Hostage
by
Robert Crais
based on his novel
March 29, 2002
FADE IN:
EXT. A HYPERBLUE LOS ANGELES SKY -- DAY
The sky is overlaid with the slow whup-whup-whup of an LAPD
helicopter flashing through the frame, here and gone.
LAPD radio transmissions crackle like static electricity
around a dirty clapboard bungalow that looks like the
puckered asshole of Eagle Rock.
A man's terrified voice screams invisibly from the house --
MALIK'S VOICE
I'm gonna kill this dog! You make my
wife talk to me or I'm gonna shoot this
fuckin' dog!
A five-member SWAT tactical team appears out of nowhere--full
black assault gear, M5s, gloved and masked--hustling into
position on either side of the front door. Only now do we
get the full picture: Helicopters overhead, radio cars
surrounding the house, an army of cops itching the pull the
trigger --
When the tac team is good to go, the team leader gives a
thumbs-up to --
SERGEANT JEFF TALLEY AND LT. MURRAY LEIFITZ
Talley and Leifitz are hunkered behind the LAPD Command and
Control van. Leifitz is the Crisis Response Team SWAT
commander; Talley, the primary negotiator. It's so hot out
here that Talley has stripped down to a tee-shirt and vest.
LEIFITZ
They're good to go, Talley. Your word,
and we're in the house.
TALLEY
No one's going anywhere, L-T. We can
talk this guy down.
Talley lifts a dedicated crisis phone that's been hardlined
into the house, his tone reasonable and friendly --
TALLEY (CONT'D)
(into the phone)
Hey, George? George, don't kill the dog,
okay? We don't want to hear a gun go off
in there.
A phone crashes through the window and lands in the front
yard --
MALIK'S VOICE
(screaming from the house)
Fuck you!
LEIFITZ
I don't think he wants to talk.
Frustrated, Talley slumps back against the van as the SWAT
Intelligence Officer, Lloyd Keith, scuttles up to them --
TALLEY
Where's the guy's wife?
KEITH
She didn't take the kid to her sister's.
The neighbors were wrong.
TALLEY
Goddamnit, you said we had her. I told
him we had her!
KEITH
We got bad information, Talley. I can't
pull her out of my ass!
Up at the house, George Edward Malik steps into the window.
Malik is a forty-year-old freaked-out loser who has turned
the corner on insanity --
MALIK
(shouting at Talley)
You said my wife was gonna talk to me,
you lying fuck! I'm gonna kill her dog,
then shoot myself! I mean it!
Talley stares at Malik, thinking, then abruptly grabs Keith
by the collar --
TALLEY
(to Keith)
Pull the dog's name out of your ass. Get
the dog's name.
Talley steps out from behind the command van so that Malik
can see him.
LEIFITZ
(alarmed by Talley's move)
Talley! You're in the line of fire!
Talley ignores Leifitz; he is totally focused on Malik and on
defusing the situation --
TALLEY
I didn't lie to you, George. You scared
your wife pretty good last night. We're
having a hard time finding her.
MALIK
She better talk to me! I'm gonna kill
her goddamned dog!
TALLEY
You and I have been talking for, what,
sixteen hours? Keep talking. Is that
your dog, too?
Malik steps away from the window --
MALIK'S VOICE
I don't know whose dog it is. She lied
about everything else, so she probably
lied about the dog.
TALLEY
I know you're hurting. You lose your
job, you find out your wife's fucking
another guy . . . but don't give up.
We'll have her talk to you.
MALIK'S VOICE
Then why won't she open her mouth?! Why
doesn't the bitch say something???
Something about Malik's statement bothers Talley. The
wording is odd, suspicious --
TALLEY
George? Come back to the window.
MALIK'S VOICE
STOP LOOKING AT ME!!!
Talley grows even more concerned. Was Malik talking to him?
TALLEY
George? Leave the dog alone and come to
the window.
Talley sees Keith rejoin Leifitz --
TALLEY (CONT'D)
(to Leifitz)
What's the dog's name?
LEIFITZ
The neighbors say he doesn't have a dog.
The pieces fall into place for Talley: The wife that no one
can find, the dog that doesn't exist....
MALIK'S VOICE
OPEN YOUR GODDAMNED MOUTH OR I'M GONNA
SHOOT THIS DOG!
In a single terrible moment, Talley realizes that Malik is
not talking to him; he's talking to his wife --
TALLEY
Murray!! They're in the house! His
wife's in the house!
Even as Talley screams, a gunshot echoes from the house,
freezing the moment. A second shot follows the first as the
tactical team breaches the front door --
Talley sprints forward, running as hard as he can in
nightmare slow motion --
INT. MALIK'S HOUSE -- DAY
Talley shoulders inside on the heels of the tactical team
through drifting gun smoke and lancing sunlight. SWAT cops
are cuffing Malik even though he's already dead of a self-
inflicted gunshot wound; Malik's wife is sprawled on the
couch where she has been dead for fourteen hours; two tac
officers are trying to stop the geyser of arterial blood that
sprays from the neck of Malik's nine-year-old son even as one
of them screams for the paramedics --
Talley is numb; it's all too much, too heavy, too horrible.
He kneels between to the tactical cops and takes the boy's
hand. He stares into the boy's eyes, and the boy stares
back. The child's face grows pale as he drains of blood. We
hear his heart beating. We hear it slow. We hear it stop.
Talley stares at the dead boy. The dead boy's lifeless eyes
stare at nothing.
TITLES
Another hyperblue sky, but now we're in an upscale bedroom
community in the sun-scorched high desert north of LA --
A legend appears: One Year Later.
EXT. KIM'S MINIMARKET AND GAS STATION -- DAY
A rotted-out Toyota pickup lurches to a stop alongside the
minimart, white-boy hip-hop booming on the radio which dies
with the engine --
Dennis Rooney is driving; twenty-three years old, working-
class desert trash with a high opinion of his own brooding
good looks. In the middle: Kevin Rooney, nineteen, scared
shitless at what they're about to do. Riding shotgun: Mars
Krupchek, twenty-four, a large pasty guy with a shaved head
and faraway eyes.
KEVIN
C'mon, Dennis, this is stupid. I thought
we were gonna go to the movies.
DENNIS
(grins past Kevin to Mars)
Mars?! Whattaya think, dude? Out here
on the edge, no one around, it's perfect,
right?
MARS
I'll check it out.
Mars slides out of the truck. He has a tattoo on the back of
his tattoo that says: BURN IT.
As soon as Mars is gone, Dennis frowns at Kevin --
DENNIS
Try to act cool, okay? He's gonna think
you're a dick.
KEVIN
Robbing this place is gonna put you back
in prison.
DENNIS
Not if they don't catch us, Kevin.
KEVIN
We got jobs, man; we're working. Why
even take the chance?
DENNIS
Because if you don't take the chance,
you're already dead.
Dennis pulls a pistol from his pants to check the magazine.
DENNIS (CONT'D)
Thirty seconds, we'll be down the road.
Thirty seconds. Then we'll go to the
movies.
Mars returns and nods his approval --
MARS
It's perfect.
That's all it takes.
INT. KIM'S MINIMART -- DAY
Junior Kim, Jr., is short, squat, and forty-two years old.
He's reading a magazine behind the counter when Dennis and
Mars enter; Dennis trying to disarm him with a smile --
As Dennis reaches the counter, he lifts his tee-shirt to
reveal the butt of his pistol --
DENNIS
A pack of Marlboros for my friend and all
your cash, you gook motherfucker!
But Junior Kim is ready. He lurches to his feet, bringing up
a pistol of his own --
MARS
He's got a gun!
Dennis lunges across the counter, grabbing Kim's gun, and the
two men are suddenly locked in a ferocious death-struggle for
possession of the weapon --
DENNIS
Mars, help me --
Dennis and Kim bounce from the counter to the Slurpy machine,
the Glock locked between them, pointing first one way, then
the other, their eyes meeting as -- BAM -- the gun goes off.
Junior Kim's eyes widen. Dennis and Junior both look down at
the red blossom that grows on Junior Kim's chest --
KEVIN
(screaming in the background)
Dennis! Dennis, someone's coming!
Kim falls into the Slurpy machine, then slides to the floor.
Dennis scrambles over the counter and sprints for the door.
But Mars hesitates. Instead of running, he picks up Kim's
gun, then leans over the counter to look at Kim's body. We
cannot see his face --
EXT. THE MINIMART -- DAY
A forty-something soccer mom named Margaret Hammond is about
to enter the minimart when Dennis and Kevin burst out,
knocking her on her ass. Mars follows a moment later --
Margaret watches their red pickup lurch away, then rushes
into the store --
INT. THE TRUCK -- DAY
Dennis power-shifts into gear, clashing tortured metal as he
pushes the Toyota as hard as it will go. No one is talking;
they're screaming --
KEVIN
There's fuckin' blood all over you!
DENNIS
I didn't know he would have a gun! It
just went off!
Dennis sees himself in the rearview mirror. His face is
splattered with red dew, the sight of it freaking him out --
DENNIS (CONT'D)
Jesus! Fuckin' Jesus, it's on my face!
The trunk careens crazily off the road. Mars calmly runs a
hand over Dennis's face --
MARS
Relax. It's only blood.
Dennis upshifts hard again, the truck lurching as the tranny
howls --
DENNIS
FUCK you, Mars! I got it all over me!
-- whereupon the tortured transmission gives with a loud BANG
and the truck loses power --
DENNIS (CONT'D)
MotherFUCKING piece of SHIT!!!
EXT. FLANDERS ROAD -- DAY
Flanders Road is lined with trees, hedges, and the exclusive
housing developments that dot the countryside around Bristo
Camino.
The Toyota jerks to a stop well off the road, and Dennis,
Mars, and Kevin pile out, stuffing pistols and bullets into
their pockets --
KEVIN
That woman's gonna call the cops.
DENNIS
Shut up, goddamnit! Just calm down!
KEVIN
What if he's dead? What if you killed
him?
Dennis grabs him by the throat; Mars steps between them --
MARS
People are looking.
Dennis sees that Mars is right; people in passing cars are
looking. He releases his brother --
DENNIS
That's why we gotta keep going. I'm not
gonna go in for murder.
KEVIN
We're on foot. We can't get away.
DENNIS
We're surrounded by houses, dumbass.
Every house has a car in the garage.
All we have to do is take one.
Dennis and Mars take off for the wall, Kevin reluctantly
following --
EXT. WALTER SMITH'S HOME -- THE CUL-DE-SAC -- DAY
The camera reveals a two-story California Mediterranean home
in the exclusive housing development known as York Estates.
You can't get in the door for less than one-point-five, and
this house costs more: Eight thousand square feet of used
brick and custom tile set on a lushly landscaped acre --
WALTER SMITH'S VOICE
You can pick them up whenever you want.
INT. WALTER SMITH'S OFFICE -- DAY
Walter Smith is at his computer behind his desk. He's forty
and fit, casually dressed with thinning hair and glasses,
currently leaning back as he talks on his phone --
WALTER
(into the phone)
I have his corporate and personal on two
disks, labeled Marlon and Al.
As Smith talks, he ejects a Zip disk from his computer,
attaches a label reading Al, then places it in a palm-sized
case beside the first disk, Marlon --
WALTER (CONT'D)
What, you don't have a sense of humor?
He's going to love it.
Walter's ten-year-old son, Thomas, suddenly charges around
the desk and pulls at his father's arm --
THOMAS
My stomach is eating me!
WALTER
(into the phone)
Yeah, that's Thomas, the human piranha.
