTLY WHAT I DID! A GLINT sparkles in his eyes. His teeth grind. His gun GRIP TIGHTENS! Teddy moves into position from the side! Then... The BUS BOY enters from the same door Teddy came in. The door BANGS closed behind him. York spins, FIRES in that direction! Teddy's HIT! The Bus Boy retreats out the side door! YORK TURNS ON DEKKER, FIRES! Dekker DUCKS away safely. York drags the Pretty Waitress to the back! Dekker runs over, checks on Teddy. SHOOTING SCRIPT MARCH 15, 2004 93. DEKKER Shit. TEDDY I'm fine. Go get him. Dekker looks her in the eyes, then darts away. 171 EXT. DINER NEAR PUGET SOUND - NIGHT 171 Dekker exits the back. Finds the Pretty Waitress. Shook up. DEKKER Which way did he go? PRETTY WAITRESS That way. Down towards the pier. 172 EXT. HARBOR NEAR PUGET SOUND - NIGHT 172 York sprints across the street. Dekker follows. 173 I/E STEEL CONTAINER YARD - NIGHT 173 HUNDREDS OF GIANT STEEL CARGO CONTAINERS litter the yard... makes the place look and feel like a GIANT MAZE. York disappears into the steel maze. Dekker enters, slows to a walk. Carefully proceeds forward. Gun drawn. Second guessing each turn. YORK (OS) You've really screwed yourself... Jenkins is going to expect these kind of results from you everyday. DEKKER FBI's got a team of 40 computer technicians figuring out Lei's virus. They'll break it. Dekker rounds a corner... YORK Your conviction would be admirable, if it wasn't just so sad. At the far end of the container, York FIRES! Dekker ducks back. York takes a look out, doesn't see Dekker. SHOOTING SCRIPT MARCH 15, 2004 94. YORK Get it through your head... The calvary ain't coming. No heroes are coming to save the day. The bad guy gets away at the end of this story. Dekker peers around the corner... York's gone. YORK (OS) But I'll give you credit... You turned out to be quite the little thorn, didn't you? Dekker speed-walks, continuing the search. YORK (OS) I think Conners would be sorry that you died. But not me. Dekker stops, eyes a full 360. The containers all look alike. Dekker wonders if he's just going around in circles. Until... BAM! BAM! BAM! BULLETS RICOCHET ALL AROUND DEKKER! He dive-rolls for cover as... ON TOP OF A CONTAINER... York UNLEASHES, until... CLICK! Out of ammo. Dekker, hearing this, pops up, RETURNS FIRE! York leaps off the backside of the container! Dekker gives chase. As he circles the container... no York. Instead, he finds a DOCK. 174 EXT. DOCK - NIGHT 174 A narrow wooden dock. There's a few small boats, A TUG BOAT and at the end... A SEAPLANE. Dekker approaches the tug. Each step slow and deliberate. EYES TRANSFIXED on the seaplane. As he nears the Seaplane... A SHADOW RISES from BEHIND HIM. From on top of the TUG BOAT! Dekker turns just as... York throws a fishing net on top of Dekker. As Dekker struggles in the net, HIS GUN DISCHARGES! York with a PIKE POLE in hand, leaps down, CLUBBING Dekker over the head with the weapon. Dekker goes down! SHOOTING SCRIPT MARCH 15, 2004 95. Dekker's gun SLIDES off the dock, into the water. York charges Dekker with the PIKE POLE, ready to stab, when... At the last second... DEKKER ROLLS AWAY! THE PIKE POLE BREAKS A WOODEN PLANK TO PIECES, sticks into the ground beneath the water. Dekker, still tangled in the net, KICKS OUT York's legs. He falls to the planks. York quickly rebounds. He POUNCES on Dekker, from behind he wraps his arm around Dekker's throat, CHOKING HIM. Dekker struggles to breathe. York SQUEEZES harder. YORK I have come this far... I will not be denied. Dekker fights, arms flailing. He REACHES blindly behind York, grabs a