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by John Bradley (johnrushbradley@hotmail.com)

Rated:

Genre: Film Noir User Review: NOT YET
RATED
Two Nevada Detectives investigate the disapperance of a shady doctor's wife. The deeper they dig, the more confusing the mystery becomes. The case nearly completely unravels when their personal lives become involved. In the end, everyone gets what they deserve.

FADE IN:

EXT. RENO, NEVADA - DAY

The biggest little city in the world. A place where fortunes
come to be lost and the lost come to be found.

Shops, schools and businesses go about, like they always do.

INT. SHAWN'S SQUAD CAR - DAY

Heat waves rise from black asphalt. A scorching Nevada
afternoon.

SHAWN STEVENS, thick, short carrot colored hair, early 30s,
drives the black Ford Explorer. He takes the world in behind
steely blue eyes. A man willing to do what it takes.

CURTIS, striking, blond, late 20s rides shotgun, ADAM
homely, passive, sporting a mustache rides in the back with
MARK short, thin, wiry.

All wear civilian clothes, Kevlar body armor, and police
badges attached to chains around their necks.

SHAWN
(to Curtis)
You'll recognize Frogger when you
see him?

CURTIS
Yeah, just look for the ugliest
guy here--that'll be him.

The four guys crack a brief smile. The Explorer crawls to a
stop.

The mood in the car is tense. Several small houses in a poor
neighborhood. They focus on a single shack dump.

A half dozen YOUNG PARTY-GOERS with red plastic cups groove
to MUSIC.

CURTIS
(CONT'D)
That's him, right there.

Curtis points to a short, portly thug, FROGGER.

ADAM
This party's about to get crashed.

EXT. NEIGHBORHOOD STREET - CONTINUOUS

The four cops get out and intently dash towards the house.

The party-goers' attention turns to the approaching
officers.

PARTY GOER
Oh shit, it's Five-O!

Frogger freezes; his eyes grow wide with panic. He bolts,
shoving anyone in his way.

SHAWN
(to Adam and Mark)
You two, take the sides.

Shawn and Curtis chase Frogger down a straight line while
Mark and Adam pursue on both flanks.

SHAWN
(CONT'D)
Stop running!

Frogger leaps on a dumpster, then over a fence leading them
through a group of cluttered apartments. Shawn and Curtis
trail close behind.

Mark bursts INTO FRAME, bulldozing Frogger over. Shawn,
Curtis and Adam reach them. Shawn grips Frogger's shirt,
lifting him.

CURTIS
It's good to see you again,
Frogger.

Frogger looks down, avoiding the gaze of the four cops.

FROGGER
Man, I didn't do nothing!

CURTIS
You've done plenty.

SHAWN
We could give two shits about
you--we want Ray-Ray.

FROGGER
(defiant)
Who?

Mark shoves Frogger.

MARK
Raymond James Christe, asshole.

ADAM
He kidnapped a teenage girl this
morning, Alicia Torres.

CURTIS
We know you two traded friendship
braclets in juvie.

FROGGER
You're tripping if you expect me
to dime out Ray-Ray.

Shawn SOCKS Frogger in the gut; keeling him over.

FROGGER
(CONT'D)
Fuck you.

Shawn pulls a baggie of white powder from his pocket.

SHAWN
Hey guys, look what I found while
frisking the suspect.

Frogger looks over the baggie and smiles.

FROGGER
You think I'm gonna trip over some
baking soda? Whatcha you gonna do,
charge me with possession of a
condiment?

Shawn wraps his bulky hand around Frogger's neck, pressing
him against the wall. He purses his lips, his eyes searching
Frogger's.

SHAWN
Someone, pen and paper!

MARK
Yeah, boss.

Mark pulls out a small notepad and pen.

SHAWN
Write down what I say. Make sure
you spell everything like a second
grader so it's believable.

Frogger's eyes shift back and forth in nervous confusion.

SHAWN
(cont'd)
Dear Cruel World, I can no longer
take this sad, pathetic life of
mine.

Mark scribbles down.

SHAWN
(cont'd)
I'm a worthless piece of shit and
have decided to end it all. No
more corn muffins and toothless
hoes. Woe is me. Signed, Frogger.
P.S., sorry for the bloody mess.

FROGGER
Fuck you!

Shawn rips the paper off and stuffs it in Frogger's shirt
pocket.

SHAWN
You were wrong, this isn't baking
soda, it's laundry detergent. You
know what happens when you ingest
this stuff?

Shawn forces Frogger's mouth open and pours the white powder
in, pinching his nose to make him swallow.

            FROGGER
      (coughing and
       spitting)
What the hell's wrong with you?

SHAWN
First it burns a hole through your
stomach and intestines--you'll be
bleeding from every orifice in an
hour!

Shawn forces Frogger's mouth open again.

FROGGER
Ok, stop! I'll tell you!

SHAWN
We're listening.

Frogger's lips press together, his eyes squint, scowling at
Shawn.

FROGGER
Muller Drive--it's a small green
house on the corner--he'll be
there.

Shawn lets Frogger go. The four men walk.

SHAWN
Thanks for your cooperation.

FROGGER
Assholes.

CURTIS
You should probably go to a
hospital.

Frogger bends over and jams two fingers down his throat.

INT. MICHAEL'S CAR - EVENING

An early 90's, brown Crown Victoria.

MICHAEL AUSTIN, clean shaved, suit and tie, disarming
features, late 20s, drives down a suburban road. Long on
intelligence, short on fortitude. Passive to a fault at
times.

INT. MICHAEL'S LIVING ROOM/BEDROOM - CONTINUOUS

Michael enters. The house is modest, yet clean and
welcoming. Stylishly decorated from a woman's touch.

MICHAEL
Christina, I'm home!

Michael looks around.

CHRISTINA TALKS O.S.

He creeps towards the bedroom door, which is slightly ajar.

CHRISTINA (O.S.)
(gushing)
I can't remember the last time I
felt that way.

Michael stops at the door; conflicted about listening in.

CHRISTINA (O.S.)
(cont'd)
Mmmm, yeah it was.

He LIGHTLY KNOCKS and pushes the door open.

CHRISTINA NORTON, a thin, striking redhead with gorgeous
green eyes, abruptly hangs up her phone. She quickly pockets
it.

MICHAEL
Hey.

CHRISTINA
Mikey, I didn't hear you come in.
You're home early.

Michael eyes her over.

MICHAEL
It was a slow day.

CHRISTINA
How was work?

MICHAEL
Good, I closed a case.

CHRISTINA
Oh yeah?

Michael removes his jacket and hangs it up. He removes his
gun and holster, places them on the dresser.

MICHAEL
Seventy eight year old woman form
Henderson goes missing. Her yuppie
kids think she may have been
kidnapped. I spent the whole day
doing interviews, chasing leads.
Then, after all that, an hour ago
someone calls her in. She was
walking down the strip, in her
bathrobe.

CHRISTINA
(sarcastic)
Wow, how exciting.

MICHAEL
So, how was your day?

CHRISTINA
It was ok.

MICHAEL
Who, uh, who were you talking to?

CHRISTINA
Oh, just Laura.

MICHAEL
How's she doing?

CHRISTINA
You know her, peachy as always.

MICHAEL
You wanna go out for dinner?

CHRISTINA
I'm tired. I just want to take a
shower and hit the hay.

MICHAEL
(disappointed)
Ok.

Christina gives him a flat smile, then meanders to the
bathroom. The SHOWER TURNS ON. Michael stares at the floor,
reflectively.

INT. MICHAEL'S BATHROOM - MOMENTS LATER

Christina's form can be seen through a fogged shower glass
door.

The ajar door slowly opens. Michael leers in; his eyes
focused on the pants on the floor. Michael moves towards
them.

He reaches in and starts to pull out Christina's phone out.

CHRISTINA (O.S.)
Mikey?

Michael stops cold.

MICHAEL
Yeah.

CHRISTINA (O.S.)
Use the downstairs! You know how
much I hate you using the toilet
when I'm showering.

MICHAEL
Sorry.

Michael reluctantly puts the phone back in the pants and
exits the room.

INT. SHAWN'S SQUAD CAR - EVENING

Shawn parks the Explorer outside the dilapidated green
house. They scope the place out.

CURTIS
It's going to take too long to get
a warrant.

SHAWN
Don't worry, we're not getting
one.

Mark, Curtis and Adam exchange looks of concern.

MARK
You're the boss.

SHAWN
We go in hard and fast--don't give
this prick a chance to turn this
into a hostage situation.

EXT. NEIGHBORHOOD STREET - CONTINUOUS

The four officers move stealthy, guns drawn. Shawn motions
for Mark and Curtis to go around back.

Shawn and Adam peek through a window; the figure of DRUG
DEALER, a young muscle bound thug is on the couch, a handgun
and a brick of cocaine on the table next to him.

INT. DEALER'S HOUSE - MOMENTS LATER

Drug Dealer is reclined, focused on his video game.

The DOOR CRASHES OPEN

Shawn and Adam rush in. Drug Dealer grabs his gun and FIRES
at Shawn and Adam, who duck behind furniture.

Drug Dealer dashes into a back bedroom, continuing to FIRE.
Shawn and Adam cautiously follow him through the thick of
it, RETURNING FIRE when they can.

BULLETS EXPLODE ALL AROUND

SHAWN
Stop shooting!

Drug Dealer turns and SHOOTS again. Shawn FIRES back.
Gunfire rips into Drug Dealer. Two to the chest.

Drug Dealer lays there lifeless. Shawn and Adam cautiously
approach; Shawn kicks his gun away.

Curtis and Mark hurry in from a back room.

CURTIS
The girl isn't here!

Shawn removes the man's wallet and inspects the contents.

SHAWN
(disheartened)
This isn't Ray-Ray.

MARK
Frogger set us up?

CURTIS
Ah, man! He sent us here to bust
his competition.

SHAWN
I just killed a guy in a house we
have no warrant to be in.

INT. MICHAEL'S BEDROOM - NIGHT

The lights are dim. Michael and Christina are naked under
the covers having sex.

Christina is stiff as a board, eyes closed, unusually
silent. Michael, on top, is doing his best.

Christina's eyes pop open and she places her hands on his
chest to stop.