I have to feed the animals while Pam's in
Florida with her sister.
THOMAS
My stomach has teeth! It's eating my
guts!
WALTER
(still with the phone)
Listen, is Glen on his way? Great. The
paper's bagged and ready to go. Bye.
(hangs up; then)
All right, all right, all right--it's
feeding time!
Walter allows his son to pull him around the desk to --
EXT. THE SMITHS' BACK YARD -- THE POOL -- DAY
A boom box blasts the latest teendiva megahit as Walter's
sixteen-year-old daughter, Jennifer, stretches out in cutoff
shorts and a bikini top, working on her tan.
Walter and Thomas appear in the French doors that open from
the back of the house --
WALTER
(calling)
Jen! Come feed your brother! He's
wasting away!
JENNIFER
Can't we send him to Florida?
WALTER
Jen, c'mon, chop-chop! I've got to
finish my work!
Jennifer rolls her eyes, rises from the chaise longue, and
pads to the house. As she clears the frame, the camera
swings toward the overgrown wall at the edge of the property.
Dennis silenty drops into the bushes --
EXT. BRISTO CAMINO PATROL CAR -- DAY
A sky blue Bristo Camino patrol car cruises along Flanders
Road --
INT. THE CRUISER -- OFFICER MIKE WELCH -- DRIVING
Welch is a young officer with an innocence to his eyes that
you don't find in urban cops. He keeps a photo of his wife
and toddler son taped to the dash.
RADIO
Four, base. You there, Mike?
Welch picks up the radio microphone --
WELCH
Four. I'm gonna hit the Krispy-Kreme.
You want a dozen?
RADIO
Armed robbery, Kim's Minimart on Flanders
Road, shots fired with a man down.
This is so unexpected that Welch waits for the punchline --
WELCH
Are you kidding me?
RADIO
Ah, suspects are three white males
driving a red pickup last seen eastbound
on Flanders.
Welch turns on his lights just as he sees the red Toyota
pickup abandoned on the side of the road and stands on his
brakes --
INT. THE SMITHS' KITCHEN -- A FEW MINUTES LATER
The Smiths' home sports an open floor plan with the kitchen
centrally located between a large family room, a hall that
leads to the front of the house, and the French doors that
open onto the pool area.
Jennifer is putting the finishing touches on three tuna
sandwiches as she calls to her brother --
JENNIFER
Tell Daddy that lunch is ready.
(no answer)
Thomas, don't be a turd. Tell --!
She turns to find herself face-to-face with Dennis, who
clamps a hand over her mouth --
DENNIS
(quietly)
I'm not going to hurt you.
Mars is holding Thomas. Kevin is by the French doors --
DENNIS (CONT'D)
Stop fighting. Relax, and I'll let go.
Jennifer struggles until she sees that Mars is holding a
pistol to Thomas's head --
DENNIS (CONT'D)
That's better. Be cool and we'll be
outta here in five minutes. Understand?
Jennifer nods, and Dennis removes his hand. He has her
pinned to the counter, his body pressed into her's; she is
suddenly very aware that she is almost naked --
DENNIS (CONT'D)
Who else is here?
JENNIFER
My father.
Dennis grabs her hair and pulls her away --
INT. SMITHS' OFFICE -- DAY
It happens fast: Dennis shoves Jennifer into the room, and
Mars and Kevin follow with Thomas --
Walter is feeding a computer print-out into a paper shredder
as they burst through the door --
DENNIS
Get your ass in the chair! Sit down!
Dennis shoves Jennifer to the floor and stalks directly
across the room, his gun trained on Walter.
Walter freezes, hands motionless, letting the paper feed into
the shredder. Strangely, he has little outward reaction --
WALTER
(quietly)
Jen? Are you all right?
DENNIS
She'll be dead if you don't put your ass
in that chair!
Walter carefully sits. He is amazingly calm in the face of
this invasion.
DENNIS (CONT'D)
Kevin! Don't stand there, asshole, close
the windows! Mars, keep him covered,
dude!
Mars pushes Thomas down beside Jennifer, then aims his gun at
Walter. Kevin closes the shutters as Dennis rips the
electric cord from a lamp --
WALTER
Who sent you?
DENNIS
Don't go Rambo and you'll tell'm about
this on the back nine. I'm gonna tie you
up, then we're gonna take your car.
Walter glances toward the shredder; the final page of paper
emerges as spaghetti and then the shredder stops --
WALTER
The car. All you want is the car?
DENNIS
Am I talkin' raghead?! I want your car!
Gimme the goddamned keys!
A strange smile flickers at the corner of Walter's mouth as
if there's a joke within all this, then --
WALTER
The keys are on the wall by the garage.
Take it. The tank's almost full.
KEVIN
Dennis! The cops!
Dennis rushes to the window --
EXT. THE SMITHS' HOUSE -- CUL DE SAC -- DAY
Mike Welch climbs out of the patrol car and keys his shoulder
mike as he appraises the house --
WELCH
(into his radio mike)
They had to go through the yard at 455
Castle Way. I'm going to approach.
Welch slowly moves up the walk toward the front door --
INT. THE ENTRY -- DAY
Dennis shoves Jennifer to the door --
DENNIS
Open it! You remember I'm right here!
EXT. THE HOUSE -- WITH WELCH
Welch is halfway up the walk when the door opens and
Jennifer, clearly terrified, peers out. Welch hesitates --
WELCH
(into his mike)
Teenage female opened the front door.
(to Jennifer)
Miss, I found an abandoned vehicle on the
other side of your wall. Did three young
men run through the area?
Jennifer doesn't answer. Her eyes fill until two huge tears
roll down her cheeks. Welch grows uneasy. Something is
wrong, but he doesn't know what. He stays where he is --
WELCH (CONT'D)
Miss?
JENNIFER
I didn't . . . see anyone.
Welch stares into Jennifer's eyes, pointedly shifting his
gaze to ask the silent question: Are they here?
INT. WALTER'S OFFICE -- MARS AND KEVIN
are peering out the shutters when --
Mars suddenly shouts --
MARS
He's going for his gun!
Mars opens fire, shooting through the window as --
DENNIS
kicks the door closed and fires through the door, Jennifer
screaming, as --
EXT. THE HOUSE -- DAY -- MIKE WELCH
tumbles backward, struggling weakly to pull his gun as blood
bubbles in his mouth. He tries to rise, but can't --
WELCH
(into his radio)
Officer down. Jesus, I've been shot.
RADIO VOICE
Mike? Mike, what did you say?!
Mike Welch blinks at the sky, but cannot answer --
INT. BRISTO CAMINO POLICE DEPARTMENT -- DAY
It's the kind of small-town police facility you might expect:
A general room with desks and computers, a coffee machine,
and a desk officer who thinks that crime is two teenagers
egging a house.
The camera establishes the low-key atmosphere, during which
it finds a glass door labeled J. Talley, chief of police --
INT. TALLEY'S OFFICE -- DAY
Jeff Talley is behind the desk, his voice muted because he is
locked in a painful phone conversation --
TALLEY
(into phone)
It's really hard, Jane. This isn't the
way I want it.
INT. JANE'S KITCHEN -- DAY
Jane Talley is an attractive woman in her mid-thirties. She
has the efficient manner of a registered nurse, which she is,
and right now she's using all of her professional detachment
to keep herself together --
JANE
(into phone)
No? Then whose idea was it for you take
a job in the middle of nowhere?
Intercut Talley, who considers the photographs that decorate
his wall: Shots of Talley in happier times with Jane and
their teenaged daughter, Amanda; Talley as a young SWAT
officer; the framed headline from the Bristo Weekly Standard
proclaiming: EX-SWAT COP NEW BRISTO CHIEF!
TALLEY
I need to work out some stuff.
JANE
You're hiding, Jeffrey. You're hiding
from the job and you're hiding from me.
TALLEY
I still see that boy's eyes.
Jane softens; she knows that a part of him is in terrible
pain. But she's in pain, too --
JANE
That happened a year ago. You've been
gone for almost six months. How long do
you have to punish yourself for something
that wasn't your fault?
Talley studies the picture of his wife and daughter. He
focuses on Amanda --
TALLEY
Is Amanda there?
Jane cups the phone and calls to her daughter. Amanda enters
and goes to the refrigerator. She's fifteen and carrying the
weight of a seriously bad attitude --
JANE
(to Amanda)
It's Dad. He wants to speak with you.
AMANDA
(doesn't even glance over)
I'm gonna see him later.
JANE
(back to Talley)
She has to go to the bathroom.
Jane turns away and lowers her voice, not wanting Amanda to hear --
JANE (CONT'D)
You're not only punishing yourself, Jeff.
Amanda and I are in this, too.
Talley knows, and he hurts like hell because of it --
TALLEY
Can we talk some more when you get here?
JANE
We'll see you in a couple of hours.
Jane hangs up without waiting for a response, then closes her
eyes, trying hard to keep herself together.
AMANDA
I don't wanna go up there. I want to
stay here with my friends.
JANE
Pack your things. You're going.
Jane stalks away without a glance back, and Amanda angrily
flips off her mother --
WITH TALLEY
He is clearly shaken by the call, but his thoughts are
interrupted when his assistant, an older woman named Louise
Vance, bursts in --
LOUISE
Mike's been shot! Someone shot Junior
Kim, too --
Talley comes around his desk --
TALLEY
What are you talking about, shot? What
happened?
LOUISE
Three white males shot Junior. Mike
followed them to York Estates --
TALLEY
Where are they?
LOUISE
York Estates. Four-five-five Castle Way.
Anders and Jorgenson are on the way.
Talley charges out --
EXT. YORK ESTATES -- CASTLE WAY -- DAY
Talley wheels into a wide, spacious cul-de-sac lined with
expensive estate homes, and pulls up behind another radio
car. Anders and Jorgenson are crouched in the street --
Bullets snap into Talley's windshield, starring the glass --
TALLEY
Sonofabitch.
Talley scrambles out of his car --
EXT. THE SMITHS' HOUSE -- TALLEY'S CAR -- DAY
Talley takes cover behind his front wheel. Anders and
Jorgenson are young guys; they've never worked a high-crime
area; they've never made a felony arrest; and right now
they're scared shitless.
Mike Welch lies on the Smiths' front lawn, forty feet away --
ANDERS
Welch is down! They shot him!
JORGENSON
We think it's the three guys who robbed
Kim's.
TALLEY
Are civilians inside?
JORGENSON
He said something about a girl --
TALLEY
Holster your guns!
Another shot cracks from the house as we hear the faint wail
of approaching sirens. Talley edges around his car, trying
to see Welch --
TALLEY (CONT'D)
(calling)
Mike! Mike, can you hear me?
ANDERS
I think he's dead!
TALLEY
Don't shout, Larry. I'm three feet away.
Talley considers the situation and comes up with a plan --
TALLEY (CONT'D)
We have to cordon off the streets, then
evacuate these houses.
JORGENSON
What are we going to do about Mike?
TALLEY
Keep your head down.
Talley scrambles back into his car. He backs up, then powers
the car up the drive and onto the front lawn --
WITH WELCH
Talley roars to a stop between Welch and the house, using the
car as a shield. More shots ping off his car as Talley
climbs out --
TALLEY
How you doing, buddy? You still alive?
Welch moans. His shirt is soaked with blood where the
bullets caught him beneath his vest. Talley can't waste
time. The siren is closer now --
TALLEY (CONT'D)
Jesus. You hang on.
