カオス(2005年)

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[amazonjs asin=”B00ENVRV6I” locale=”JP” title=”カオス スペシャル・プライス DVD”]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[amazonjs asin=”B00ENVRV6I” locale=”JP” title=”カオス スペシャル・プライス DVD”]




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