10.

CHRISTINA
Oww...oww.

MICHAEL
You alright?

CHRISTINA
No...I just--

Christina awkwardly reaches in her nightstand drawer and
pulls out a tube of lube. She squirts some in her hand.

CHRISTINA
(cont'd)
I just need a minute to get warmed
up.

MICHAEL
Yeah, ok.

Christina closes her eyes and slides her hand down below.
The disappointment on Michael's face is obvious.

INT. HIGHWAY MAINTENANCE TRUCK - DAY

COUNTRY MUSIC PLAYS.

The sun blares down, creating heat waves on the black
asphalt.

GRUNGY WHINER and HEAVYSET REDNECK drive down a rural Nevada
road in their older, dirty, white city truck.

Grungy Whiner, young and scraggly, leans his elbow against
the door. His eyes closed and his hand presses his forehead.

Heavyset Redneck, clean shaved, early 50s cruises the truck
down the road.

GRUNGY WHINER
God, turn that shit off man! I'm
getting sick of it.

HEAVYSET REDNECK
Hey, the driver gets to pick the
music--that's the rule.

GRUNGY WHINER
Works out for you--you never let
me drive.

Heavyset Redneck disapprovingly shakes his head.

11.

HEAVYSET REDNECK
You have no sense of culture.

GRUNGY WHINER
You call singing about how much
you love your pickup truck and
hitting on chicks at your family
reunion culture?

HEAVYSET REDNECK
Hey, what's that there?

A GRAY TARP on the side of the road, dances in the wind,
held in place by a rock.

The truck crawls to a stop. They get out. Heavyset Redneck
slams the door behind him.

EXT. NEVADA DESSERT ROAD - CONTINUOUS

HEAVYSET REDNECK
People littering like this pisses
me off.

Grungy Whiner grabs the tarp. His eyes squint, repulsed.

GRUNGY WHINER
What the fuck?

HEAVYSET REDNECK
What is it?

GRUNGY WHINER'S HANDS

are covered in thick, dark, oozing BLOOD. His hands slowly
turn as he gazes them over.

His eyes grow wide and his mouth opens. He drops the tarp
and backs away.

GRUNGY WHINER
It's blood!

Grungy Whiner bolts back to the truck. Heavyset Redneck
cautiously grabs the tarp and opens it. He sees a gooey,
drying pool of blood.

GRUNGY WHINER
(frantically)
Am I right? Is it blood?

12.

HEAVYSET REDNECK
Yeah, it's blood.

GRUNGY WHINER
(shaky)
Well, what should we do?

Heavyset Redneck's eyebrows raise and press together. His
hand trembles.

HEAVYSET REDNECK
We need to take this to the
sheriff.

INT. POLICE STATION - DAY

We are standing outside an office where the pebbled glass
door reads: "Captain James Harris"

INT. CAPTAIN HARRIS' OFFICE - CONTINUOUS

The office is filled with pictures, books and mug sheets.
Piles of paperwork abound, yet the office is meticulously
well kept.

CAPTAIN HARRIS, a tall, thin, distinguished man, with no
nonsense eyes sits at his desk.

Shawn struggles to get comfortable in his seat across from
him.

CAPTAIN HARRIS
You're making my life very
difficult.

SHAWN
Don't worry Captain, I'm gonna
clear the IAD charges.

CAPTAIN HARRIS
It doesn't matter whether or not
you clear them, Stevens. The
perception's already out there.

SHAWN
Nice to know you care.

Captain Harris grabs a cane on the side of his desk and
limps to the door.

13.

CAPTAIN HARRIS
Don't make me the bad guy here.
You made a decision, live with the
consequences.

SHAWN
So what happens to me now?

CAPTAIN HARRIS
We need to lower your profile. I'm
taking you off VCU. You're being
reassigned to the general
detective pool.

SHAWN
(sarcastically)
Fantastic.

Captain Harris opens the door for Shawn to leave.

INT. KEY BANK - DAY

JOANNA, short, early 20s, curly brunette hair, deceptively
smart, wearing a casual dress suit and a stark, Eastern
European complexion, is by herself, sorting through money.

The front door opens and MARY, stalky, 30's, enters.

When Joanna speaks, her enunciation is strange and she uses
grand hand gestures. We quickly realize she is deaf.

JOANNA
Hey, Mary.

MARY
Morning, Joanna, how are you?

JOANNA
Terrible! I had my car stolen.

MARY
Oh my God, that IS terrible. You
called the police right?

JOANNA
Yeah, they took a statement,
filled out a report--we'll see how
THAT goes.

MARY
Hey, I have duplicate copies
ordered for a couple of your
clients--Shannon Hartwell and
(MORE)

14.

MARY (cont'd)
Kimberly Sutton.

Joanna pauses what she's doing.

JOANNA
Yes, that's right. Don't worry, I
accidentally did them twice.
Nothing to worry about, I'll get
it fixed.

A back door opens and DENISE, heavyset, 40, walks in.

DENISE
Is Giselle here?

MARY
She's not.

JOANNA
(concerned)
She no called no showed yesterday.

MARY
We figured she just got her
schedule mixed up.

DENISE
Well this is two days in a row.
Did you try calling her?

EXT. GISELLE'S FRONT PORCH - DAY

VETERAN OFFICER and ROOKIE OFFICER stand outside Giselle's
apartment. Veteran Officer is heavyset, 30s. Rookie Officer
is medium build, 20s. Officer One KNOCKS ON THE DOOR.

VETERAN OFFICER
Mrs. Claymore, Mrs. Giselle
Claymore?

No answer. Rookie Officer walks peeks inside a window.

THROUGH THE WINDOW

A desk is knocked over on the carpeted floor, papers strewn
about. The place appears to be burglarized.

ROOKIE OFFICER
Hey, look at this.

Veteran Officer walks to the window and peeks inside.

15.

ROOKIE OFFICER
(cont'd)
Are we going in?

VETERAN OFFICER
Oh yeah.

They unclip their holsters. Veteran Officer motions to
Rookie Officer to kick in the door. Rookie Officer grabs the
handle and the door opens. They give each other a concerned
glance.

INT. GISELLE'S APARTMENT - CONTINUOUS

The DOOR CREAKS OPEN

Veteran Officer heads in first, gun drawn. Rookie Officer
behind him.

Furniture is knocked over, as if there had been a struggle.
They search through the apartment, clearing each room.

Rookie Officer cautiously steps through the kitchen, looking
around.

VETERAN OFFICER (O.S.)
In here!

Rookie Officer dashes to Giselle's bedroom. The room is in
disarray; a small, dry pool of blood on the floor by the
bed.

The blood splattered wall resembles a bad Jackson Pollock
painting.

They survey the wreckage.

INT. POLICE STATION - MOMENTS LATER

Michael, wearing a fine dark suit and thin tie, a small
AMERICAN FLAG PIN on his collar, sits at his desk; his eyes
intent on his

COMPUTER SCREEN

Phone Records. Michael types in a phone number.

A picture of CHRISTINA NORTON, Michael's girlfriend, pops
up.

16.

He searches "Recent Calls". He clicks on the phone call from
the night before.

TODD WILLINGHAM'S name and picture pop up. A handsome man.

MICHAEL'S face melts.

MICHAEL
(softly)
Laura my ass.

Shawn and Curtis stand off to a side wall, out of earshot
from Michael.

CURTIS
I can't believe they are pairing
you up with Austin.

SHAWN
Yeah, I know.

CURTIS
That dude's got a serious stick up
his ass. Just cause his daddy took
a bullet, he walks around like
he's some kind of prince.

SHAWN
It's only temporary--I'll be
pounding the tar out of dipshits
with you soon.

Captain Harris approaches with his cane, eying them over.
Shawn and Curtis break up.

CURTIS
I'll catch you later man.

Shawn struts right up to Michael.

SHAWN
Hey, looks like we're partnered up
for a while.

Michael turns away from his computer.

MICHAEL
(unsure)
Yeah, Captain told me.

SHAWN
So what do we got?

17.

MICHAEL
Just catching up on some
paperwork.

SHAWN
(rolls his eyes)
Lucky me.

Michael looks up, thinking for a moment.

MICHAEL
You can proofread some of those
files--check for spelling
mistakes, typos, that sort of
thing.

Shawn turns, grabs a file and opens it.

SHAWN
If I had known I was going to be a
secretary, I would have worn some
pretty lipstick.

MICHAEL
Just try not to get me in trouble
with IAD.

SHAWN
You have to do some actual police
work to get investigated by IAD.
Don't worry, you're safe.

MICHAEL
All I'm saying is when we work
together, we get a warrant before
we enter a residence.

Shawn slams the file shut, turns angrily to Michael.

SHAWN
I have worked on VCU for eight
years--you're a detective that
searches for missing kittens.

MICHAEL
Actually, at the moment you're my
assistant.

Shawn looks ready to rip into him.

Captain Harris approaches, holding a piece of paper.

18.

CAPTAIN HARRIS
Austin, Stevens, you got a case.

Michael grabs the paper.

MICHAEL
Looks like we got a promotion from
missing kittens.

Captain Harris looks at Michael, bewildered.

EXT. GISELLE'S APARTMENT - LATER

Patrol cars. Blues setting up crime scene tape. Neighbors
out rubbernecking at the spectacle.

Shawn and Michael park their car.

INT. GISELLE'S LIVING ROOM/ BEDROOM - CONTINUOUS

A BRIGHT FLASH

illuminates the apartment. A FORENSIC PHOTOGRAPHER surveys
the scene.

Shawn and Michael each put on a pair of rubber gloves as
they enter. Veteran Officer walks up.

MICHAEL
So what do we got?

VETERAN OFFICER
M.P.'s name's Giselle Claymore,
twenty nine years old--missing two
days.

Shawn and Michael eye the carpeted floor; a trail of dripped
blood leads to the bedroom.

SHAWN
Who called her in?

VETERAN OFFICER
Coworkers at her bank.

Shawn, Michael and Veteran Officer enter the bedroom.
MURRAY, slim and pale, with a combed over haircut from the
1950s, works forensics.

MICHAEL
Got anything for us?

19.

MURRAY
I don't have much. I would guess
the blood on the carpet is two to
three days old.