Talley hoists Welch into the backseat, then dives behind the
wheel. He fishtails off the lawn and up the street --
EXT. THE CUL-DE-SAC INTERSECTION -- DAY
The ambulance waits as Talley powers to a stop --
TALLEY
He's in the backseat!
Paramedics pull Mike Welch from the car as Talley gets out.
He can see into the cul-de-sac from here, where Anders and
Jorgenson still hunker behind their car. Talley keys his
radio --
TALLEY (CONT'D)
This is Talley. Who's on?
His radio crackles with overlapping voices --
TALLEY (CONT'D)
One at a time! Clear the air!
(as they settle)
Louise? Talk to me. What do we have?
LOUISE'S VOICE
Junior Kim was DOA at the hospital.
Frantic voices once more overlap --
COP VOICES
What about Mike? Is Welch alive? What
happened?
TALLEY
(forcefully)
Quiet! I want radio discipline.
(as they quiet)
Mike's hanging in. Larry, Jorgy? Listen
up.
JORGENSON'S VOICE
Go, Chief.
TALLEY
Find out who lives at four-five-five. We
gotta know who's in there.
LOUISE'S VOICE
Chief? Mike said a young girl answered
the door.
TALLEY
Did he say if she was shooting at him?
LOUISE'S VOICE
(hesitant)
He didn't say.
TALLEY
Then we don't know if she's part of this
or not. Mickey, you up?
MIKKELSON'S VOICE
We're out two minutes, me and Dreyer.
TALLEY
Mike found a red pickup abandoned on
Flanders. You see it?
MIKKELSON'S VOICE
It's right in front of us.
TALLEY
Run a DMV on the plate for the owner's
name.
LOUISE'S VOICE
I pulled Mickey and Dreyer off the
minimart.
TALLEY
Jesus Christ, Louise, we can't leave a
crime scene like that. Put a unit out
there.
LOUISE'S VOICE
We only have eight officers on duty,
Chief.
More sirens are approaching, but their help seems too little,
too late. Talley stares up the cul-de-sac at the Smiths'
house as if this was a terrible nightmare --
TALLEY
(to himself)
That's not enough.
LOUISE
What's that, Chief? Say again.
TALLEY
Get everyone out here. Then call the
Sheriffs. Tell them we have a possible
hostage situation.
INT. WALTER SMITH'S OFFICE -- DAY
Gunsmoke fills the air. Kevin is freaking. He throws a
magazine at Mars --
KEVIN
We could've gone out the back! You
didn't have to shoot!
DENNIS
Stop it! They found the truck, Kev!
They're already behind us!
KEVIN
We should give up. All we're doing is
making it worse.
JENNIFER
Get out of our house!
Her voice cuts through the din.
Jennifer and Thomas are huddled with their father on the
floor, Jennifer's arms crossed to cover herself --
WALTER
(softly)
Quiet, Jen.
JENNIFER
Why don't they go?! Why don't they leave
us alone and go?!
Dennis charges up to her, screaming and waving his gun --
DENNIS
Shut up! Shut the fuck up!
Walter Smith slowly stands --
WALTER
None of you will get out of this.
Dennis spins toward Walter, leveling his gun --
DENNIS
Stay down! Stay down, goddamnit!
WALTER
I'm going to my desk.
DENNIS
You're not goin' anywhere! Get on the
fuckin' floor!
Dennis raises the gun to Walter's face. Walter is in
complete command of himself and nowhere near scared, but
Jennifer grabs his legs --
JENNIFER
Daddy, don't!
WALTER
(casually; to Dennis)
Take it easy, son. I'm only going to my
desk.
Walter eases past Dennis, who doesn't know what to do --
DENNIS
Get on the floor!
WALTER
I have contacts in Los Angeles. Lawyers
and judges who can help you.
Walter slips open the center drawer. Dennis thinks that
Walter might go for a gun. He screams louder and aims
between Walter's eyes --
DENNIS
I'll fuckin' kill you!
JENNIFER AND THOMAS
Daddy! Please!
Walter checks that the computer disks are in the disk case.
We can see their names clearly: MARLON and AL. He drops the
case into the drawer, then lifts out a thick booklet --
WALTER
This is every criminal lawyer in
California. If you give up now, right
now, I'll buy you the best lawyer in the
state.
Dennis slaps the book aside, even more angry --
DENNIS
We just killed a cop! We killed a fat
chinaman! We'll get the death penalty!
Dennis suddenly screams at Mars and Kevin --
DENNIS (CONT'D)
Mars, watch the cops! Kevin! Watch the
back of the house!
WALTER
You won't die if you let me help.
DENNIS
Bullshit!
WALTER
But if you stay in this house, I can
promise you this --
DENNIS
(shouting over him)
Shut up! Shut up and get on the floor!
WALTER
You can't imagine the fucking you're
going to get.
Dennis snaps. He swings the gun hard and smashes Walter on
the temple. Walter drops like a rock.
JENNIFER
Leave him alone!!
Jennifer rushes to her father's side, but Walter's out cold --
EXT. TALLEY'S CAR -- THE INTERSECTION -- A FEW MINUTES LATER
Talley is at his car with Anders and two other officers,
Leigh Metzger, a woman in her early thirties, and Cliff
Campbell, a slender guy who looks like a retired security
cop. Talley is getting information reports both in person
and over the radio --
ANDERS
(referring to notes)
The house belongs to Walter and Pamela
Smith. They've got two kids, a girl
about fifteen and a boy younger, Jennifer
and Thomas.
TALLEY
That would be the girl who opened the
door. Are the others inside?
ANDERS
The mother is in Florida visiting her
sister. The father works at home, so
he's probably inside.
Talley keys his mike --
TALLEY
(into his mike)
Louise?
LOUISE'S VOICE
Go, Chief.
TALLEY
Get a phone number for the Smiths.
MIKKELSON'S VOICE
(from the radio)
Chief, Mikkelson.
TALLEY
Go, Mickey.
MIKKELSON'S VOICE
The truck is registered to Dennis James
Rooney, white male, twenty-two. He has
an Agua Dulce address.
TALLEY
Contact the landlord. I want to know
employment, friends, family, anything we
can find out about this guy.
A news helicopter swoops overhead in a tight turn. The cops
look up --
CAMPBELL
What in hell is that?
TALLEY
(grimly)
News hawks. There'll be more. They
monitor our frequencies.
Talley realizes that his officers are staring at the
helicopter as if they've never seen one; these people have
never dealt with a crime this large, and have probably never
even seen a felon. Talley keys the mike again --
TALLEY (CONT'D)
Everyone be cool. That's our job right
now--stabilize the situation and don't
let things get out of hand. All we have
to do is hang on until the Sheriffs take
over. That's all we have to do.
No one looks particularly convinced --
METZGER
How do we do that?
TALLEY
That's my job, Metzger. That's why I get
the big bucks.
Talley puts away his mike --
INT. WALTER'S OFFICE -- DAY
Jennifer and Thomas are bent over their father, wanting to
help but not knowing how. Walter's eyes flicker as if he's
dreaming, and the lump on his head is bleeding --
JENNIFER
He's not waking up. He should be awake.
Jennifer abruptly stands and faces Dennis --
JENNIFER (CONT'D)
He needs a doctor.
DENNIS
Shut up and sit down. You think
someone's gonna make a house call?
Jennifer is scared--really, really scared--but she doesn't
sit down. Both Dennis and Mars are staring at her. She
feels naked and vulnerable. She crosses her arms again --
JENNIFER
At least let me get some ice for his
head.
Dennis finally relents and shrugs at Mars --
DENNIS
Make sure Kevin isn't fucking off back
there.
Jennifer hurries out as Mars follows --
INT. THE KITCHEN -- DAY
Jennifer goes to the counter. Kevin is at the French doors,
nervous and scared; Mars is a dark shadow behind her --
She kneels to a low cabinet when Mars kicks it shut --
MARS
I thought you wanted ice.
Mars towers over her, his groin inches from her face --
JENNIFER
I'm getting a wash cloth for the ice.
Mars gazes down at her, enjoying his size and power. He
steps closer, bringing his groin closer to his face.
Jennifer stands, holding her arms across her breasts --
JENNIFER (CONT'D)
Please get away from me.
KEVIN
(from the background)
Mars? What are you doing?
Kevin's intrusion shatters the moment. Jennifer quickly
snatches a wash cloth from the cabinet, then takes an ice
tray from the freezer and brings it back to the counter --
As Jennifer puts ice in the wash cloth, she sees the paring
knife that she used for the sandwiches partially hidden by
paper towels --
She glances at Kevin, but cannot see Mars; he's at the
refrigerator behind her. Jennifer slowly reaches for the
knife --
MARS
Hey.
Jennifer freezes, terrified. She pushes the knife behind the
Cuisinart to hide it, then turns. Mars is offering her a
beer.
MARS (CONT'D)
Want one?
JENNIFER
I don't drink beer.
MARS
Mommy won't know. You can do anything
you want right now. Mommy won't know.
JENNIFER
What I want is to help my father.
Jennifer hurries past him and disappears down the hall. Even
as she leaves the phone starts ringing --
INT. WALTER'S OFFICE -- DAY
The phone seems to ring louder here. Dennis stands over it,
watching the phone as if it's alive. The phone rings again
and again. Finally, he answers --
DENNIS
Hello?
EXT. TALLEY'S CAR -- IN THE CUL-DE-SAC -- DAY
Talley is once more behind his car. He's on his cell phone,
with Jorgenson nearby --
TALLEY
(into his phone)
My name is Jeff Talley. Is this Dennis
Rooney?
Intercut Dennis on the phone in Walter's office --
DENNIS
You with the cops?
TALLEY
The Bristo Police Department. Look out
the window. You see the car?
Dennis peers through the shutters --
DENNIS
Yeah. I'm Rooney.
TALLEY
We had an awful lot of shooting. You
need a doctor in there?
Dennis shoots a guilty glance at Walter, then lies --
DENNIS
We're cool.
TALLEY
Let me speak to Mr. Smith. I want to
hear it from him.
DENNIS
Fuck you. I'm running this shit. You
talk to me.
TALLEY
How about your two friends? You don't
have a man dying in there, do you?
DENNIS
They're fine.
Talley cups the phone to tell Jorgenson --
TALLEY
All three subjects are confirmed inside.
Call off the house-to-house.
(back to the phone)
Okay, Dennis, I want to explain your
situation --
DENNIS
(interrupting)
You don't have to explain shit! That
Chinaman pulled a gun. We wrestled for
it. That Chinaman shot himself.
TALLEY
Mr. Kim didn't make it, Dennis. He died.
DENNIS
How about the cop?
TALLEY
Dennis? I want you to release those
people.
DENNIS
Fuck that. They're the only thing
stopping you from blowing us away.
TALLEY
We're not coming in there by force, okay?
No one wants to hurt you.
DENNIS
I got these people! You try to come get
me, I'll kill every fuckin' one of them!
The phone clicks in Talley's ear as Dennis slams down the
phone --
INT. WALTER'S OFFICE -- AT THAT MOMENT
Dennis is livid with fear and rage. He paces through the
office like a trapped cat --
DENNIS
That fuckin' Chinaman is dead! That's
murder-one, dude. That's the needle!
Kevin appears in the entry, drawn by Dennis's raving --
DENNIS (CONT'D)
Get back where you belong, asshole!