hold of the PIKE POLE. The pole SNAPS in two! Dekker wildly SWINGS at York who dodges easily. York SLAMS Dekker into the side of the TUG. Still choking. Dekker, on his last gasp, PUSHES OFF THE TUG! York stumbles backwards, GETS HIS FOOT CAUGHT IN THE HOLE! He twists, spinning around, falling down onto... ... THE REMAINING PIKE SPEAR! The Pike punches through his chest... POPS out his back! York, blood and life escaping him, his eyes find Dekker. Then go dead. Dekker steps close. Holds a cold, remorseless stare at York's body. DISSOLVE TO: 175 EXT. DINER NEAR PUGET SOUND - 3:41 AM - NIGHT 175 Lights Flash from the AMBULANCES AND POLICE CARS. A HELICOPTER HOVERS overhead. Karen Cross interviews Jenkins. 176 INT. DINER NEAR PUGET SOUND - NIGHT 176 Teddy, arm in sling, and Dekker sip on some already cold coffee. SHOOTING SCRIPT MARCH 15, 2004 96. TEDDY We used to spend all day Sunday just reading in bed. I would read the paper and he would read one of his billion books. I didn't deserve him. I knew that. But I still loved him. Teddy stares out the window... POV OF TEDDY - Jenkins speaks to Karen Cross. TEDDY He's the only man I ever loved. (beat) Did we all get shot today? They can't help but laugh. DEKKER They said in the city I'd be busy. Every day like this? TEDDY Pretty much. DEKKER Great. I wonder what's next? TEDDY For me... a long vacation. Teddy excuses herself to the bathroom. Dekker goes to pay the check. AT THE CASHIER... Dekker reaches for his wallet, opens it. DEKKER How much? PRETTY WAITRESS Do you think I'm going to charge you after all that? Go on. DEKKER Thanks. Dekker notices the tip jar by the register. He removes a TEN DOLLAR BILL, about to stuff it in the jar... That's when THE SMELL hits him. A strange, but familiar ODOR comes from Dekker's wallet or more accurately... The TEN DOLLAR BILL! But what is it? FLASH BACK TO: SHOOTING SCRIPT MARCH 15, 2004 97. 177 INT. BEDROOM - RICHARDS'S APARTMENT - DAY 177 Marnie explains to Dekker and Conners... MARNIE Do you smell that? DEKKER (smells the bills; grimaces) What is it? MARNIE When evidence is taken in, any physical mark might effect the ability to lift prints, so, to mark it, we spray it with a scented solution. Off of Conners' LOOK. BACK TO: 178 INT. DINER NEAR PUGET SOUND - NIGHT - THE PRESENT 178 Dekker realizes it's the same smell, but how did this ten get in his wallet? FLASH BACK TO: 179 INT. DINER - DAY 179 Conners and Dekker get to know one another... The Waitress lays down the check. WAITRESS Anything else, officers? JUMP CUT TO: Conners drops a TEN DOLLAR BILL on the table. JUMP CUT TO: Dekker SCOOPS UP Conners's TEN, PUTS IT IN HIS WALLET and drops a twenty down on the table. BACK TO: 180 INT. DINER NEAR PUGET SOUND - NIGHT 180 Dekker, a million thoughts spiral at once, runs from the diner! Teddy exits the ladies room, but Dekker is gone. SHOOTING SCRIPT MARCH 15, 2004 98. 181 INT. LIVING ROOM - CONNERS APARTMENT - NIGHT 181 PAPERS and BOOKS litter the floor. Dekker trashes the place, looking for a clue of any kind. He rifles through the bookshelves, cabinets. All to no avail. That's when he finds... a medium-sized paperback, dog-eared and worn. The title of the book... "CHAOS" by James Gleick. Dekker flips through the book. Pages are marked, high- lighted. Key words we find include, "EDWARD LORENZ, CHAOS THEORY, BIRTH OF A NEW SCIENCE." TIME CUT TO: 181A INT. LIVING ROOM - CONNERS APARTMENT - LATER 181A Dekker holds the "Chaos" book in his hand, paces... DEKKER (into phone) You tried them all?/ Nothing for Conners or Lorenz?