SHAWN
That's it?

MURRAY
Just one other thing.

Murray pulls out a a plastic bag with blond hairs inside.

MURRAY
(CONT'D)
I found these next to the
blood--blond, female hairs. Our
missing person is a brunette.

MICHAEL
So someone is struggling with our
victim and gets a chunk of hair
yanked out?

MURRAY
Yeah, that's what it looks like.

SHAWN
A good old cat-fight.

MICHAEL
Does she have a boyfriend?

Shawn's eyes are fixated to a picture of Giselle on her
dresser, wearing party attire and a DISTINCTIVE GREEN
EMERALD NECKLACE. Her arm wrapped around her husband, Bruce.

He walks forward, not taking his eyes off of the image,
soaking in detail.

VETERAN OFFICER
Yeah, she's married. But it looks
like she's separated, we have a
different address for the husband.

MICHAEL
Well, it appears we have a place
to start.

20.

EXT. BRUCE CLAYMORE'S HOUSE - DAY

Shawn and Michael pull their car outside the capacious
house. It is large, swanky and in an upscale neighborhood.

They step out and make their way to the front door.

SHAWN
Looks like Bruce makes pretty good
scratch.

Shawn RINGS THE DOORBELL. They wait. No answer.

MICHAEL
What do you want to do?

SHAWN
We have a missing person. This is
an address that she could be at.

MICHAEL
Yeah, I say we try the back.

Shawn and Michael walk around to the back door. Michael
turns the door knob. It's locked. Shawn peeps in through a
window.

SHAWN
Doesn't look like anyone's home.

MICHAEL
No one's mowed the lawn in a
while.
(beat)
What are you doing?

Shawn removes a card from his wallet and takes out a pen
knife. He expertly maneuvers the two objects in the door. It
pops open. They each put on a pair of rubber gloves.

SHAWN
Oh look, the back door was wide
open. Guess we don't need a
warrant.

Obviously displeased, Michael keeps it to himself.

INT. CLAYMORE HOUSE - CONTINUOUS

Shawn and Michael enter. The house is sophisticatedly
decorated with post modern art and expensive black leather
furniture. It is clean, but empty and lifeless.

21.

SHAWN
Sweet digs--I need to ask him who
his decorator is.

MICHAEL
I'd bet he'd lose a lot in a
divorce.

Shawn opens the fridge. He examines a milk carton.

SHAWN
Five days expired.

Michael goes through a bowl of fruit at the dinner table.

MICHAEL
This doesn't look so fresh either.

Michael turns and notices Shawn chowing away on chocolate
candies he pulled from the cupboard.

MICHAEL
(cont'd)
Really?

SHAWN
This guys got bigger problems than
missing chochlate.

MICHAEL
Yeah, he does.

SHAWN
Missing wife, missing husband,
blood at the wife's apartment, a
recent separation.

MICHAEL
Being a Detective is really a lot
easier than it looks sometimes.

Michael peers out the window and notices a middle aged
preppy woman doing yard work next door.

SHAWN
If Bruce Claymore had anything to
do with Giselle missing, he's
probably in Rio by now, balls deep
in a Brazilian honey, drinking Mai
Tai's.

22.

MICHAEL
Let's see what the neighbors have
to say about that.

INT. JUDY'S LIVING ROOM - CONTINUOUS

JUDY, slender, pale, early 40s. She has light
reddish-brunette hair and an Irish complexion, sits on her
couch. Typical upper-middle class. A half empty bottle of
wine and glass rest on the table.

Michael and Shawn sit across from her. Michael has a pen and
small notebook, takes notes.

JUDY
Kevin and I have been living in
this house for five years now. The
Claymores moved next door, I
believe three years ago.

SHAWN
Did you know that Bruce and
Giselle seperated?

JUDY
I'm surprised it took as long as
it did.

MICHAEL
What's that supposed to mean?

JUDY
It means, every day after Giselle
went to work, a woman would show
up at the house.

TOMMY, 10 and rambunctious, hurries in the room, oblivious
of the two detectives.

TOMMY
I'm hungry, when's lunch?

JUDY
(annoyed)
There's plenty of chips and junk
food, have at it.

Tommy shoots the detectives a dirty look, then turns back to
Judy.

TOMMY
Who are they?

23.

JUDY
Tommy, go eat.

TOMMY
Are they here cause Dad drove home
drunk again?

JUDY
Tommy!

Tommy scrams. Judy is left slightly embarrassed.

SHAWN
So, you're saying Bruce was
screwing around?

JUDY
For months. It broke my heart not
to tell her. How dense does
someone have to be not to know?

MICHAEL
(angry)
Maybe she trusted him and didn't
want to jump to any conclusions.

Judy and Shawn awkwardly eye Michael. He's embarrassed by
his outburst.

A beat.

SHAWN
Sorry about my partner--he gets
grumpy when he doesn't get his
sugar.
(beat)
Would you recognize this woman if
you saw her?

JUDY
No, I never got a good look. All I
can really tell you is that she is
thin and blond.

Shawn and Michael glance at one another.

SHAWN
When was the last time you saw
Bruce?

JUDY
About a week ago.

24.

SHAWN
Was anybody with him?

JUDY
No, it actually looked like he was
going on vacation. He had a couple
of bags with him that he put in
the car. I haven't seen him since.

MICHAEL
When is the last time you saw
Bruce and Giselle together?

INT. CLAYMORE HOUSE - NIGHT

FLASHBACK

SUPER: "10 Weeks Earlier"

BIG BAND MUSIC plays softly in the background.

JUDY (V.O.)
Bruce's birthday party a couple
months ago.

MICHAEL (V.O.)
Tell us about it.

A party of about twenty, everyone dressed in semi formal
wear. Wine, beer and snack plates float around.

Eating, drinking and dancing.

BRUCE CLAYMORE, 30 and confident, wearing a sharp suit and
GISELLE CLAYMORE, late 20's and Bruce's equal, wearing a
silk dress along with her green emerald necklace stand next
to one another.

A picturesque young, attractive black couple with everything
going for them.

KEVIN, large, middle age, stocky, well dressed, with a
cheerful demeanor and Judy stroll up, both smiling.

KEVIN
There's the birthday boy!

BRUCE
(smirking)
Kevin, Judy, who invited you two?

25.

JUDY
Hey, Giselle.

They all greet each other.

GISELLE
I'm glad you made it.

Kevin pulls a cigar out and sticks it on Bruce's ear. Bruce
looks amused.

BRUCE
So, what kind did you get me this
year?

KEVIN
It's French, expensive and I have
no clue how to pronounce it.

Bruce takes the cigar and looks it over.

BRUCE
Well thank you guys, I'm sure I
will enjoy it.

JUDY
You both look so perfect!

GISELLE
Thank you, Judy!

Judy pulls out her camera.

JUDY
Can I take a picture of the two of
you?

GISELLE
Absolutely.

Bruce and Giselle squeeze together and smile. The CAMERA
FLASH beautifully illuminates them. The same picture Shawn
saw at Giselle's apartment.

KEVIN
Now we are off to eat all your
food and drink all your beer.

GISELLE
Good luck, I got plenty because I
knew you were coming.

26.

Kevin winks at them, then him and Judy turn and walk away
into the party. Bruce turns and lovingly regards Giselle.

BRUCE
Thank you babe, everything turned
out great.

Giselle's fingertips slide intimately up his arm. She leans
towards Bruce and kisses him on the cheek.

GISELLE
It's your birthday, I'm glad.

Giselle's attention is diverted to SCARLETT, thin, radiant,
attractive blond, early 20's, wearing a sparkly green dress,
elegant shoulder bag, who walks up to them oozing cat-girl
grace.

Bruce turns and sees Scarlett; a controlled smile appears.

SCARLETT
(flirtatiously)
Happy birthday, Bruce.

Her voice seductive as silk.

Scarlett gives Bruce a long, sensual hug. Giselle watches
the embrace intently. The moment lasts that crucial fraction
of a second too long.

Scarlett lets go. Bruce turns to Giselle.

BRUCE
Giselle, this is my assistant
Scarlett. Scarlett, this is my
ravishing wife Giselle.

They shake hands. Giselle has a forced, uncomfortable smile.

SCARLETT
It is so nice to finally meet you.
Bruce has told me so much about
you.

Scarlett's eyes are magnetically pulled to Giselle's green
necklace.

GISELLE
It's my pleasure. I'm glad you
made it.

27.

SCARLETT
That's a beautiful necklace you're
wearing.

Judy hurries up to Bruce, scared.

JUDY
You need to come quick,
something's happening!

EXT. CLAYMORE PORCH - MOMENTS LATER

Bruce, Giselle, Scarlett and Judy reach the front porch
where many of the other party-goers have gathered.

AARON TROYER, 30's and husky, stumbles around the front
lawn. Clearly disheveled and wasted, a gun waves wildly in
his hand.

AARON
(slurring)
Where is he? Where is Bruce
Claymore?

Aaron notices Bruce at the doorway and marches up to him.
The party-goers back away.

BRUCE
If you are here for the party
you'll have to leave the firearm
in the car.

Aaron points the gun right at Bruce's surprisingly calm
face.

AARON
You killed my Mom, YOU SON OF A
BITCH!

BRUCE
Your Mom died of cancer.

AARON
I did some digging, you don't have
a degree from Stanford! You're not
a real doctor!

The HAMMER OF A REVOLVER CLICKS O.S.

Aaron turns and sees Giselle standing behind him, a gun
barrel pointed squarely at him.

28.

GISELLE
Put the gun down and step away
from my husband.

Aaron slowly lays the gun down.

AARON
You have no idea what kind of
snake your husband is, do you?

GISELLE
Leave, the police are on their
way.

AARON
(coldly)
You wont get away with this.

END FLASHBACK

INT. JUDY'S LIVING ROOM - CONTINUOUS

Michael and Shawn stare at Judy wide-eyed. They turn to each
other.

MICHAEL
I know who I want to talk to next.

INT. INTERROGATION ROOM ONE - DAY

Michael and Shawn stand on one side of the room.

Scarlett (now brunette), attractive as always, wearing
cat-eye sunglasses sits across from them.

MICHAEL
You don't know the name of the man
who threatened Bruce's life?