Mars, keep and eye on the cops; I gotta
find a way out of here --
Dennis shoves Kevin out of the office and stalks after him --
INT. DOWNSTAIRS HALL -- DAY
Kevin dogs along beside Dennis, speaking softly so that Mars
doesn't overhear --
KEVIN
I have to tell you something --
DENNIS
We gotta find a way outta here is what we
gotta do!
KEVIN
It's about Mars --
They reach the master bedroom suite, a huge room with sliding
glass doors that overlook the pool --
KEVIN (CONT'D)
That cop didn't pull his gun. Mars lied.
He just started shooting!
DENNIS
Bullshit. Why would Mars do that?
KEVIN
I was there, Dennis! I saw! It's like
he wanted to shoot that cop.
DENNIS
You're being stupid. Check out the
bathroom. Maybe we can sneak out a
window --
Dennis shoves Kevin toward the bathroom, then steps into --
INT. THE SECURITY CLOSET -- DAY
One side is filled with racks of clothes, but the opposite
side is an industrial bank of video monitors showing a dozen
views of the house, both inside and out --
Dennis sees this stuff and stops in his tracks, awed --
DENNIS
Kev.
Kevin steps in beside him.
KEVIN
Jesus. What is this?
DENNIS
Are you totally stupid? What does it
look like?
One monitor shows Mars and the Smiths in the office, another
the kitchen, another Jennifer's room, another the front of
the house, the rear, the sides--every room and most of the
exterior can be seen --
DENNIS (CONT'D)
Look, that's the master bedroom out here.
Dennis goes out into the master, looking for the camera, and
appears on the bedroom monitor --
KEVIN
I can see you!
Dennis steps back into the closet, and this time he examines
the door. He closes it enough to reveal thick throw-bolts --
DENNIS
Dude, this is solid steel. They gotta be
hiding something.
Dennis glances over to his brother, and finds Kevin on his
knees with two black travel bags beneath the clothes --
KEVIN
Dennis --
Kevin pushes the clothes aside to reveal an open bag. It's
filled with hundred dollar bills. Dennis kneels beside his
brother and opens the second bag. It's filled with hundred
dollar bills, too --
DENNIS
Go get Mars.
INT. MRS. PENA'S FAMILY ROOM -- DAY -- ON A TELEVISION
We're watching a grainy black and white security tape of
Junior Kim's robbery/homicide. It shows Kim behind the
counter as Dennis and Mars enter --
MIKKELSON
One in front is Dennis James Rooney.
Talley, Mikkelson, Dreyer, and Anders are watching the tape,
which is currently being played in the home of Mrs. Estelle
Pena, who lives two blocks from the Smiths.
Mikkelson is a tall, strong woman; Dreyer is her opposite, a
short, dumpy man --
MIKKELSON (CONT'D)
Dennis has a younger brother, Kevin Paul--
that's him entering now, the third guy.
TALLEY
Has Dennis done time?
MIKKELSON
Just pulled thirty days for misdemeanor
burglary. He shows car theft,
shoplifting, and DUI.
Talley steps closer to the television, and taps Mars --
TALLEY
Who's this?
DREYER
We don't know.
TALLEY
Have still prints made from the tape.
Show the landlord. Maybe we can get a
fast ID.
Talley looks closer. With the way Mars is positioned, we can
see part of the tattoo on his head --
TALLEY (CONT'D)
Here on his head. Is that a tattoo?
MIKKELSON
I can't make it out.
TALLEY
Says...burn it.
On the tape, Kim slumps to the floor. Dennis vaults across
the counter and runs to the door. Mars, however, calmly
picks up Kim's gun and leans across the counter. We couldn't
see this before, but now we see a strange smile play over his
face --
DREYER
What's he doing?
TALLEY
He's watching Kim die.
Talley watches Mars, and knows that this guy is seriously
disturbed. He is still watching the tape when Leigh Metzger
calls from the door --
METZGER
Chief?
Talley turns. Metzger is with Amanda and Jane --
EXT. MRS. PENA'S HOUSE -- DAY
Talley, Jane, and Amanda are walking to the street. Amanda
is excited; she thinks this is cool --
AMANDA
Are men with guns really barricaded in a
house?
TALLEY
Just around the corner and up that
street. See the helicopters?
Five news choppers now hover high over the house. The crime
scene is only two blocks away. Close.
JANE
Wait by the car, Mandy. Give me a minute
with Dad.
They wait until Amanda is gone, then --
TALLEY
(apologizing)
I should've called. This thing broke
right after we spoke, then everything
happened so fast --
JANE
Don't worry about it. How are you doing?
TALLEY
The Sheriffs will take over when they get
here.
JANE
But they're not here yet. Tell me about
you.
Jane touches his arm --
JANE (CONT'D)
Jesus, you're shaking.
Self-conscious, Talley moves away so that he's out of reach --
TALLEY
Why don't you guys grab some dinner at
the Thai place? I'll meet you there as
soon as I can.
JANE
You sure?
TALLEY
I don't know how long I'll be stuck here.
JANE
I'm in no rush. Maybe later we can talk.
Talley gives her a gentle nod, then watches her walk away
until --
TALLEY
Jane?
She turns back, her eyes asking 'what?'
TALLEY (CONT'D)
I'm scared shitless.
JANE
That's okay. I love you anyway.
Talley and Jane share the moment, and then she walks away.
EXT. YORK ESTATES -- DAY
A news chopper swings by overhead bringing us to the main
entrance of York Estates. The entrance has been blocked, and
cars are being turned away, so traffic is backed up both ways
along the street --
INT. GLEN HOWELL'S CAR -- DAY
Glen Howell is a nice-looking man in his early forties:
Sport coat, gold Rolex, deep tan. He hammers the horn of his
Mercedes S600 sedan, but it does no good; traffic is frozen --
A news van trying to work up the line pulls alongside, then
gets jammed by the crunch like everyone else. Howell rolls
down the window --
HOWELL
Hey, you guys know what's going on?
An attractive Asian-American reporter leans from her window
to answer --
REPORTER
Three men took a family hostage.
HOWELL
Jesus, no shit? My client lives in
there.
The reporter checks her notes --
REPORTER
It's a family named Smith, Walter and
Pamela Smith. Do you know them?
Howell stares at her emptily, then shakes his head --
HOWELL
No. No, I don't know them. Thanks for
your time.
Howell pulls a U-turn to get out of traffic. He flips open
his cell phone and presses the speed dial --
HOWELL (CONT'D)
(into his phone)
We have a problem out here.
INT. SONNY BENZA'S OFFICE -- PALM SPRINGS -- DAY
We're in a palatial home on the ridge overlooking Palm
Springs. On the cut, Sonny Benza, Phil Tuzee, and Charlie
Fischer are watching TV news coverage of the situation in
Bristo Camino --
TUZEE
Worst case, it's a bloodbath. The
detectives come out with Smith's
computer, and we go directly to jail, do
not pass Go.
BENZA
Maybe Glen already picked up the disks.
TUZEE
I took the call from Glen personally.
They're still in Smith's house.
Fischer tries being positive --
FISCHER
Maybe we're getting too dramatic. It's
three kids. They'll give up, the cops
will arrest them, and that's that. Why
would they search the house?
BENZA
You think we should take that chance?
FISCHER
(on the spot)
I guess not.
BENZA
I guess not, too. How much information
is in the house?
TUZEE
Smith was cooking the books for the IRS.
That means he has it all: The cash flow,
where it comes from, how we launder it,
our split with the East.
FISCHER
It's on two computer disks he calls
Marlon and Al.
BENZA
What, he's cute? That's his idea of
humor?
FISCHER
If the Feds get those disks, the East
Coast is gonna take a hit, too. You
should let them know.
BENZA
No way. I tell them, that Old Man is
gonna handle this from back there.
TUZEE
You should warn them, Sonny.
BENZA
Fuck them! Now get your head in the
game, Phil--we have to handle this.
Benza turns back to the television --
BENZA (CONT'D)
Put our people on the scene. Smith might
talk just to cut a break for his kids.
TUZEE
He knows better than that.
BENZA
Bullshit--a man will do anything to save
his family. Who's running the show up
there?
FISCHER
They have a chief of police, a guy named
Talley. I saw him being interviewed.
The television suddenly shows Talley making a statement. He
looks tired and haggard --
FISCHER
(pointing)
Hey, that's him. That's Talley right
there!
Benza studies Talley, then looks at his lieutenants --
BENZA
Find out how we can hurt him. By the end
of the day, I want to own him.
TUZEE
It's happening right now.
That's exactly what Benza wanted to hear.
EXT. THE DESERT ROSE MOTEL -- DAY
A low-rent motel on the road between Bristo Camino and
Newhall. Glen Howell's Mercedes is parked on the side, along
with several other cars.
It's late-afternoon going into evening. The sun is sinking
fast --
INT. HOWELL'S ROOM -- DAY
Howell is being briefed by his operators, four men and two
women. There's a minimum of bullshit; these people are
professionals --
Ken Seymore is an intense, compact man who talks fast --
SEYMORE
L.A. County Sheriffs are inbound from a
bank robbery in Pico Rivera.
HOWELL
Give me an ETA.
SEYMORE
An hour, tops. Might be sooner.
Duane Manelli speaks up --
MANELLI
When the Sheriffs get here, how many we
looking at?
SEYMORE
(checking his notes)
A command team, a negotiating team, a
tactical team--the tac team includes a
perimeter team, the assault team,
snipers, and breachers--thirty-five new
bodies.
HOWELL
How many locals?
Gayle Devarona, one of the women, leans forward --
DEVARONA
Fourteen officers and two civilians. I
have their names and most of their
addresses.
She tosses a yellow legal pad onto the table --
HOWELL
And Talley?
DEVARONA
Married but separated, ex-LAPD. The fam
doesn't live here, but they're coming up
today. I got his address there.
MANELLI
The cops I talked to, they said Talley
was a hostage negotiator in LA.
DEVARONA
His last three years on the job. Before
that, he was SWAT.
Mike Ruiz joins in --
RUIZ
How's a SWAT negotiator make it up here
to this shithole?
DEVARONA
I make him for a stress release.
HOWELL
Good work, Gayle--everybody. Now stay
ahead of the curve. I want to know
everything that happens before it
happens. I'll cover Talley.
Howell tears Talley's address off the yellow pad. This
meeting is over --
SEYMORE
What if it goes south?
HOWELL
What do you mean?
SEYMORE
If things get wet, we're going to need
someone who can handle that end.
HOWELL
You worry about your end. I got my side
covered.
Howell tucks the address in his pocket and goes to the door.
EXT. DONUT SHOP -- NEWHALL, CALIFORNIA -- NIGHT
The sun has set. The donut shop glows greasily at the end of
a strip mall. It is empty except for the overweight woman
behind the counter and a lone man seated at a window booth --
INT. THE DONUT SHOP -- NIGHT
The man in the booth is named Marion Clewes. He's an average
looking guy, more or less, except for the strange cant to his
right eye and the thin black tie he wears over his white J.
C. Penney shirt. His jacket doesn't fit quite right, but not
so much as you'd notice. Marion could disappear into a crowd
just by being so ordinary. That's the point.
A fat black desert fly, heavy with juice and thorny with
coarse hair, buzzes past --
Marion watches it, only his eyes moving --
The fly lands in the sprinkles of sugar on the table --
Marion watches it, then, suddenly, with no warning, his hand
flashes out, slamming down on the table.