/ I don't know. No, maybe he's not on a flight. Dekker then notices - the book. The author's name. DEKKER Try again. But try Gleick. James Gleick. CUT TO: 182 EXT. SEATTLE AIRPORT - 6:22 AM DAY - ESTABLISHING 182 Early morning TRAVELLERS converge. 183 INT. WESTERN AIRLINES TERMINAL - DAY 183 Dekker scans the line up of people. Nothing. BY THE MEN'S ROOM-- A MAN, 40's, in DISGUISE (Brown Wig), SPIES Dekker. He picks up a CELLPHONE, DIALS... DEKKER'S CELLPHONE RINGS. He quickly picks it up. CONNERS (VO) There's a passage in the Surangama Sutra which, roughly translated means: "Things are not what they appear to be: nor are they otherwise." SHOOTING SCRIPT MARCH 15, 2004 99. DEKKER Conners? Dekker again scans the line -- he's not there. He scans all the faces AGAIN, but still nothing. CONNERS (VO) Think about that a minute... Doesn't that blow your mind? (beat) What gave me away? DEKKER Ten bucks. CONNERS (VO) At the diner. That's right... Well, to err is human. Dekker SPOTS A MAN ON A CELLPHONE, he runs up to him, SPINS HIM AROUND, BUT... It's not Conners. CONNERS (VO) Was it Harry that gave him up? DEKKER Harry and the phone call. He called me, said Callo was insignificant. Threw up a red flag. CONNERS (VO) That wasn't him. That was my mistake. I called you. 184 OMIT 184 185 OMIT 185 186 INT. CONNERS APARTMENT - NIGHT (FLASHBACK) 186 Conners on his phone, with attached Voice Modulater. CONNERS I didn't kill anyone who didn't deserve it. 187 EXT. SEATTLE POLICE DEPARTMENT - NIGHT (FLASHBACK) 187 Dekker at his car... On the phone, listens. But on this ends it sounds like... SHOOTING SCRIPT MARCH 15, 2004 100. LORENZ/ CURTIS (VO) Callo was insignificant... BACK TO: 188 INT. WESTERN AIRLINES TERMINAL - DAY - THE PRESENT 188 CONNERS (VO) York always thought "the plan" was flawless. He was cocky. I told him you have to leave room for error. You can't always predict how it's all going to play out. A random camera catches an image of Richards, the scent on the money... you. You were the biggest wrench of the day. The Chaos Theory... When you got that... I was impressed. DEKKER All day long, we were trying to find out who the inside source was... it was you. CONNERS The more information you gather, from as many sources as possible, no matter how unpleasant the methods are, the better. And while I'd like to take sole credit it was a team effort. DEKKER (beat) Teddy's pretty devastated about your death. CONNERS (VO) She'll get over it. FLASH BACK TO: 189 INT. UPSTAIRS HALLWAY - HOUSE - NIGHT 189 Conners PUSHES DEKKER OUT OF THE WAY, just in the nick of time! DEKKER TUMBLES DOWN THE STAIRS! Vincent breaks his fall. Conners FIRES TOWARDS THE DOOR! After... Conners takes out a small remote detonator. Pushes the FIRST BUTTON! A VENT... A FLASH GOES BY! SHOOTING SCRIPT MARCH 15, 2004 101. 190 OMIT 190 191 DINING ROOM-- 191 ON THE FLOOR... next to the base of the door is a FUSE. It runs from the wall into the vent. Teddy follows it into THE KITCHEN. TEDDY Gas. Get out of here! Get out of here NOW! The fuse comes out of the vent... IT'S LIT! THE OVEN... HEAR the gas emission... The spark. The Gas. THE FIRST EXPLOSION! 192 INT. UPSTAIRS BATHROOM - HOUSE 192 Conners leans over Galt, a giant GASH across his head, feels for a pulse. He's dead. Conners looks into the hallway, SEES THE FIRE! Conners gets up, and reaches INTO THE BATHTUB, drags out... a CORPSE, HOOKS HIS BADGE ONTO THE CORPSE'S BELT and lays him on the floor. Conners QUICKLY opens a LAUNDRY SHOOT, SHIMMIES INSIDE AND SLIDES DOWN... 193 INT. BASEMENT - HOUSE 193 Conners lands safely on a mattress he left on the floor. Once settled, he pushes the SECOND BUTTON ON THE DETONATOR and... 194 EXT. HOUSE - NIGHT 194 KA-BOOM! A SECOND EXPLOSION! THE ENTIRE HOUSE BLOWS! 