SCARLETT
No, I hadn't met him before.

SHAWN
Why didn't Bruce press charges?

SCARLETT
You'd have to ask him that.

MICHAEL
Do you know what's going on?

29.

Scarlett looks back and forth at them anxiously.

SCARLETT
I heard that Giselle's missing.

MICHAEL
Both Giselle and Bruce are.

SCARLETT
Bruce left the state a week ago.
He told me that he was going to be
getting a new, experimental cancer
treatment.

MICHAEL
(shocked)
Mr. Claymore has cancer?

SCARLETT
Dr. Claymore.

MICHAEL
Yes, Dr. Claymore. My apologies.

SCARLETT
Bruce is an amazing man. He was
treating his own cancer while
helping others with theirs. He had
that connection with his patients.

MICHAEL
What kind did he have?

SCARLETT
He had a rare type of bone cancer
called Ewings sarcoma.

SHAWN
So where is he now? We need to
speak to him.

SCARLETT
I think he said Colorado or
Arizona, but I'm not positive.

SHAWN
Does that seem a little unusual to
you?

SCARLETT
(smiling)
You don't know Dr. Claymore.

30.

MICHAEL
Were there any problems in the
marriage that you saw?

SCARLETT
No, none. They seemed like a
happy, normal couple.

Michael and Shawn glance at each other and give a collective
sigh.

SCARLETT
(CONT'D)
Sorry I couldn't be more help.

SHAWN
Don't worry about it.

Michael pulls a card out and hands it to Scarlett.

MICHAEL
Here's my card. Give us a call if
you hear from Bruce or you can
think of anything.

Scarlett shoots Michael a flirtatious smile.

SCARLETT
Whatever I can do.

Scarlett stands. Michael holds the door open as she exits.
He watches, smitten.

INT. POLICE STATION - DAY

Shawn and Michael sit at their desks, next to one another.
Michael on the phone. Shawn with his feet reclined on the
desk, tossing a blue stress ball.

MICHAEL
(on phone)
Ah huh. Ok, thank you.

Michael hangs up.

SHAWN
Anything?

31.

MICHAEL
I called my friend at
Justice--Bruce Claymore has three
open investigations for medical
fraud.

SHAWN
Anything come of 'em?

MICHAEL
There's such a backlog, sometimes
it takes a year before they get
underway.

SHAWN
By then his victims are long dead
and buried. Tough to make a case.

MICHAEL
Yeah, that also means our list of
suspects just grew.

Shawn's PHONE RINGS. He answers.

SHAWN
Stevens.
(beat)
Ok, hold on a sec.

MICHAEL
What?

Shawn pushes a button, putting it on speaker.

SHAWN
Ok, go ahead Murray.

MURRAY (V.O.)
I just got the results back from
Cook County. A highway maintenance
crew recovered a blood covered
tarp and a torn up, blood stained
shirt off a desert road two days
ago. On a hunch I compared it with
Giselle Claymore's DNA, it's a
match.

MICHAEL
That's huge.

32.

MURRAY (V.O.)
The desert was surveyed but
nothing else was found. There's a
ton of area out there though.

SHAWN
That's why the mob loved it so
much right?

EXT. BACK OF STATION - MOMENTS LATER

Michael smokes a cigarette by himself.

His PHONE RINGS. He answers.

MICHAEL
Detective Austin.

SCARLETT (V.O.)
Hello Detective, is it a bad time?

MICHAEL
No, who is this?

SCARLETT (V.O.)
It's Scarlett, you told me to call
if I remembered anything.

MICHAEL
Yeah.

SCARLETT (V.O.)
Would you stop by my place?

INT. POLICE STATION - MOMENTS LATER

Shawn scurries through the station. Curtis hurries up to
him.

CURTIS
Hey, I got one of my CIs to set a
meet with Frogger tonight.

SHAWN
Quiet location?

CURTIS
Yeah.
(beat)
Hey boss, you sure you wanna go
through with this?

33.

Shawn's eyes search Curtis'.

SHAWN
I've never been more sure in my
life.

INT. SCARLETT'S LIVING ROOM - EVENING

The inside is elegant. This woman has style.

Scarlett tends to a vase of flowers. The DOORBELL RINGS. She
saunters to the door and opens. Michael stands there.

SCARLETT
Come in.

Michael enters.

MICHAEL
Nice place.

Michael notices a picture of a much younger looking
Scarlett, standing next to a horse, on the mantle.

SCARLETT
I'm sure being a detective, you do
alright for yourself.

MICHAEL
Where was that taken?

SCARLETT
A small town in Texas called
Paris, a lifetime ago.

MICHAEL
You don't have an accent.

SCARLETT
It's the last thing that leaves
you.

MICHAEL
You had something to tell me?

Scarlett hands him a file.

INT. LISA TROYER'S BEDROOM - DAY

FLASHBACK

34.

SUPER: "10 Weeks Earlier"

LISA TROYER, mid-70s, lays sickly in her medical bed. Her
head and back elevated. Her hair is gray, disheveled and has
patches missing. Her movements are weak and measured.

Pictures of her family rest on nightstands on each side of
her bed. A modest sized bedroom, clearly living on a
lower-middle class income.

SCARLETT (V.O.)
This belongs to Lisa Troyer, her
son Aaron is the man you were
asking about.

Bruce stands over her, dressed professional, looking over a
clipboard of charts. Scarlett, in a nurses outfit, goes
around lightly cleaning the room. Bruce flips the chart
down, smiles.

MICHAEL (V.O.)
Why'd he threaten Bruce?

SCARLETT (V.O.)
His mother was a patient of ours.
She passed. Instead of the cancer
eating away at her body, he blamed
Bruce.

BRUCE
Well, I have some splendid news
for you, Mrs. Troyer.

LISA
(groggily)
Oh, well that's fantastic!

BRUCE
Yes, yes it is! It seems that the
new medicine is lowering your
cancer cell count.

LISA
That's wonderful.

BRUCE
How are you feeling?

Scarlett saunters up with a glass of water and two pills.
She hands them to Lisa.

SCARLETT
Here you go, sweetie.

35.

Lisa swallows the pills. She hands the cup back. Scarlett
smiles and meanders away. Lisa's eyes wander, completely out
of it.

BRUCE
(annoyed)
Lisa, how are you feeling?

LISA
I, I guess I don't feel as much
pain. Lately I have felt very
sleepy though.

BRUCE
It's ok Lisa, that's totally
normal. I went through these same
things when I was on the
medication. But look how well I'm
doing now.

LISA
I know, it really is amazing. You
are doing such a great job, Dr.
Claymore.

BRUCE
Thank you, you're too kind.

Bruce leans in and gives Lisa a hug. Lisa offers Bruce a
feeble smile.

BRUCE
(CONT'D)
You give me too much credit.
Seeing you and my other patients
get better is what keeps me going.

LISA
How much do I owe you for today?

BRUCE
It's going to be twelve hundred. I
know it's a bit expensive, but I
can feel a breakthrough coming, I
really can.

LISA
I can too.

Lisa reaches inside her purse and grabs her check book. She
begins filling one out. An obnoxious smile crosses Bruce's
face as he watches.

36.

END FLASHBACK

INT. SCARLETT'S LIVING ROOM - CONTINUOUS

Scarlett and Michael are where we left them.

MICHAEL
Thanks, I'll look into it.

Scarlett saunters up to him, seductive as hell.

SCARLETT
Would you care to stay for a
drink?

MICHAEL
I, uh, I can't.
(off Scarlett's look)
I have a girlfriend.

SCARLETT
It's just a drink. It's not like I
asked if you wanted to fuck.

MICHAEL
I couldn't anyway, I'm on the
clock.
(beat)
Have a drink, I mean.

SCARLETT
Well, when are you off?

MICHAEL
I need to be going.

Michael awkwardly exits the front door.

SCARLETT
Have a good night, Detective.

EXT. DARK ALLEY - NIGHT

Abandoned, dilapidated street. Dark. A bad place to be.

Frogger, wearing the same jacket as the last time we saw
him, strolls down the alley, alone. He gets to a garage and
stops.

37.

FROGGER
(yells)
Yo, TiSizzle, where you at?

Four men creep from the shadows, two to each side, blocking
the only escape routes. It is Shawn, Curtis, Mark and Adam.

Black hat, black hoodies, black gloves, black jeans, black
shoes, black hearts.

The carnivores surround their prey. Frogger looks terrified.

FROGGER
(voice cracking)
What do ya'll want man?

SHAWN
Alicia Torres, she was 17 years
old.

They back Frogger up to the garage wall. Shawn pulls out a
graphic Polaroid of the slain 17 year old and shoves it in
Frogger's face.

SHAWN
(cont'd)
Ray-Ray raped and murdered her.

FROGGER
That wasn't me, man!

CURTIS
You lied to us--sent us to your
competition.

SHAWN
She was alive when you sent us
there!

FROGGER
(pleading)
Yo man, I didn't commit no crime
man--it's not my fault.

CURTIS
You knew where she was and you
lied to us! If you had been
honest, we could have saved her!

FROGGER
Fine, arrest me. What are you
gonna charge me with?

38.

Shawn pulls out a gun; points it at Frogger's face. Frogger
shits his pants. Shawn's face trembles; his eyes do not
blink. A moment of hesitation as he contemplates.

FROGGER
(cont'd)
Nah, man.

GUNSHOTS. One to the head, one to the chest.

Shawn drops the gun. The four of them scram. Frogger lays
there dead; another nameless victim of gang violence.

INT. MICHAEL'S CROWN VICTORIAN - NIGHT

A sparsely populated suburban road.

Michael sits behind the wheel. He raises a bottle of
bourbon; knocks it back.

MICHAEL'S

eyes are bloodshot, his face haggard.

The Crown Victorian crawls to a stop. He looks sadly across
the street at a well lit house.

MICHAEL'S POV

Looking through the kitchen window. Christina shares a laugh
with TODD, the guy from the picture earlier.

Todd leans in and kisses Christina; a soft warm kiss that
lovers share.

Michael's eyes flinty and hard, are riveted at the sight. He
picks up his bottle and soothes the pain.

EXT. CITY STREET - MORNING

A vendor lays out a pile of newspapers at the front of a
bustling news stand.