He holds his hand in place, feeling for movement, then slowly
peeks under his hand --
The fly oozes sideways, legs kicking, trying to walk. One
wing beats furiously; the other is broken --
Marion examines his hand. A smear of fly goo and a single
black leg streaks his third finger. Marion touches his
tongue to the smear --
The woman behind the counter watches this, her eyes widening
with disgust --
Marion holds the fly in place with his left index finger, and
uses his right to break away another leg. He eats this leg,
too --
The woman disappears into the rear --
Headlights flash across the glass, and Marion swivels around
to see Howell's Mercedes pull up --
Marion carefully pushes the still-alive fly aside as Glen
Howell takes a seat across from him. Howell puts the yellow
slip with Talley's address on the table --
HOWELL
Talley lives here. I don't know if the
place has security or not.
MARION
It won't be a problem.
HOWELL
He has a wife and kid. That's how
we'll get to him.
MARION
Okey-doke.
HOWELL
We have to own this guy, Marion. We
don't want him dead; we need to use him.
Marion puts Talley's address into his pocket.
MARION
Can we make him dead after we use him?
Glen Howell slides out of the booth without answering.
Marion creeps him out --
HOWELL
Whatever you want. Page me when you're
done.
Howell starts away, then turns back --
HOWELL (CONT'D)
Donuts here any good?
MARION
I don't eat junk food.
Howell frowns like he might've known, then walks away.
Marion turns back to the fly --
It lays there, still, until Marion prods it. The remaining
wing flutters --
Marion breaks off the remaining wing and eats that, too.
EXT. COMMAND STREET -- NIGHT
Talley and Leigh Metzger stride through a pool of street light
as she reports --
METZGER
PacBell shows six lines into the house.
They blocked all six like you wanted.
TALLEY
I have the only number that can call into
the house?
METZGER
Yes, sir. They'll only accept calls from
your cell.
TALLEY
Way to go.
They arrive at Larry Anders, who is waiting at his car with a
slim, nervous cement contractor named Brad Dill --
ANDERS
Chief, this is Brad Dill. Dennis and
Kevin work for him.
DILL
I didn't know anything about this. I
didn't know what they were gonna do.
TALLEY
Mr. Dill, these pricks didn't know what
they were going to do until they did it.
I want you to take a look at something.
Metzger holds out a still picture that was made from Junior
Kim's security tape --
TALLEY (CONT'D)
Can you identify this man?
DILL
That would be Mars Krupchek. Jesus, he
works for me, too.
TALLEY
(to Metzger)
Have Louise run the name 'Mars Krupchek'
through DMV and NCIC. Tell her to list
the tattoo as an identifier.
Metzger hurries away as Talley turns back to Dill --
TALLEY (CONT'D)
Is Krupchek an aggressive guy? Hot-
tempered? Anything like that?
DILL
Keeps to himself, more like.
TALLEY
You have his address?
DILL
Pretty sure I do. Yeah, here we go --
Dill pulls out a tattered address book. Talley hands the
book to Anders, who copies the address --
TALLEY
(to Anders)
Call the Palmdale City Attorney for a
telephonic search warrant. When you get
the warrant, have Mikkelson and Dreyer
search his house.
ANDERS
Yes, sir.
Anders turns away as Metzger calls from Mrs. Pena's door --
METZGER
Chief! The Sheriffs are ten minutes out!
Talley has wanted to hear that, but now his sense of relief
is tempered by something he did not expect: Loss.
Talley keys his shoulder mike --
TALLEY
(into his radio)
Louise?
LOUISE'S VOICE
Go, Chief.
TALLEY
Call Jane for me. She's at the little
Thai place.
LOUISE'S VOICE
I know the one.
TALLEY
Tell her I'm almost home.
INT. SMITH'S SECURITY CLOSET -- NIGHT
Dennis is on the floor with the money, touching it, feeling
it, smelling it. Mars is standing over him, profoundly
unmoved --
DENNIS
There's gotta be a million bucks here.
Maybe two million!
Mars turns away from the money to consider the monitors and
the door --
MARS
It's a safety room. If anyone breaks
into your house, you can hide.
DENNIS
Who gives a shit, Mars? Check out the
cash! We're rich.
MARS
We're trapped in a house.
Mars walks away --
INT. DOWNSTAIRS HALL -- NIGHT
Dennis and Mars are returning to the front of the house,
Dennis irritated at Mars's lack of enthusiasm --
DENNIS
We can take it with us.
MARS
You can't run with suitcases.
Dennis grabs Mars by the arm, stopping him --
DENNIS
Then we'll stuff it up our asses. This
is the payoff. This is every dream you
ever had, all in those two bags.
Mars continues on without responding, Dennis angrily
following --
INT. WALTER'S OFFICE -- NIGHT
Kevin is grimly watching news coverage of their standoff as
Mars and Dennis enter. A female anchor is reporting on the
events at York Estates with Dennis's booking photo cut into
the picture --
ANCHOR
(from the tube)
-- thought to be Dennis James Rooney.
Rooney was recently released from the
Antelope Valley Correctional Institute
where he served time for robbery.
Dennis spots himself on television and breaks into a big
smile --
DENNIS
(thrilled)
Check me out! I look like fuckin' Jon
Bon Jovi.
Kevin is anything but thrilled --
KEVIN
Everyone knows what we look like, Dennis.
We won't be able to hide.
DENNIS
Jesus, first Mars, now you. You two need
anti-depressants.
Across the room, Walter Smith shudders and moans; his face is
swollen and covered with clammy sweat --
Jennifer is sick with worry and can't stand seeing her father
like this --
JENNIFER
My father needs a doctor. Please.
DENNIS
Hey, I've got a situation here, in case
you haven't noticed.
JENNIFER
All you're doing is watching yourself on
TV. Look at him.
DENNIS
Use more ice.
JENNIFER
I'm getting a doctor!
Jennifer lurches to her feet and runs toward the front door.
Dennis catches her in two steps and backhands her exactly the
way his old man used to smack his old lady, knocking her to
the floor --
THOMAS
Jen!!!
Thomas charges into Dennis like an angry midget. Kevin jumps
between them --
KEVIN
Stop it! Stop it, Dennis! Jesus!
Mars steps forward and jerks Thomas into the air. Mars'
physical presence is suddenly so imposing that everyone stops
fighting --
MARS
(quietly)
We should tie them. We can put them
upstairs out of the way.
It takes Dennis a moment to come up to speed with that, but
then he nods --
DENNIS
That's right. That's a good idea, Mars.
MARS
(to Kevin)
Find something: Extension cords, rope,
wire--we'll have to tie them tight.
DENNIS
Find something, Kevin. Don't just stand
there.
(waves at Walter)
And tie this bastard, too. I don't want
him waking up and goin' Rambo on us.
Mars nods his approval. Subtly, there is the beginning of a
shift in power --
INT. JENNIFER'S BEDROOM -- NIGHT
Mars pushes Jennifer inside. Kevin follows her with duct
tape and a couple of extension cords. Mars, holding Thomas,
pauses in the hall --
MARS
Tie her to the chair. I'll take care of
the windows when I finish with the boy.
Mars disappears with Thomas down the hall. Jennifer stands
by the chair, arms once more crossed over her breasts.
Kevin can see that she's scared. He takes a T-shirt from
where she's left it on the floor and hands it to her --
KEVIN
Here. Put this on.
She pulls it over her head --
KEVIN (CONT'D)
You gotta pee?
JENNIFER
I don't see why you can't just lock me
in. It's not like I can go anywhere.
KEVIN
Either I'm going to tie you or Mars will
tie you. Which do you want?
Jennifer sits. Kevin pulls her hands behind the back of the
chair. As he ties her, Jennifer decides that if any of them
can be reached, it's Kevin --
JENNIFER
Thanks for the shirt.
KEVIN
Whatever.
JENNIFER
Kevin, my father needs a doctor.
KEVIN
He's just knocked out. I've been knocked
out.
JENNIFER
If my father dies they'll charge you with
his murder. Can't you make Dennis see
that?
Kevin leans back. He knows she's right, but he doesn't
believe he can do anything about it --
KEVIN
I can't make Dennis see anything.
A shadow moves behind Kevin. It's Mars, standing in the
door. He holds up a wicked claw hammer --
MARS
Look what I found.
He enters and tests at Jennifer's binds --
MARS (CONT'D)
You tied her like a pussy. Make it
tight.
As Kevin reties the bindings, Mars rips the phone from the
wall. He smashes the phone jack with the hammer, crushing
it. Then he goes to the window and drives a heavy nail into
the sill, nailing the window closed --
Mars returns to Jennifer and once more checks her binds --
MARS (CONT'D)
Better.
He tears off a strip of duct tape and presses it over her
mouth --
KEVIN
Make sure she can breathe.
Mars rubs his fingers hard over the tape covering her mouth.
He massages the tape into her skin, slow, sensual --
MARS
Go downstairs, Kevin.
Jennifer looks at Kevin, her eyes pleading that he not leave,
but Kevin is cowed; he leaves --
Jennifer looks back at Mars --
Mars leans close to her. She is terrified that he is going
to kiss her, but, instead, he sniffs, smelling her --
MARS (CONT'D)
I want to show you something.
Mars hooks the claw hammer under his shirt and lifts to
expose his chest. A large tattoo in flowing script is lined
across his body: A Mother's Son.
MARS (CONT'D)
It cost two hundred forty dollars, but I
was happy to spend it. I love my mom.
You see these?
Mars points out hard gray knots that speckle his chest as if
he were diseased. He fingers the lumps sensuously as if
touching them excites him --
MARS (CONT'D)
My mom burned me with cigarettes.
Jennifer is both disgusted and terrified. Mars stares at her
emptily for another moment, then lowers his shirt and leaves
without another word.
INT. THOMAS'S ROOM -- NIGHT
The room is dark. Thomas is tied firmly to the bed. The
cords cut into Thomas's wrists and Thomas can't reach the
knots, but Mars made one mistake: He tied Thomas to the
headboard posts, and one of the newels has been loose for
years --
Thomas stretches against the ropes to reach the newel, then
twists it back and forth. He works it harder and harder
until the newel slides off its pin, and suddenly his hand is
free, though still tied to the newel --
Thomas peels the tape from his mouth, then unties the
remaining binds and frees himself from the newel. He slips
off his bed and crawls along the wall to his closet --
INT. THOMAS'S CLOSET -- NIGHT
A service hatch that opens into the attic crawlspace is built
into the wall beneath Thomas's clothes. Thomas prys open the
hatch, then reaches inside for a small flashlight. He flicks
it on, then climbs into the eaves of the roof --
INT. CRAWLSPACE -- NIGHT
The crawlspace is a long triangular tunnel that follows the
edge of the roof. It was built for plumbers and air
conditioning technicians, but Thomas has taken the space for
his own: Witness the stack of Penthouse, pictures of sports
heroes tacked to the rafters, and old soda cans strewn
between the joists --
Thomas scurries quietly through the tunnel, heading for --
INT. JENNIFER'S CLOSET -- NIGHT
Thomas pushes through a hatch identical to the one in his own
closet, then creeps to the door --
THOMAS
(whispers)
Jen!
INT. JENNIFER'S ROOM -- NIGHT
Jennifer twists around to see him, mumbling through the tape --
THOMAS
Sit still! If they're in the security
room, they can see you on the monitors.
Jennifer quiets. Thomas slips out of the closet and creeps
toward her along the wall --
THOMAS (CONT'D)
I figured out what these cameras can see
last year when Mom and Dad went to Lake
Arrowhead. It can't see me over here,
but it's looking at you, so don't move!
Thomas reaches up from behind Jennifer and jerks the tape off
her mouth --
JENNIFER
Ow! Shit!