195 INT. BASEMENT - HOUSE 195 Conners opens a trunk, inside is a FIREMAN'S RAIN COAT, HELMET AND VISOR! FLASH CUT TO: 196 EXT. HOUSE - NIGHT 196 In the aftermath of the fire... SEVERAL FIREMAN, POLICE, REPORTERS, etc. are on scene. SHOOTING SCRIPT MARCH 15, 2004 102. Dekker and Teddy don't see... A FIREMAN PASSES BEHIND THEM, turns his head slightly, REVEAL THROUGH THE VISOR IT'S CONNERS! BACK TO: 197 INT. WESTERN AIRLINES TERMINAL - DAY 197 Dekker continues his search for Conners all to no avail. He TURNS HIS BACK, just as... A MAN WALKS RIGHT PAST DEKKER CARRYING A CELLPHONE! DEKKER So the corpse in the morgue with your name on its toe...? CONNERS (VO) Scott Curtis won't be bothering anyone again. DEKKER You're a serial killer. CONNERS (VO) Who got killed? Curtis? Harrington, Galt, Lei. They're all hoods. The world's safer with them gone. The kid at the bank... that was unfortunate. But... you live with your decisions. You choose to take this road... there is no half way. It's all or nothing. That's why others fail. They don't make the commitment. I won't make that same mistake. DEKKER You said they were all hoods... what about, Callo? CONNERS Callo deserved his fate. It's his fault. DEKKER This is Callo's fault? CONNERS If it weren't for him, York and I would've never done this. One random act, causes another, causes another, and in the end... the pattern emerges. That's the Chaos Theory. (beat) It's after six. The money's cleared. I'm a wealthy man. Lei, for all his (MORE) SHOOTING SCRIPT MARCH 15, 2004 103. CONNERS (cont'd) evil, was one smart sonofabitch. The Feds will be tracing false leads for weeks. DEKKER Lei... you tanked his trial on purpose. CONNERS They should've suspended me after I testified. What did they expect? DEKKER And because the "bitch that made her career off you" worked for Channel Two, that's why American National was the target. CONNERS Everybody who screwed us, got screwed. Everything in its right place. DEKKER Why not kill me? You had plenty of opportunities. CONNERS This wasn't about killing, Shane. This was about standing up for what matters. Besides... you kinda grew on me. DEKKER You're not going to get away. CONNERS (VO) I already have. I'm not even here now. This is a very valuable lesson for you to learn, and it's good to have learned it early. DEKKER What's that? CONNERS (VO) You don't always win. DEKKER All your years of service for not. You're a hypocrite. CONNERS (VO) I'm an opportunist. I would've gladly died in the line of duty, but they took that away. If they had been as faithful to me, as I to them none of (MORE) SHOOTING SCRIPT MARCH 15, 2004 104. CONNERS (VO) (cont'd) this would've happened. The system broke down. Good luck, Detective. It would've been an interesting partnership, but I have to go now. As Dekker continues his search, his cellphone CUTS OFF! DEKKER Conners? Conners? Dekker doesn't notice... THE MAN walks past security and out of the Western Airlines terminal. 198 INT. PRIVATE PLANE TERMINAL - AIRPORT - DAY 198 CONNERS walks through the small area, proceeds out to... 199 INT. PRIVATE PLANE - DAY 199 Conners walks down the aisle, finds his seat. STEWARDESS Good morning, Sir. I'll let the Captain know we're ready. She hands him a glass of champagne. STEWARDESS Will there be anything else? CONNERS No thank you. I'm fine. 200 EXT. RUNWAY - DAY 200 The private plane TAKES OFF! FADE TO BLACK. FADE OUT. THE END