The headline reads : "Local Doctor and Wife Mysteriously
Vanish." Underneath are pictures of Bruce and Giselle.

39.

INT. SQUAD CAR - MORNING

Michael, in the car by himself, parked outside a doughnut
shop. He rubs his hand against his head, an uncomfortable
look.

The door to the shop opens and Shawn strolls out, two
coffees and a bag of doughnuts. Michael opens the car door
and Shawn gets in.

SHAWN
Is it weird that I never liked
doughnuts before becoming a cop?

Michael blankly stares out the car window. Shawn looks at
him inquisitively.

SHAWN
(CONT'D)
Anyone home?

Michael snaps out of it, looks at Shawn.

MICHAEL
Yeah.

SHAWN
Where we off to first?

Michael picks up a piece of paper.

MICHAEL
We're stopping by the guy who
threatened to kill Bruce--213
Orano Way.

SHAWN
Let me see that.

Michael hands the paper to Shawn.

MICHAEL
What is it?

SHAWN
(distantly)
Aaron Troyer.

MICHAEL
You know 'em?

40.

INT. SHIPPING WAREHOUSE - DAY

Several employees scurry, sorting through letters and boxes.

AARON TROYER, a large, husky, pleasant looking fellow, suit
and tie, is in the middle of the action.

Shawn and Michael enter. Aaron turns and notices them. A
genuine smile crosses his face.

AARON
Shawn Stevens, holy cow--how are
you?

SHAWN
I'm doing alright. This is my
partner, Michael Austin.

AARON
It's been about a year.

SHAWN
Yeah, since Ricky's funeral.

AARON
It's great to see you. So, what
are you guys doing here?

SHAWN
Is there someplace private we can
talk?

INT. AARON'S OFFICE - MOMENTS LATER

Aaron's office is small and cluttered. Pictures of his
family, including Lisa, who we met earlier, are visible on
his desk.

Shawn and Michael sit across from Aaron at his desk.

AARON
(shakes his head)
I'm not surprised--is he finally
getting charged with something?

MICHAEL
We have a report that says you had
a confrontation with Bruce.

AARON
So?

41.

SHAWN
You went to his house drunk, in
the middle of the night with a
loaded gun and threatened him.

AARON
That bastard is responsible for my
Mom dying--not to mention all the
money he stole.

MICHAEL
Yeah,
twenty-eight-thousand-dollars.

Aaron's eyes angrily shift back and forth between the two
detectives.

AARON
What exactly is this?

SHAWN
Bruce and his wife are missing--we
suspect foul play.

AARON
(offended)
I'm a suspect?

MICHAEL
You certainly have motive.

SHAWN
Listen Aaron, we're just doing a
friendly interview right now.

AARON
You know me Shawn, I would never
do something to someone's wife
just to get them back.

Aaron looks pleadingly at Shawn.

MICHAEL
Where were you two nights ago?

AARON
Two nights ago?

MICHAEL
Yeah.

Nervous guilt overcomes Aaron.

42.

AARON
I, uh, I stayed late here.

MICHAEL
Did anyone see you?

AARON
No, everyone had gone home.
(beat)
What, does that make me a killer?

MICHAEL
No, it makes you unlucky.

SHAWN
Would you mind coming down to the
station and taking a lie detector
test?

AARON
(defensively)
What?

SHAWN
The quicker you do this the
quicker we can clear your name.

AARON
(stiff)
Fine.

INT. LOCAL DINER - DAY

Shawn and Michael sit across from one another, plates of
food in front of them. Shawn takes a bite of his sandwich
and looks up curiously at Michael.

Michael appears to be playing with his food, intently
focused. He has a pickle lying on a plate.

A SALT SHAKER

creeps towards the pickle. Suddenly the salt shaker strikes!

Despite his brave efforts to hold back, Shawn finally
succumbs to laughter. Michael stops and looks up.

SHAWN
Don't stop because of me--my eight
year old plays with his food all
the time.

43.

MICHAEL
I'm not playing with my food.

SHAWN
No need to get defensive.

MICHAEL
I am recreating the crime scene.

SHAWN
(sarcastically)
Any suspects yet?

MICHAEL
You do things your way--let me do
things mine.

SHAWN
Alright, sorry.

Michael goes back to the crime scene recreation. Shawn grabs
a napkin, takes out a pen and etches a drawing. Shawn
glances back at Michael.

SHAWN
(CONT'D)
Hey, I think I got something.

Michael's attention turns to Shawn.

MICHAEL
What?

SHAWN
I have a composite sketch of your
suspect.

Shawn holds up the napkin up, revealing a CRUDE DRAWING of
the salt shaker.

MICHAEL
You're an asshole.

SHAWN
I'll get this sketch to the press
right away.

EXT. THOMAS RITO'S HOUSE - DAY

Shawn and Michael pull their car up. They get out and step
to the front door.

44.

MICHAEL
These interviews are going great
so far.

SHAWN
Yeah, we get a new suspect with
every one.

They reach Thomas Rito's front door and Shawn RINGS THE
DOORBELL.

THOMAS (O.S.)
I'm coming! I'm coming!

The door opens and THOMAS RITO, gruffy, gray haired, 70, a
surly man that is ready for a fight, stands there, carrying
an oxygen tank. His beady eyes go back and forth.

THOMAS
What do ya want?

MICHAEL
Thomas Rito?

THOMAS
Listen, if you two are here to
sell me a vacuum cleaner, I'm not
interested. I already got one.

Shawn and Michael show their badges.

INT. THOMAS RITO'S LIVING ROOM - MOMENTS LATER

Thomas meanders back in his house. Michael and Shawn follow.
The red brick house has a very old time Western feel to it;
a Korean War rifle proudly displayed above the fire place.

THOMAS
Have a seat over there.

Thomas points to two uncomfortable wooden chairs. Shawn and
Michael take their seats. Shawn notices the gun on display.

SHAWN
So, what's the story with the gun?
Where'd you get it from?

Thomas sits down in the recliner and regards the gun.

THOMAS
Got that from Korea. Took it from
the first Gook I killed.

45.

SHAWN
You own any other guns?

THOMAS
(bluntly)
You're here to ask me about
Claymore right?

MICHAEL
Bruce and his wife are both
missing.

THOMAS
(coldly)
Couldn't have happened to a nicer
guy.

SHAWN
Why do you say that?

Thomas leans forward in his chair.

THOMAS
If you want to ask me something,
then ask. Don't beat around the
bush with me.

SHAWN
Ok, I can do that. Did you have
anything to do with Giselle
Claymore's disappearance?

Thomas gives them a SICKLY LAUGH. Shawn and Michael stare at
him.

MICHAEL
What's so funny to you Mr. Rito?
Two people are missing and
possibly dead. I don't find
anything funny about that.

THOMAS
I have three months left to live
at best. Go ahead and charge me.
If not, get the hell out of my
house.

INT. JOANNA'S LIVING ROOM - NIGHT

FLASHBACK

SUPER: "3 Days Earlier"

46.

The place is small, but tidy and welcoming. A TELEVISION
PLAYS, Closed Captioning scrolls across the screen.

Joanna, who we met at the bank, bounces from the living room
to the adjacent kitchen. Her service dog, LUCKY, relaxes on
the couch.

JOANNA (V.O.)
You're here about Giselle, aren't
you?

MICHAEL (V.O.)
Yes, we are.

She goes in the freezer and takes out a pint of ice cream.
Spoon in hand, she chows away.

SHAWN (V.O.)
When's the last time you spoke to
her?

JOANNA (V.O.)
About a week ago.

DOORBELL RINGS.

Lucky's ears perk up. He gets off the couch and dashes to
Joanna. He paws her leg and BARKS.

Joanna realizes someone is at the door. She lowers the ice
cream, annoyed. She looks at the oven clock, it reads:
"12:34am". Her face turns to the door, concerned.

DOORBELL RINGS REPEATEDLY.

Joanna rushes to the door, cracking it open. Giselle stands
on the front porch, soaking wet from the pouring rain. She
is shivering, a scared puppy dog look.

JOANNA
Oh my God, Giselle, what's
happened?

GISELLE
I,
(beat)
I did what you told me to do.

JOANNA
Come in, we'll figure this out.

Joanna leads Giselle in and closes the door.

47.

END FLASHBACK

EXT. JOANNA MOSESIAN'S HOUSE - DAY

Shawn, Michael and Joanna stand on the front porch. Michael
over enunciates his words on purpose.

MICHAEL
Dis Giselle talk about her divorce
much?

JOANNA
I'm deaf, not dumb. I can read
your lips just fine if you speak
normally.

MICHAEL
Sorry, I didn't mean any offense.

JOANNA
She found a ton of shit about
Bruce. He was cheating on her,
scamming terminally ill cancer
patients and one threatened to
kill them. How sick do you have to
be to steal from dying cancer
patients?

MICHAEL
Did Giselle mention any more about
the patient who threatened them?

JOANNA
She didn't say much--

SHAWN
--I'm more interested in Bruce at
the moment.

Michael is clearly upset at the interruption.

JOANNA
Giselle had a confrontation with
the chick Bruce was sleeping with.

MICHAEL
Did Giselle give you her name?

JOANNA
No, but she did imply that it was
someone that she met her before.

48.

EXT. SCARLETT'S HOUSE - DAY

Shawn and Michael, at the doorstep, ring the bell.

MICHAEL
She was a nice girl.

SHAWN
Reminded me of my ex-wife, never
heard a word I said.

Michael's reaction is somewhere between amused and offended.
Scarlett answers.

SCARLETT
Detectives, what can I do for you?

MICHAEL
We were wondering if we could ask
you a few more questions?

SCARLETT
Sure, but you'll have to be quick,
I have errands to run.

INT. SCARLETT'S LIVING ROOM - CONTINUOUS

Scarlett leads them inside. Shawn closes the door behind
them.

SCARLETT
(to Michael)
Although you don't look like the
quick type at all.

Shawn gives Michael a shit-eating grin.

SHAWN
How long have you been in on
Bruce's little scam?

SCARLETT
How insulting! Bruce was providing
a valuable service.

SHAWN
Bruce Claymore never even
graduated med-school--he's not
trained to treat cancer.

49.