THOMAS
Be quiet! Listen!
Thomas is hiding behind Jennifer so that the camera cannot
see him --
JENNIFER
No one's coming.
THOMAS
That big asshole nailed my windows.
JENNIFER
Mine, too.
THOMAS
We can use the crawlspace to get
downstairs. Then we can run for it.
JENNIFER
No! I'm not going to leave Daddy with
them!
Thomas thinks about that and decides that he can't leave
their father, either --
THOMAS
We can't carry him.
JENNIFER
You go, Thomas. You get out, and I'll
stay with Daddy.
THOMAS
I'm not gonna leave you!
JENNIFER
Go! If you get out, maybe you can help
the police!
Thomas suddenly realizes what he has to do --
THOMAS
We'll all go, Jennifer. All of us or
none of us. I know where Daddy keeps a
gun.
Jennifer jerks so hard that she almost tips over the chair --
JENNIFER
(loud)
You leave that gun alone!
THOMAS
Shh, they'll hear you!
JENNIFER
(louder)
Better than you getting killed! Don't
touch that gun! Daddy says --
Thomas slaps the tape back over her mouth. Jennifer
struggles helplessly as Thomas slips back into the closet,
and is gone --
EXT. YORK ESTATES -- STREET -- NIGHT
The Sheriff's Crisis Response Team rolls through the streets
like an invading army: A brown sedan leads a huge van known
as the Mobile Command Post, which is followed by a Sheriff's
SWAT support vehicle, two SWAT Suburbans, and four radio
units.
Pools of light from the helicopters follow their progress --
EXT. COMMAND STREET -- NIGHT
Talley walks out to meet the lead vehicle as the convoy
stops. Up and down the row, uniformed Sheriffs pile out of
their vehicles and off-load their gear --
Two people climb out of the lead car: Will Maddox, a
bespectacled African-American Sheriff's SWAT negotiator, and
Captain Laura Martin, the CRT commander --
TALLEY
I'm Talley. Who's in charge?
MARTIN
Laura Martin. This is Will Maddox, the
primary negotiator --
MADDOX
Is the perimeter around the house secure?
TALLEY
I've got fourteen officers on my
department including me. We're as secure
as we can be.
MADDOX
(to Martin)
Permission to deploy the line?
MARTIN
Do it.
TALLEY
(to Maddox)
Don't crowd the house. The alpha's a kid
named Rooney. He's amped up and
volatile.
Maddox turns away to bark orders into his shoulder mike --
MARTIN
Sounds like you know the job.
TALLEY
I've done it once or twice. I blocked
their phones to incoming calls, so you'll
have to cut in a hard line to talk to
him.
MARTIN
(over her shoulder)
Maddox! You got that?
MADDOX
Doing it now!
MARTIN
(back to Talley)
I'd like you to brief my supervisors
before we take over the scene.
TALLEY
Whatever you want.
Talley and Martin hurry toward her troops --
INT. THE SMITHS' GARAGE -- NIGHT
The garage is dark, lit only by the light that comes from the
kitchen's open door, as Dennis, Mars and a reluctant Kevin
enter --
KEVIN
Someone should stay with Mr. Smith. What
if he wakes up?
DENNIS
(annoyed)
That's why we tied him, dumbass. Now
come here and see this --
Dennis shows them a small casement window, and pushes open
the window to reveal a thick hedge --
DENNIS (CONT'D)
(excited)
These bushes follow the wall into the
neighbor's yard. All we need is some
kind of diversion and we're home free.
KEVIN
That's crazy, Dennis. The cops will see
us.
DENNIS
Not if they're looking at something else.
KEVIN
Like what?
MARS
Let's burn the house.
Mars says it so simply that the moment is frozen. Mars is
holding the big claw hammer, kneading it as if it was a
living thing. His face is masked by shadows, but his eyes
both glow as if already reflecting flame --
INT. CRAWLSPACE ABOVE THE LAUNDRY ROOM -- NIGHT
We see Dennis, Kevin, and Mars through a slit overhead as
they emerge from the garage and move back into the house --
Thomas is watching them. He has cracked open the service
hatch in the laundry room ceiling to make sure that his way
is clear --
INT. LAUNDRY ROOM -- NIGHT
The room is dark. When Dennis and the others are gone, the
ceiling hatch lifts, and Thomas lets himself down. He slides
onto the washing machine and then to the floor --
Thomas cups one hand over his flashlight and turns it on. He
lets light leak through his fingers so that he can see. The
beam cuts across a door to the garage, car keys on key hooks,
and Jennifer's purse hanging from one of the hooks --
INT. HOBBY ROOM -- NIGHT
This is a small room off the end of the laundry with a work
bench, a stool, and shelves above the bench for Walter's
hobby supplies --
Thomas shines the light over the shelves, spotting the hard
plastic pistol case on the highest shelf. That's the target;
that's the goal --
Thomas uses the stool to climb onto the bench --
INT. MASTER BEDROOM -- NIGHT
Dennis is in the doorway to the security closet, handing out
one of the money bags to Kevin --
KEVIN
We can't carry all this. It's too heavy.
DENNIS
I've been carrying you our whole fuckin'
lives.
Kevin drops the bag and tries to reason with his brother --
KEVIN
Everything we're doing is making it
worse. You can't let him burn this
house.
Dennis abruptly grabs Kevin by the throat, his face hard with
fury --
DENNIS
Nothing's worse than listening to you.
I'm warning you, Kevin--stop holding me
back. Now you pick up that fuckin' money
and get ready to go.
Dennis glares at Kevin another moment, then lets go and steps
back into the closet --
INT. THE CLOSET -- NIGHT
Dennis lifts the second bag of cash when the monitors catch
his eye: The Sheriffs SWAT unit can be seen moving into
position. Dennis totally freaks --
DENNIS
They're coming! Kev, Mars, they're
coming!!!
Dennis drops the cash and bolts out of the closet --
INT. KITCHEN -- NIGHT
Mars is placing two buckets of gasoline in the hall as Dennis
and Kevin pound down the hall --
DENNIS
The cops are comin'!
MARS
I got the gasoline --
DENNIS
We don't have time!
Dennis runs to the French doors. He sees lights at the rear
of the property and SHOOTS through the glass --
DENNIS (CONT'D)
Get the kids! They're our only chance!
Dennis FIRES AGAIN and runs for the stairs --
INT. HOBBY ROOM -- NIGHT
Thomas is straining to reach the pistol which is a fraction
of an inch beyond his grasp when he hears Dennis shouting --
Thomas glances helplessly at the gun case--so near, yet so
far--then scrambles off the bench and --
INT. LAUNDRY ROOM -- NIGHT
Thomas is climbing onto the washing machine when he once more
sees Jennifer's purse hanging on a key hook --
Thomas jumps from the washer, grabs the purse, then scrambles
into the ceiling as GUNSHOTS ECHO through the house --
EXT. COMMAND STREET -- NIGHT
Martin, Maddox, and her supervisors are gathered around
Talley when the gunshots crack across the neighborhood --
TALLEY
(startled)
Who's that shooting? Martin, what's
going on?
Radio transmissions crackle over Martin's radio --
RADIO VOICES
Shots fired! We are taking fire on the
back wall!
Talley immediately knows what's happening, and he knows why --
TALLEY
They're too close! I told you not to
crowd him! Pull back your people; do not
breach that house!
Talley sprints toward the cul-de-sac --
INT. CRAWLSPACE -- NIGHT
Thomas races through the narrow black tunnel. He slips off
the rafters and almost falls through the ceiling. He's
losing precious time --
INT. THE STAIRWELL -- NIGHT
Dennis and Mars pound up the stairs, getting closer to his
room --
INT. THE CRAWLSPACE -- NIGHT
Thomas pushes his way into his closet --
INT. UPSTAIRS HALL -- NIGHT
Dennis and Mars reach the second floor --
INT. THOMAS' ROOM -- NIGHT
Thomas scrambles into bed just before Dennis jerks open the
door. Dennis drags him off the bed and carries him out of
the room --
EXT. CUL-DE-SAC -- NIGHT
Talley, Martin, and Maddox run into position behind a
Sheriff's unit where a deputy has set up the dedicated crisis
phone --
Talley grabs up the phone --
TALLEY
(to the deputy)
This thing good?
Talley doesn't wait for the confused deputy to answer; he
presses the button in the handle that dials the phone --
MADDOX
What in hell are you doing? He's
shooting at my men!
The phone rings in Talley's ear --
TALLEY
(to Maddox)
Then get your men off the wall!
(to Martin)
You breach that house, we're gonna have a
bloodbath! I know this guy, Captain --
I can talk to him.
MARTIN
(to Maddox)
Order your men to stand down.
The phone is still ringing. Talley pulls the mike from the
deputy's car and speaks over the public address --
TALLEY
(over the p.a.)
Look out the window, Dennis. We are NOT
entering the house. We're pulling back.
INT. SMITH'S OFFICE -- NIGHT
Dennis is holding Thomas around the neck, using the boy as a
shield. Kevin is cowering on the floor and Mars is holding
Jennifer. Dennis snatches up the phone --
DENNIS
(screaming into the phone)
You fuck! I got a fuckin' gun to this
kid's head! I'll kill'm, you fuck!
Intercut Talley outside --
TALLEY
It's over now, Dennis! Don't hurt
anyone.
DENNIS
(still screaming)
We'll burn this fuckin' place down! I
got gasoline all over in here!
Talley takes a deep breath; he forces himself to speak
quietly, calmly --
TALLEY
No one's coming in. A couple of guys out
here got carried away.
Dennis peers out the front. Talley's careful manner is
calming him --
DENNIS
Goddamned right they got carried away.
It looks like an army out there.
Talley mutes the phone to speak to Martin --
TALLEY
(to Martin)
It's over. He's cooling off.
Talley glances at Maddox. Maddox nods, his expression saying
that Talley was right --
DENNIS
Talley?
TALLEY
(back into the phone)
I'm here.
DENNIS
I want a helicopter to take us to Mexico.
TALLEY
That's not going to happen, Dennis. They
won't give you a helicopter.
DENNIS
I'll give you these people.
TALLEY
The Mexican police would arrest you as
soon as it landed. There's only one way
out and you're doing it right now--just
keep talking to us.
(mutes phone; to Martin and
Maddox)
I think we could make the transition now.
Maddox, you good to go?
Maddox nods at Martin; he's good to go --
TALLEY (CONT'D)
(to Dennis)
Hey, Dennis? Can I let you in on a
personal secret?
DENNIS
(hesitantly)
What?
TALLEY
I gotta piss real bad.
Dennis can't help himself; he laughs --
DENNIS
You're a funny guy, Talley.
TALLEY
I'm going to put on an officer named Will
Maddox. You talk to him for a while.
Talley hands the phone to Maddox, who moves past Talley for a
better view of the house. Talley looks grimly at Martin --
TALLEY (CONT'D)
He says he has gasoline set to burn the
place.
MARTIN
Jesus. He must've siphoned it from the
cars.
TALLEY
If you go in, you can't use tear gas or
flashbangs. The whole place would go up.
MARTIN
(not without humor)
Looks like you're bailing out at the
right time.
TALLEY
(returns her smile)
That's why you get the big bucks,
Captain.
Talley is moving away when his radio pops --
LOUISE'S VOICE
Chief, base.
TALLEY
(keying his shoulder mike)
Go.
LOUISE'S VOICE
I couldn't find Jane. She wasn't at the
restaurant.
TALLEY
You have her cell number?
LOUISE'S VOICE
She didn't answer.