SCARLETT
You don't know what you're talking
about.

MICHAEL
We're detectives, it's our job to
figure that stuff out.

SCARLETT
I love detectives. I always wanted
to fuck Don Johnson on Miami Vice.

Her voice seductive as silk.

SHAWN
So you're telling us you were
blissfully ignorant of what Bruce
was doing?

SCARLETT
No, I'm saying you're wrong.

SHAWN
It never struck you as odd that
almost none of his patients ever
got better and that he was
charging them exorbitant amounts
of money?

SCARLETT
Bruce's patients all had terminal
cancer--their doctors had
practically left them for dead. We
provided them hope.

SHAWN
Hope's getting very expensive
these days.

SCARLETT
The HMOs don't want to pay for
Bruce's services--as far as
they're concerned, it's cheaper if
their patients die.

SHAWN
Right.

SCARLETT
Am I being accused of something?

50.

MICHAEL
No, not at all. We are just doing
some routine questions.

SHAWN
Were you having an affair with
Bruce Claymore?

Scarlett is taken aback.

SCARLETT
You better be buying me a nice
steak dinner if you expect me to
tell you about my sex life.

MICHAEL
If you don't mind, we're going to
need a hair sample.

SCARLETT
That's no problem.

THE LIVING ROOM WINDOW

several feet away from Scarlett and the two detectives, a
pair of eyes observes the conversation from outside. As we
get closer, we realize these shifty eyes belong to

BRUCE CLAYMORE.

EXT. SCARLETT'S HOUSE - MOMENTS LATER

Shawn and Michael exit the front door.

SHAWN
She's lying.

MICHAEL
She's a brunette, the hairs Murray
has belong to a blonde.

SHAWN
She either knew that Bruce was a
complete fraud and was in on it or
she's the most naive person I've
ever met.

Shawn and Michael reach their car.

MICHAEL
Maybe she's lying because she
doesn't want to get in trouble for
medical fraud. That doesn't mean
(MORE)

51.

MICHAEL (cont'd)
she had anything to do with
Giselle missing.

SHAWN
There's nothing that's big enough
to lie about and small enough not
to matter.

INT. POLICE STATION - DAY

Shawn is at his desk on the phone. Michael struts towards
him with a piece of paper. Shawn hangs up.

MICHAEL
(smirking)
He failed.

SHAWN
What?

MICHAEL
Aaron Troyer, he failed his lie
detector test.

SHAWN
Let me see that.

Shawn grabs the paper from Michael's hand and looks it over,
concerned.

MICHAEL
If you need to recuse yourself
from this case, I'll understand.

Michael walks away.

SHAWN
Maybe you should be taking a
harder look at your little
schoolgirl crush--you think I
haven't noticed?

EXT. BACK OF POLICE STATION - MOMENTS LATER

MICHAEL'S FACE

is intense and emotional.

52.

MICHAEL
I know we've been going through a
rough patch lately--I mean, I get
it. We just--we just need to talk.
We can work through whatever it
is.
(beat)
I know about the affair. Did you
want me to find out to rub it in
my face or did you think I
wouldn't find out because I'm
stupid?

We PAN OUT and see Michael sitting on a bench alone.

He pulls his cell phone out, dials a number and puts the
phone to his ear.

PHONE RINGING

CHRISTINA (V.O.)
I might be in, I might be out.
This is Christina and if you leave
a message you might find out.

Michael hangs up. He turns and sees Curtis standing by the
back door with a shit eating grin.

CURTIS
What a jackass.

Curtis goes through the door, back into the station.

EXT. NEVADA ROAD - DAY

A blue Bentley speeds down the road. Two foxes playfully
chase one another around the expansive desert sand.

EXT. KEVIN AND JUDY'S FRONT LAWN - DAY

Judy, on her hands and knees, works on her garden, wearing a
flower printed dress and a wide brimmed fedora.

The blue Bentley pulls up and parks.

Judy looks up, interested. The car door opens and Bruce
exits. Sharply dressed, sunlight reflects off his Armani
shades.

He nervously surveys around. He spots Judy and smiles. She
awkwardly waves.

53.

BRUCE
Hey, Judy.

JUDY
Hi.

BRUCE
Your petunias are coming in real
nice this year.

Judy smiles unconvincingly.

JUDY
Thanks. Is everything alright,
Bruce?

BRUCE
Yeah, everything's going
fantastic--just getting back from
vacation.

JUDY
Good.

BRUCE
Say hello to Kevin for me.

Bruce turns and walks to the front door of his house.

JUDY

stares at Bruce in awe. She pulls her cell phone out and
dials.

JUDY
Hello, Detective Stevens?--

INT. SHAWN'S CAR - DAY

Shawn drives; Michael rides shotgun.

MICHAEL
Maybe you're afraid that you're
not smart enough to be a
detective--maybe deep down, you
know all you'll ever be good for
is kicking down doors and roughing
up drug dealers.

            SHAWN
      (amused)
You think my job is easy? You
wouldn't want to mess up that suit
            (MORE)

54.

SHAWN (cont'd)
or that little American flag pin.

MICHAEL
Reagan gave my Dad this pin after
he was shot.

SHAWN
I've killed three guys in the line
of duty--shot a fourth. I bet
you've never even pulled your gun
out. Just cause your daddy took a
bullet, doesn't mean you're cut
out for it.

Michael thinks, maybe he's right.

They coast up to a corner house. Striking distance from

BRUCE'S HOUSE

The blue Bentley is still parked on the street. Two
neighborhood women speed by with hand weights.

EXT. BRUCE'S LAWN - CONTINUOUS

Shawn and Michael get out of the car. They jog towards
Bruce's house.

Judy, still on her front lawn, glances desperately at them.
Shawn motions her to go inside. She scurries in.

MICHAEL
You think he'll run?

SHAWN
Cover the back. If he does, just
yell for help.

Shawn jogs up to the front door. Michael crouches and
hurries around the side of the house. Shawn KNOCKS LOUDLY ON
DOOR.

SHAWN
(CONT'D)
Bruce Claymore, this is the
Police! Open Up!

55.

EXT. BRUCE'S BACKYARD - CONTINUOUS

Michael, hunched over, a revolver clutched in his right hand
hovers by his ear. He looks ready for Bruce to burst out any
second.

EXT. BRUCE'S FRONT DOOR - CONTINUOUS

Shawn peeks in a window. Bruce bolts down a hallway and out
of sight.

SHAWN
(yells)
He's running!

Shawn KICKS THE FRONT DOOR open and rushes inside. He runs
into Michael down the hallway.

SHAWN
(cont'd)
Shit, which way did he go?

MICHAEL
I don't know.

Shawn and Michael survey around, guns raised. The door to
the garage is ajar.

EXT. BRUCE'S LAWN - CONTINUOUS

They get outside. Bruce is no where in sight. A FEMALE
SCREAM ECHOES from Judy's house. They sprint in that
direction.

MICHAEL
I'll take the back.

Shawn nods. Michael hurries around the side.

INT. KEVIN AND JUDY'S LIVING ROOM - CONTINUOUS

Shawn eases in the typically decorated mid-western home, gun
drawn. Judy dashes towards him.

JUDY
He's in here!

SHAWN
Where?

56.

Judy points up the stairs.

JUDY
In the bedroom.

Shawn cautiously heads up the stairs. He turns into the
bedroom.

INT. KEVIN AND JUDY'S BEDROOM - CONTINUOUS

THE WINDOW

is open; curtains blowing lightly in the wind.

Shawn looks out, shifting his eyes back and forth. Bruce is
nowhere to be seen. A STRONG GUST OF WIND BLOWS THROUGH.
Shawn's short, ginger hair ruffles.

SHAWN
Fuck!

Shawn turns and starts out the bedroom. A BUMPING NOISE
comes from the closet.

Shawn stops in his tracks and turns. He raises his gun and
slowly steps toward the closet.

CLOSET DOOR

Shawn's hand cautiously grabs the handle.

TOMMY (O.S.)
Hey!

Shawn turns, sees a nervous Tommy staring right at his gun.

Bruce pops out and lunges at Shawn's mid-section, taking him
down.

Tommy scrams.

Shawn's gun flies out of his hand. Bruce and Shawn both
scramble to get the piece. Bruce wins. Shawn lunges at the
gripped gun. Bruce kicks Shawn twice; creating separation.

Bruce stands, his eyes cold and merciless, intently pointing
the barrel between Shawn's eyes. Bruce pulls the hammer
back.

GUNSHOTS RING OUT

57.

Two bullets slam into Bruce's hand. Bruce reels back,
dropping the gun. He falls to the floor; SCREAMING IN PAIN.

CAMERA PANS

Michael stands in the doorway, wide-eyed, a smoking gun in
hand.

Shawn gives Michael a thankful glance.

INT. HOSPITAL ROOM - LATER

Bruce lays in the typically decorated hospital room,
sedated, hand heavily bandaged.

The door opens. Bruce's lawyer, MR. WEST, suit and tie
pressed, smarmy little weasel, enters.

MR. WEST
Mr. Claymore, long time no see.

Mr. West puts his briefcase on the table and takes a seat.

BRUCE
You too, Stew.

MR. WEST
So, tell me what happened?

Bruce takes a deep breath through his nose.

BRUCE
I know Giselle is dead and the
heat's going to be on me. I was
planning on skipping town.

MR. WEST
What was so important at your
house that you couldn't help going
back?

BRUCE
Two hundred fifty thousand
dollars.

MR. WEST
(stunned)
I can see why you went back.

Bruce leans forward, his eyes wide and moves his hands
frantically.

58.

BRUCE
Yeah, but it wasn't there!

MR. WEST
Someone stole it?

BRUCE
Yeah, and it's not exactly money
that I can report stolen.

MR. WEST
You have any idea who took it?

BRUCE
(scowling)
I know exactly who.

The door bursts open. Shawn and Michael enter.

            SHAWN
      (sarcastically
       laughing)
You are in a whole heap of
trouble, Bruce.

Bruce is as cool as can be.

BRUCE
I only ran because I didn't
believe you were Cops.

MR. WEST
I hope you guys aren't wasting our
time with a Resisting Arrest
charge.

SHAWN
A resisting Arrest charge is the
last thing you two should be
worried about.

MR. WEST
I need you telling me what to
worry about as bad as I need a
wart on my ass.

MICHAEL
Worry about polishing your laurels
someplace else.

59.

BRUCE
Listen, I had nothing to do with
Giselle missing, okay? I've been
in Colorado the past week.

MICHAEL
Is that so?

BRUCE
I know who did it--I know who
killed Giselle.

SHAWN
Oh yeah, who?

BRUCE
A former patient of mine, Aaron
Troyer.

Shawn gets in Bruce's face.

SHAWN
(angry)
You lie more than you breathe--why
should I trust a word you say?

MICHAEL
Tell me why you think Aaron's
responsible.

Shawn glares angrily at Michael.

INT. POLICE STATION - NIGHT

Michael sits at his desk, deeply focused on his computer
screen. A picture of the man he saw Christina with, Todd.

Shawn eases up and peers over his shoulder. Michael notices
and nervously closes the file.

SHAWN
Hey, got any plans tonight?

MICHAEL
No.

SHAWN
Let me buy you a beer.

60.

INT. SHAWN'S APARTMENT - LATER

The apartment is small, yet clean and organized. It is
decorated like that of a divorced father. Sports posters,
pictures of his kids, and a police medal of honor are
proudly displayed.

A KEY TURNS and the front door opens. Shawn and Michael
enter, stumbling drunk.

Rambo, Shawn's border collie, dashes to him. They playfully
greet each other.

SHAWN
Aww, who's a good boy, Rambo?
(beat)
Welcome to my casa.

Michael looks around. He notices the MEDAL OF HONOR,
impressed.

Next to that is a picture of four men smiling on a boat.
Michael picks it up and examines it. Shawn and Aaron are two
of the four men.

Michael turns. Shawn stands behind him with two beers. He
hands one to Michael.

MICHAEL
Where was this taken?

SHAWN
It's a nice night--come check out
the view.

EXT. SHAWN'S PATIO - LATER

The back patio overlooks the Nevada dessert. A gorgeous
night. Michael and Shawn recline in lawn chairs, each
holding a beer.

A cheap cigar clasped between Shawn's meaty fingers.

SHAWN
So who were you looking up on the
computer when I walked over?

MICHAEL
(unsure)
What are you talking about?

61.

SHAWN
You know, the one you got all
nervous about and closed like my
twelve year old I caught watching
porn.

MICHAEL
It was just some guy.

An awkward beat.

MICHAEL
(cont'd)
What would you do if you found out
your girlfriend was cheating?

Shawn thinks about it.

SHAWN
I would hide drugs in the guy's
car and report it stolen. Then I'd
dump my lying, cheating
girlfriend. But, that's just me.

MICHAEL
(somber)
Yeah.

SHAWN
She doesn't know you know does
she?

Michael, upset that he revealed too much, shakes his head.

MICHAEL
No.

SHAWN
What the hell is wrong with you?
Why haven't you kicked the shit
out of this guy? You need to stand
up for yourself!

MICHAEL
I'm supposed to follow the law,
not break it.

SHAWN
Fuck that. The law doesn't
matter--it's just a means to an
end.

62.

MICHAEL
Once you start making bad
decisions, it's easy to forget how
to make good ones.

A beat.

SHAWN
My second year on the force I got
called to a bank robbery.

EXT. NEVADA BANK - DAY

FLASHBACK

A creme stone building in a busy part of town.

SHAWN (V.O.)
The prick screwed up and took too
long--we got to the bank before he
left.

Two squad cars, SIRENS BLARING, pull up outside. Two
officers exit each car, including Shawn, who is younger and
decked out in blues.

TWO LOUD GUNSHOTS ring from inside the bank.

SHAWN (V.O.)
(cont'd)
He had to take a hostage. He
brought her out at gunpoint to his
car.

The four officers crouch, taking tactical positions.

The front door to the bank opens. BANK ROBBER, slim and
wiry, money bag in hand, drags out FEMALE TELLER, young and
scared, at gun point.

BANK ROBBER
Everyone GET THE FUCK back or I
blast this pretty little thing!

The officers take a few steps back.

NERVOUS COP
Don't do anything stupid.

63.

SHAWN (V.O.)
(cont'd)
I was able to sneak up behind him
with a clear shot.

Bank Robber shuffles towards his car in the lot. Shawn
shifts behind a wall several feet away.

BANK ROBBER
We're getting in my car and
getting outta here! I better not
see a single one of you behind me.

Bank Robber and Female Teller turn the corner, their backs
to Shawn, who is several yards away. Bank Robber constantly
shifts his body.

MICHAEL (V.O.)
What did you do?

Shawn pulls back the hammer. A moment of doubt overcomes him
as he hesitates.

SHAWN (V.O.)
Nothing.

Bank Robber quickly turns and notices Shawn. He points his
gun at him.

BANK ROBBER
Are you deaf? I said get the fuck
back!

Shawn lowers his weapon, disappointed in himself.

MICHAEL (V.O.)
You didn't take the shot?

SHAWN (V.O.)
I wasn't supposed to according to
the rules--not with a hostage so
close. That's the first thing they
teach you.

Bank Robber and Female Teller reach the car. He throws her
in and follows suit.

Shawn and Female Teller desperately lock eyes.

END FLASHBACK

64.

EXT. SHAWN'S PATIO - CONTINUOUS

Michael looks at a downtrodden Shawn, wide eyed.

MICHAEL
What happened?

SHAWN
He took her in the car and
escaped. A few miles away he shot
her in the head. Dropped her body
in a ditch.

MICHAEL
I'm sorry--

SHAWN
If you're too honest the world
will find a way to destroy you.

INT. MICHAEL'S LIVING ROOM - NIGHT

Christina relaxes on the couch, watching TELEVISION.

The door opens, Michael ENTERS.

CHRISTINA
Where've you been?

MICHAEL
Out with a friend.

CHRISTINA
I'm glad you went out and had some
fun--it's about time.

MICHAEL
Cause I'm as exciting as dental
floss, right?

Christina gets up. She gives him a once-over.

CHRISTINA
Have you been drinking?

MICHAEL
So what if I have?

CHRISTINA
You drove home drunk? I'm
surprised you didn't arrest
yourself.

65.

Michael marches back to the door.

CHRISTINA
(cont'd)
Where you going?

MICHAEL
You have friends you like to spend
time with--maybe I should too.

Michael closes the door as he leaves.

INT. SHAWN'S BEDROOM - NIGHT

Shawn lays in bed tossing and turning. He flips the covers,
gets out of bed, frustrated and walks into the bathroom.

Shawn runs water in the sink and splashes his face. He
stares at himself in the mirror.

INT. SCARLETT'S LIVING ROOM - NIGHT

Scarlett, wearing nothing but a silk night gown, gorgeous as
ever, bustles about.

The DOORBELL RINGS

Scarlett cautiously saunters to the door, concerned over the
late hour. She opens the door.

Michael stands in her doorway, a strange confidence about
him.

Scarlett is pleasantly surprised.

SCARLETT
Detective Austin, it's a little
late for a house call.

Michael enters, without invitation, closing the door behind
him. He backs Scarlett in. She is turned on by the
forcefulness.

MICHAEL
I was wondering if that offer for
a drink was still on the table?

SCARLETT
Your girlfriend doesn't mind you
being out this late?

66.

Michael leans in, undoing Scarlett's robe. Her body is
better than he imagined.

Michael forces Scarlett to the floor. She rips his jacket
off, sending his father's PIN flying to the floor. Moments
away from passionate sex.

EXT. SHAWN'S HOUSE - MOMENTS LATER

Shawn, dressed as if going to work, hurries to his car. He
gets in, starts it and peels away.

INT. SCARLETT'S LIVING ROOM - NIGHT

Scarlett's naked body draped over Michael's on the floor.

SCARLETT
I'm glad you came over.

MICHAEL
I'm glad you came too.

They gently snuggle.

MICHAEL
(cont'd)
May I use your bathroom?

SCARLETT
Of course.

Michael stands and shuffles towards the bathroom. He stops
in his tracks.

A beat. Something has caught his eye.

ON THE DESK

a printed newspaper article with Shawn's picture. The
headline reads: "Violent Crimes Unit Officer Under
Investigation."

Michael grabs the paper and examines it. He walks back to
Scarlett, holding the paper up.

MICHAEL
Doing a little light reading?

            SCARLETT
      (defensive)
Your partner, he rubbed me the
wrong way, so I decided to check
            (MORE)

67.

SCARLETT (cont'd)
up on him.

MICHAEL
He's a little rough around the
edges, but--

SCARLETT
--He's a dirty cop, Michael and
everyone knows it. I'm scared, I
don't trust him.

MICHAEL
(unsure)
You're wrong.

SCARLETT
He is hellbent on proving I killed
Giselle--I'm worried he has an
ulterior motive.

Michael's PHONE RINGS. He reaches in his pants and answers.

MICHAEL
(cont'd)
Austin
(beat)
You're kidding!
(beat)
I'll pick him up right now.

EXT. AARON TROYER'S HOUSE - NIGHT

Shawn's car comes to a screeching halt. He gets out and
marches to the front door. The porch light pops on.

Shawn rings the doorbell. A few seconds later Aaron answers,
shocked to see him. MRS. TROYER, plain, draped in a
bathrobe, shuffles up behind Aaron.

MRS. TROYER
Who the blazes is it this time of
night?

AARON
Go back to bed, I'll be in there
in a minute.

Mrs. Troyer shoots both Shawn and Aaron a disapproving look
and marches back to bed.

68.

AARON
(cont'd)
Jesus, Shawn--do you have any idea
what time it is?

SHAWN
Why'd you do it?

Aaron closes the door and steps outside.

AARON
Aww, come on.

SHAWN
You failed your lie detector
test--you have motive--most
importantly you have no alibi.
(beat)
You have a big guilty sign hanging
around your neck and you're doing
nothing to help me take it off!

AARON
You've known me since Little
League--please don't let me get
caught up in this.

Shawn opens his mouth, but the words don't seem to come out.

All of a sudden, Michael's Crown Victoria speeds up to the
driveway. Aaron and Shawn are surprised.

Michael gets out and STUMBLES DRUNK towards them.