TALLEY
They might be at the house. Keep trying
and let me know. I'm going to be here a
little while longer.
Talley closes his phone and continues away --
INT. WALTER'S OFFICE -- NIGHT
Dennis and Kevin are at the television, watching an aerial
view of the Sheriffs deploying around the house. Jennifer
and Thomas are huddled by their father --
KEVIN
We're surrounded. They're all over the
neighborhood.
Mars enters carrying candles and flashlights. He lights a
candle and place it on a table --
DENNIS
What the fuck is that?
MARS
They'll cut the power.
Mars tosses a flashlight to Dennis --
JENNIFER
What about my father?
DENNIS
Aw, Jesus, not more of this.
JENNIFER
Look at him! I think he's dying!
DENNIS
(to Kevin and Mars)
Take'm back upstairs, but don't tie'm
like before. That little fuck untied
himself anyway.
Dennis returns to the shutters as Mars and Kevin take the
kids --
INT. THOMAS' ROOM -- NIGHT
Mars shoves Thomas into the room, then lifts the claw hammer.
For an instant, we think he's going to hit the boy--but he
smashes off the door knob, instead.
Mars glares at Thomas, then pulls the door closed. The knob
on Thomas's side is gone; there's no way for Thomas to open
the door.
But that's okay by Thomas. He waits until he's sure that
Mars is gone, and then he hurries back to his closet --
INT. THOMAS' CLOSET -- NIGHT
Thomas pulls open the hatch, fishes out his flashlight, then
dumps the contents of Jennifer's purse on the floor.
He picks up her cell phone.
INT. MRS. PENA'S BATHROOM -- NIGHT
Talley closes his eyes with a blissful expression as a
familiar sound fills the bathroom; he's taking a piss.
His radio crackles --
LOUISE'S VOICE
Chief, base.
Talley finishes his business, and keys his mike --
TALLEY
Did you find Jane and Mandy?
LOUISE'S VOICE
Could you call me back on your phone?
Right away.
TALLEY
What's wrong with the radio?
LOUISE'S VOICE
(hesitantly)
Other people can hear us. Just call.
Please.
TALLEY
Stand by.
Now Talley is worried. He pulls out his phone and punches
the speed dial. It rings only once --
Intercut Louise, at her desk outside Talley's office --
TALLEY (CONT'D)
Is something wrong with Jane?
LOUISE
We have a boy on the line. He says he's
Thomas Smith and he's calling from the
house.
TALLEY
It's a crank, Louise. C'mon, don't waste
my time with that!
LOUISE
His cell number belongs to the Smiths. I
think it's real, Chief. I think this boy
is inside that house.
Talley worries it only for a moment --
TALLEY
Put him on.
Talley pushes out of the bathroom into --
INT. MRS. PENA'S FAMILY ROOM -- NIGHT
He flags Leigh Metzger as he cups the phone --
TALLEY
(to Metzger)
Get Martin. Right away.
As Metzger hurries away, we intercut Thomas, hiding in the
shadows on his bed, whispering so as not to be overheard --
TALLEY (CONT'D)
(into the phone)
This is Chief Talley. Tell me your name,
son.
THOMAS
Thomas Smith. I'm in the house that's on
TV. Dennis hit my dad and now he won't
wake up. You gotta help him.
Talley can tell by the tremor in the boy's voice--this is for
real --
TALLEY
Slow down, Thomas. Take it easy and talk
to me. Was your father shot?
THOMAS
Dennis hit him. His head's all big and
he won't wake up. I'm really scared.
TALLEY
How about you and your sister?
THOMAS
We're okay.
TALLEY
Where are you right now?
THOMAS
In my room.
Talley hurries to a large sketch of the Smiths' floor plan
laid out on the dining room table --
TALLEY
That's on the second floor. Could you
climb out your window if we were
downstairs to catch you?
THOMAS
They nailed the windows. I can't get'm
open.
Martin enters with Leigh Metzger. Talley cups the phone to
give her the headline --
TALLEY
(to Martin)
I've got the boy on the phone. He's
using a cell phone.
(back to Thomas)
What was that, son? I didn't hear you.
THOMAS
If I try to climb out they'll see me on
the security cameras. They would see you
outside, too --
Thomas hears someone outside his door --
THOMAS (CONT'D)
They're coming!
Thomas hangs up, jamming his phone behind the bed --
TALLEY
Thomas? Thomas...?
Talley lowers the phone --
TALLEY (CONT'D)
He says that his father's hurt.
MARTIN
If we have a man dying in there, we'll
have to go in.
TALLEY
They have security cameras. Rooney would
see you coming.
MARTIN
Did the boy say that any of them are in
immediate danger?
TALLEY
No. He said that his father's
unconscious; he didn't say he was dying.
MARTIN
Then I think we should wait. Do you
agree?
Talley finally nods --
TALLEY
You want me to stick around, I could --
MARTIN
You've been here all day, Chief. Take a
break. See your family. If I need you,
I'll call.
Talley looks like the most tired guy in the world. He nods
his good-night, then turns away --
INT. TALLEY'S CAR -- NIGHT
Talley slides into his car outside Mrs. Pena's home. He's
got a lot on his mind, and not all of it centers around 455
Castle Way. He punches a number into his cell phone --
He listens to ringing, and then his own voice answers --
TALLEY'S VOICE MESSAGE
This is Jeff Talley. Leave your name and
number after the beep.
We hear the beep, then --
TALLEY
(into his phone)
Jane? If you're there, pick up, okay?
Mandy?
No one answers. Talley closes his phone, his apprehension
increasing --
EXT. YORK ESTATES FRONT GATE -- NIGHT
The Bristo officers manning the gate swing the blockade aside
and wave Talley through --
EXT. MEDIA AREA -- NIGHT
The assembled television microwave vans, radio newsvans, and
reporters are parked together in an empty lot one block from
the front gate.
Ken Seymore steps into the street, speaking into a cell phone
as he watches Talley drive away --
SEYMORE
(into his phone)
He's leaving now.
EXT. RED LIGHT INTERSECTION -- DAY
A traffic light on the outskirts of town, deserted until
Talley's car pulls to a stop --
INT. TALLEY'S CAR -- NIGHT
Suddenly, two masked men point guns at his head, one from the
driver's side, one from the passengers. They're wearing
jackets, black ski masks, and gloves. The man on the
passenger side sports a big gold Rolex, so we'll call him the
Watchman --
THE WATCHMAN
(meaning the gun)
Do you see the fuckin' gun?! Look at it!
Talley freezes. He's been blindsided by this insane shit,
but he knows better than to move --
TALLEY
Take it easy.
The man on the driver's side gets into the backseat, then the
Watchman gets into the passenger side. The man behind Talley
hooks an arm around Talley's throat while the Watchman
searches for Talley's gun --
THE WATCHMAN
Where's your gun?
TALLEY
I'm the Chief. I don't carry it.
The Watchman nods at the backseater, who releases Talley.
A dark green Mustang roars up ahead of Talley's car. A
second car tucks in tight on Talley's rear --
TALLEY (CONT'D)
Who are you?
THE WATCHMAN
Follow the Mustang. We won't go far.
The Mustang pulls out, and Talley follows.
EXT. A DESERTED ALLEY -- NIGHT
The three cars turn into the alley. They stop, the first and
last cars bumper-to-bumper with Talley's. The cars are so
close to Talley that his own vehicle is pinned; he couldn't
drive away now even if he wanted --
INT. TALLEY'S CAR -- NIGHT
The Watchman puts Talley's car in park, turns off the
ignition, and takes the key.
THE WATCHMAN
I know you're scared, but unless you do
something stupid we're not going to hurt
you. You understand?
Two more masked men approach from the other cars, one coming
to Talley's window, the other getting into the back seat
behind the Watchman.
THE WATCHMAN (CONT'D)
Don't just fuckin' sit there, dumbass.
Do you understand?
TALLEY
What do you want?
THE WATCHMAN
These guys are going to take hold of you.
Don't freak out. It's for your own good.
The three men take hold of Talley, the man behind again
looping his arm around Talley's neck, the other two each
twisting Talley's arms --
TALLEY
What is this?
The Watchman holds a distinctive white cell phone to Talley's
ear --
THE WATCHMAN
Say hello.
JANE'S VOICE
Jeff? Is that you?
Talley goes berserk. He bucks and tries to pull away, but
the three men hold tight --
The Watchman closes the phone --
THE WATCHMAN
(trying to calm Talley)
I know, I know--she's all right. Your
kid's all right, too. C'mon, now, relax.
From this point on, you control what
happens to them.
Talley can barely breathe, they're holding him so tight --
THE WATCHMAN (CONT'D)
Can we let go? You past your shock and
all that, we can turn you loose and you
won't do something stupid?
TALLEY
You can let go.
The Watchman glances at the men; they let go --
THE WATCHMAN
Here's the deal--Walter Smith has two
computer disks like this in his house.
They're labeled 'Marlon' and 'Al.'
The Watchman holds up a thick black Zip disk. Talley's
expression tells us that this is the weirdest shit he's ever
heard --
TALLEY
Marlon and Al....
THE WATCHMAN
We want them. You will not let anyone go
into that house--or anything come out--
until my people recover these disks.
TALLEY
I can't control what happens. The
Sheriffs are running the scene.
THE WATCHMAN
You will re-assume command. In two
hours, a group of my people will arrive
at York Estates. You will tell the
Sheriffs that they are an FBI tactical
team.
The Watchman puts the white cell phone into Talley's hand --
THE WATCHMAN (CONT'D)
When this phone rings, you answer. It
will be me. I'll tell you what to do.
When I have what I want, you get your
family.
TALLEY
You want . . . Marlon and Al.
THE WATCHMAN
I have people in York Estates right under
your nose. If you do anything except
what I'm telling you, you'll get Jane and
Amanda back in the mail. We clear on
that?
TALLEY
These disks . . . where are they?
THE WATCHMAN
Smith will know.
The Watchman and the others get out of Talley's car. The
doors slam shut. The Watchman leans in --
THE WATCHMAN
When it rings, answer.
The Watchman tosses the keys into Talley's lap. We hear car
doors open and close; the cars, front and back, roar to life
and speed away --
Talley focuses on the Mustang's license plate, frantically
scratching down the number --
INT. BRISTO CAMINO POLICE DEPARTMENT -- NIGHT
The place is deserted except for Louise, currently at her
desk to monitor radio communications.
Talley enters, looking as if he's stricken. Louise can't
help herself but to react --
LOUISE
You look terrible. Chief, are you all
right?
Talley barely glances at her, going directly to his office --
INT. TALLEY'S OFFICE -- NIGHT
Talley steps inside and peels off his uniform shirt. He
takes a bullet-resistant vest and a black sweatshirt from his
closet. He straps on the vest, then pulls on the sweatshirt.
Talley sits at his desk and lifts out a ballistic nylon
pistol case from the lower drawer.
He takes out his old SWAT combat piece: This isn't a pussy
9mm; it's a finely tuned .45-caliber Colt Model 1911. One
shot, one kill. Talley ejects the empty magazine, then loads
it with a deadly efficiency. He slams home the magazine --
Talley clips the gun to his belt under his sweatshirt. He's
ready to rock. The camera finds the photograph of Talley
during his days as a SWAT tactical officer --
He was one bad motherfucker.
INT. THE MAIN ROOM -- NIGHT
Talley heads for the front door --
TALLEY
I'm going back to York. Have Larry meet
me at the front gate.
Talley exits without a backward glance --
EXT. YORK ESTATES FRONT GATE -- NIGHT
The helicopters orbit in the distance; the empty lot with the
news vans is in the background.
Talley turns into the development, then stops at the side of
the street where Larry Anders is waiting --
INT. TALLEY'S CAR -- NIGHT
Anders slides into the passenger seat. He sees a different
Talley now, focused and grim --
ANDERS
What's up, Chief?
Talley stares at Anders, trying to decide: Can I trust him?
Will he rat me out to the Watchman and cost the lives of my
wife and child?
ANDERS (CONT'D)
Did I do something wrong?
Talley gives him a slip of paper --
TALLEY
I want you to run this license plate and
phone number. Then I want you to find
out everything you can about Walter
Smith.
ANDERS
The guy in the house?
TALLEY
Go back to the office. Run his name
through the FBI and the NLETS database.
I think he's involved with illegal activity
or he associates with people who are.
Anders glances at the slip again, then tucks it away --
ANDERS
Wow. Sure, right away, Chief.
TALLEY
Don't tell anyone what you're doing, not
Louise, not the other guys, not the
Sheriffs. You understand me, Larry?
ANDERS
I guess so.
TALLEY
Fuck guessing. You keep your mouth shut.
ANDERS
I will, Chief. Absolutely.
TALLEY
Get to work.
Anders climbs out and Talley rockets away --
EXT. COMMAND STREET -- NIGHT
Talley pulls up behind the Sheriffs' command van. Martin,
surprised to see Talley, steps from the van --
TALLEY
I'm re-assuming command of the scene.
Martin is surprised and angry --
MARTIN
Excuse me? You requested our help. You
turned over command --
TALLEY
And now I'm taking it back. We're
getting Smith out of the house.
Talley heads for the cul-de-sac --
INT. JENNIFER'S BEDROOM -- NIGHT
Jennifer is on her bed in the darkness, groggy with fear and
fatigue. She hears someone outside in the hall --
JENNIFER
Thomas?
The door knob rattles. Jennifer slides out of bed and goes
to the door --
JENNIFER (CONT'D)
Thomas, is that you?
The door suddenly opens, and Mars is framed in the dim light.
Jennifer jumps back, terrified --
JENNIFER (CONT'D)
What do you want?
MARS
We can't make the microwave work.
That seems so outlandish that Jennifer is confused --
JENNIFER
What?
MARS
We're hungry. You're going to cook.
Mars grabs her hair, and pushes her out the door --
INT. KITCHEN -- NIGHT
Mars shoves Jennifer into the kitchen. Two frozen pizzas are
waiting on the counter --
MARS
Make the pizza. I want scrambled eggs
and hot dogs on mine.
JENNIFER
(under her breath)
How about dog shit?
Mars takes a carton of eggs and a package of hot dogs from
the refrigerator --
MARS
With hot sauce and butter.
Jennifer takes a bowl from the cupboard. When she sets down
the bowl, she sees the handle of the paring knife by the food
processor. Jennifer breaks eggs into the bowl --
JENNIFER
I need a frying pan. Would you get one?
Over there, under the range.
As soon as Mars turns away, Jennifer palms the knife and
pushes it into the waist of her shorts --
EXT. THE CUL-DE-SAC -- NIGHT
Talley joins Maddox behind the car --
MADDOX
What put a wild hair up your ass?
TALLEY
I changed my mind. That's all you need
to know.
Talley picks up the dedicated crisis phone that's been cut
into the Smiths' telephone line. He lifts the receiver and
presses a button. The phone inside the house rings --
Intercut Dennis inside Smith's office. He answers --
DENNIS
That you, Talley?
TALLEY
The one and only. We got a little
problem out here, Dennis.
DENNIS
You oughta try on the problem I got in
here.
TALLEY
I need you to let me talk to Mr. Smith.
Dennis shoots a nervous glance at Walter, who's twitching and
shuddering on the couch --
DENNIS
We been through that. Forget it.
TALLEY
We can't forget it. The Sheriffs think
you won't let me talk to Smith because
he's dead. They think you murdered him.
Maddox can't believe that Talley is saying this --
MADDOX
(low, so that Dennis can't
hear)
What in hell are you doing?!
DENNIS
That's bullshit! The guy's right here!
He's alive!
TALLEY
(pressing Dennis harder)
If you don't let me talk to him, they're
going to attack the house.
Maddox grabs Talley's arm, his voice a low hiss --
MADDOX
You're gonna set him off, goddamnit!
That's crazy!
DENNIS
(screaming)
They better not!
Talley pushes Maddox away and amps the pressure on Dennis --
TALLEY
Help me keep them out! Let me speak to
Smith, Dennis. Let me speak to him right
now.
Dennis is freaking. He believes that the Sheriffs are about
to crash through the doors --
DENNIS
SHIT!!!!
Now Talley throttles back; he senses that Dennis is at the
breaking point and wants to coax him back from the edge --
TALLEY
(calmer; coaxing)
Talk to me, Dennis. Help me help you.
Why can't you put Smith on the phone?
Dennis finally makes the admission --
DENNIS
(quietly)
He got knocked out. It's like he's
sleeping. He just lays there.
Talley gives a thumbs-up to Maddox, who sits back in awe.
This crazy shit is working --
TALLEY
(to Dennis)
Now I understand. That helps. I can
make them understand that.
DENNIS
Okay.
TALLEY
Let me come get him.
DENNIS
Fuck that! You bastards will jump me!
TALLEY
If you won't let me come in, then put him
outside.
DENNIS
You'll cap my ass as soon as I step out
the door!
TALLEY
You've already helped yourself once,
Dennis; be smart again. If you save his
life, it'll help when you get to court.
Dennis is at the edge; he's looking straight down into his
deepest fears. He finally relents --
DENNIS
Fuck you, Talley, fuck you! You and one
other guy, but that's it! I want you
stripped! I gotta know you don't have
guns!
Dennis slams down the phone --
Talley lowers the crisis phone, then looks at Maddox --
TALLEY
Bring up the ambulance.
EXT. THE CUL-DE-SAC -- A FEW MINUTES LATER
Mobile banks of flood lamps illuminate the front of the
house. The ambulance waits behind the lights; tactical
officers with M5s and M16s hunker in position in case the
program goes south --
Talley and a paramedic named Bigelow emerge between the
lights, wearing only shorts and shoes. Bigelow is carrying a
collapsable stretcher --
They stop in the mouth of the drive with a full view of the
front door. Talley lifts his cell phone --
TALLEY
(into the phone)
Okay, Dennis, we won't approach the house
until you've closed the door.
The front door opens, a crack at first, then wider. The line
of officers behind the lights shifts --
TALLEY (CONT'D)
(over his shoulder)
Easy....
Kevin and Mars waddle out with Walter Smith between them.
They put him down about six feet from the front door, then
return to the house --
TALLEY (CONT'D)
(to Bigelow)
Let's do it.
Talley and Bigelow move forward. When they reach Walter,
Bigelow opens the stretcher and locks out the frame. He
peels back Walter's eyelids and flashes a penlight --
TALLEY (CONT'D)
How's he look?
BIGELOW
He's got a concussion for sure. I'm
going to brace him.
As Bigelow sets a cervical neck brace, Talley gets the creepy
feeling that he's being watched. He turns toward the
shutters, and finds a pair of eyes only inches from his own.
It's Mars.
Talley stares at Mars, and Mars stares back. It's as if
they're locked in a contest of wills until --
BIGELOW (CONT'D)
Let's get him on the stretcher.
Talley turns away to help Bigelow --
BIGELOW (CONT'D)
I'll support his head and shoulders. You
lift his hips and knees. On three.
Three.
As they carry Walter away, Talley glances back at the eyes.
Mars is still watching him --
IN THE CUL-DE-SAC--TALLEY AND BIGELOW
are surrounded by cops as soon as they step into the shadows
behind the lights. Another paramedic takes the stretcher
from Talley. Maddox is waiting with Talley's clothes --
MADDOX
You ready to tell me what's going on?
Talley pulls on his pants --
TALLEY
No.
Talley stalks straight to the ambulance, pulling on his
sweatshirt as he goes --
INT. THE AMBULANCE -- NIGHT
A young physician named Klaus is examining Walter as Talley
steps up into the ambulance --
TALLEY
I'm the chief of police here. I have to
talk to him.
KLAUS
Ain't gonna happen. We've got unequal
pupilation. He could have an
intracranial hematoma or a fracture or
both.
Talley ignores the doctor and shakes Walter by the face --
TALLEY
Smith! Wake up!
KLAUS
What are you doing?! Stop that!
Walter's eyes flutter, one more open than the other. Talley
leans closer --
TALLEY
(to Smith)
Wake up, goddamnit. Who are you?
Klaus tries to shove Talley away, but it's like pushing a
wall --
KLAUS
This man needs a hospital! Stop it!
Talley grabs Klaus by the arm, trying to make him see --
TALLEY
Use smelling salts, give him a shot,
whatever. I just need a minute.
Bigelow climbs behind the wheel and starts the ambulance.
Talley pounds on the wall, shouting --
TALLEY (CONT'D)
Stop the fuckin' engine!
Klaus and Bigelow are both staring at Talley. Sheriffs and
Talley's own officers have gathered at the open rear of the
ambulance to see what all the shouting is about --
Klaus pointedly looks at Talley's hand gripping his arm. He
speaks slowly, trying to make Talley understand --
KLAUS
I'm not going to wake him. I don't even
know that I can.
TALLEY
Just one question. Please.
KLAUS
He. Can't. Answer.
Talley stares at Walter Smith. So close. So damned close.
Walter knows about the disks. Walter might even know who has
Jane and Amanda. But now Walter can't talk --
Talley turns away and climbs out of the ambulance --
EXT. THE CUL-DE-SAC -- NIGHT
As Talley emerges from the van, he pulls Metzger aside --
TALLEY
I want you waiting in Smith's lap. I
want to know the second--and I mean the
second--that he wakes up.
As Metzger hurries after the ambulance, a phone in Talley's
pocket rings. He's startled and scared; it might be the
Watchman. Talley takes out the Watchman's white phone, but
it's not ringing.
He answers his other phone --
TALLEY (CONT'D)
(into phone)
Talley.
ANDERS' VOICE
It's me, Chief. Can you talk?
Talley notices that Martin, Maddox, and the others are
staring at him. He turns away --
TALLEY
(into his phone)
What'd you find out?
ANDERS' VOICE
The cell phone is registered to a jewelry
store in Beverly Hills. The phone
company shows no unusual --
TALLEY
(cutting him off)
Dead end--it's a clone. What about the
Mustang?
ANDERS' VOICE
It was stolen.
Talley lowers the phone in frustration, then --
TALLEY
You get anything on Smith?
ANDERS' VOICE
Chief...it's like none of this exists.
I'm sorry.
TALLEY
Keep trying.
Talley pockets his phone. He watches the ambulance pull
away, then strides back through the banks of lights to the
nearest patrol car. He grabs the dash mike and keys the
public address --
TALLEY (CONT'D)
(through the p.a.)
Call me. If you're safe, call me.
Talley's voice echoes across the neighborhood. Every cop in
the cul-de-sac stares at him. He has addressed the house
for, apparently, no reason. Dennis shouts from his window --
DENNIS
I'll be safe when I'm outta here, you
asshole! I'm not talking any more!
Talley drops the mike without a word and walks away --
INT. GLEN HOWELL'S MOTEL ROOM -- NIGHT
Howell is on the phone with Ken S |