MICHAEL
Aaron Troyer, you're under arrest
for the murder of Giselle
Claymore.

SHAWN
What?

AARON
You can't do this!

Michael flips Aaron around and cuffs him. Shawn grabs his
shoulder.

SHAWN
Hey, uncuff him.

69.

MICHAEL
I just got the call--we have tape
of his car on Giselle's street the
night of the murder.

SHAWN
He didn't do this! I know him.

MICHAEL
So killers get off as long as they
are buddies with you?

Shawn cocks his arm back, punches Michael square in the
face.

Michael recovers quickly. He whips his gun out, points it
between Shawn's eyes. A trickle of red runs down his nose.

MICHAEL
(cont'd)
You still don't think I have the
balls to shoot?

By the look of Shawn, he does. Michael leads Aaron to his
car, shoves him in the back.

MICHAEL
(cont'd)
I'm doing this interrogation
alone.

Michael gets in, starts the car and PEELS AWAY.

INT. POLICE STATION/EVIDENCE LOCKER - NIGHT

The station is quiet and lifeless. The stillness eerie.
Shawn intently walks through and reaches the evidence
locker.

An overweight cop, BOB, sits at the sign in desk.

BOB
Shawn Stevens, what brings you
here this hour?

Shawn reaches the desk and signs in.

SHAWN
Couldn't sleep--something about a
case has been bugging me.

70.

Bob buzzes him in. Shawn opens the gate and enters the
evidence locker.

BOB (O.S.)
I hope you find what you're
looking for.

Shawn digs through several bags till he finds what he wants.

SHAWN'S HANDS

hold an evidence bag. Inside, a bloody, torn white shirt.
The evidence bag reads: "Giselle Claymore"

Shawn puts on a pair of white latex gloves. He opens the
evidence bag and rips a small piece of shirt.

He glances around, making sure he is not being watched, and
stuffs the piece in his pocket.

INT. INTERROGATION ROOM - LATER

Aaron sits at the table, shaking, hands balled together.
Michael stands over him, ready to put the screws in.

MICHAEL
If you confess now, I'll make sure
you get a reduced sentence--you
being friends with Shawn and all.

AARON
I didn't have anything to do with
Dr. Claymore's wife!

MICHAEL
We have motive, opportunity and
plenty of circumstantial evidence.
I have gotten convictions on less.
You lied about being at work. What
were you doing on Giselle's street
that night?

Aaron takes a deep breath, defeated.

INT. CHEAP MOTEL - NIGHT

FLASHBACK

The room is sleazy and dimly lit.

71.

AARON (V.O.)
You're right, I wasn't at work
that night. I was seeing an
escort.

MICHAEL (V.O.)
How did you meet her?

AARON (V.O.)
She came to my work, started
flirting with me--she gave me her
number. I called when I got off
work, she told me to meet her at
that Motel Six at midnight. We had
sex and I left, I swear to God!

Aaron, laying on a ruffled mattress in his underwear. A lit
cigarette lazily dangles by his side and a satisfied look on
his face.

A light is on in the bathroom. A unseen person RUNS WATER in
the sink.

AARON
My life is so routine you know?
It's the same everyday. You get
married, have kids, start a
business--how do you find time for
anything else? No one understands,
they think you have all you can
ever want.

The water stops running.

AARON
(cont'd)
How could I ever tell my wife? She
would hate me if she knew the way
that I felt.

ATTRACTIVE MAN, chiseled, late 20's struts out of the
bathroom in his underwear.

ATTRACTIVE MAN
Let's not talk about your family.

Attractive Man moves towards Aaron. He leans in and they
kiss.

END FLASHBACK

72.

INT. INTERROGATION ROOM - CONTINUOUS

Michael eyes Aaron over, not sure what to make of his story.

MICHAEL
You don't work as a detective as
long as I have without knowing
when someone's holding back on
you. And you're holding back on
me!

AARON
It's the truth, I swear.

MICHAEL
We're going to check that out.
Till then, you're a guest of the
county.

Aaron's face is a pathetic mess.

AARON
I swear, I didn't lay a finger on
Mrs. Claymore.

MICHAEL
Whatever happened, I promise I'll
get to the bottom of it.

AARON
Please don't tell my family.

EXT. POLICE GARAGE - LATER

There are dozens of impounded cars. Shawn is alone. He pops
the trunk of Bruce's blue Bentley. He takes the bloody shirt
piece and tucks it deep inside the spotlessly clean trunk.

INT. JAIL CELL - NIGHT

Aaron sits alone in the cold, dark cell wearing an orange
jumpsuit.

A PEN AND PAPER

in hand. He writes: "Dear Angelica, Thomas and Donna, I love
you all deeply with every last bit of my heart. I can not
take back the terrible things I have done, but I am truly
sorry for having done them."

73.

He pauses, turning his attention to the plain white sheet on
his bed.

INT. POLICE STATION - DAY

Shawn sits at his desk, looking through papers. Michael
paces up to him, a patch now covering his broken nose.

Shawn stands, his face puffy and red.

MICHAEL
What is it?

SHAWN
Aaron attempted suicide last
night--he tried to hang himself in
his cell.

MICHAEL
What?

SHAWN
Maybe you were right, maybe he did
do this.

MICHAEL
No, I checked with the guy working
the front desk, Aaron was there
that night. He arrived, stayed in
his room for an hour, then left.

SHAWN
So, you think he is innocent?

MICHAEL
Doesn't it strike you as a
fantastic coincidence that some
pro, out of nowhere, invited Aaron
there the night Giselle was
killed?

SHAWN
You don't think it was a
coincidence though, do you?

Veteran walks up.

VETERAN OFFICER
Detectives, we have the hair tests
back. It's a match for Scarlett
Marie.

74.

Michael looks horrified.

SHAWN
Great, I'll get the car.

EXT. SCARLETT'S HOUSE - DAY

Shawn and Michael pull up. A squad car already parked out
front with two cops. Scarlett is next to them in handcuffs,
wearing a provocative dress, along with the green necklace.

Shawn and Michael get out and march up to them.

SCARLETT
This is total bullshit!

SHAWN
It's nice to see you too.

SCARLETT
What's going on?

MICHAEL
(uncomfortable)
Your hairs were a positive match
to the ones we found at Giselle
Claymore's apartment.

SHAWN
For some reason I can't see you
two hanging out having coffee.

SCARLETT
I have no idea how those got
there!

INT. SCARLETT'S HOUSE - DAY

Shawn and Michael enter, latex gloves on. This is the last
place in the world Michael wants to be.

SHAWN
You doing alright?

MICHAEL
Yeah, I'm fine.

Michael glances at Shawn, uneasy.

75.

INT. SCARLETT'S BEDROOM - MOMENTS LATER

Michael searches through a desk drawer. Shawn digs
underneath the bed.

Shawn peeks his head out, with a child-like grin. Several
items in hand.

A pink fuzzy handcuffs, a set of string beads, and a bottle
of lubricant.

SHAWN
(amused)
I hope I find some video tapes.

MICHAEL
Yeah, right.

SHAWN
It's too bad she's a murder
suspect--you could've had a lot of
fun with her.

MICHAEL
Looks like you have things covered
in here.

Michael uncomfortably exits the room.

INT. SCARLETT'S GARAGE - MOMENTS LATER

Antique furniture, cardboard boxes, old exercise equipment.
Cluttered, but not dirty.

Michael

FRANTICALLY DIGS

through full bags of trash he has pulled out of the bin. A
man who desperately needs to find something.

He finds what he's looking for.

A USED CONDOM

clasped between his fingers. He shoves the condom in his
pocket, relieved.

He meanders around, inspecting with a practiced eye.

A GRAY TARP

76.

folded neatly on a shelf catches his eye. Michael grabs it.
His face lights up.

SHAWN (O.S.)
Michael, get in here!

INT. SCARLETT'S BEDROOM - CONTINUOUS

Shawn is holding a Japanese style samurai sword. Michael
enters.

MICHAEL
Look at that thing.

Shawn pulls the sword out of its scabbard.

SHAWN
There's blood.

Michael comes closer and inspects the sword. There are tiny
droplets of blood on it.

Shawn notices the tarp.

SHAWN
What's that?

Michael unfolds the tarp and presents it to Shawn.

MICHAEL
This look familiar?

INT. SCARLETT'S LIVING ROOM - MOMENTS LATER

Shawn and Michael carry the evidence they collected out.
Shawn suddenly YELPS; his leg buckles.

MICHAEL
You alright?

Shawn bends down and picks up the source of his pain.
MICHAEL'S FLAG PIN.

Shawn smiles. Michael's heart sinks.

SHAWN
You should be more careful where
you leave this--people might get
the wrong idea.

77.

EXT. SCARLETT'S HOUSE - MOMENTS LATER

Scarlett and the two officers are where we left them.
Michael and Shawn walk outside with several items in hand.
Scarlett gives them an angry scowl.

SCARLETT
Hey! What are you doing with my
things?

SHAWN
They're evidence in a homocide.

SCARLETT
My sword!

SHAWN
Would you like explain why there's
blood on this sword and whose it
is?

Her expression is a vacant expanse of confusion.

SCARLETT
(vehemently)
I have no idea!

SHAWN
Well I do.

Scarlett's eyes plead with Michael.

MICHAEL
We'll be sure to let you know
whose blood it is when we find
out.
(beat)
You should get a lawyer.

SCARLETT
This isn't fair!

Something catches Shawn's eye. He stares long and hard at
Scarlett.

SCARLETT
(CONT'D)
What're you looking at?

Shawn reaches over and removes her necklace as she
struggles.

78.

SCARLETT
(offended)
Get your hands off me!

Shawn flips the necklace over and examines the back; his
eyes grow wide.

MICHAEL
What is it?

Shawn leans over and shows Michael; on the back are the
initials "G.C.". Shawn had recognized it from the photo at
Giselle's.

EXT. POLICE GARAGE - DAY

All the doors and trunk to the blue Bentley are popped open.
Murray examines under the drivers seat. Shawn quickly struts
up.

SHAWN
Found anything?

MURRAY
I'm not sure yet.

SHAWN
You have someone who wants to
speak to you at the front desk.

MURRAY
(confused)
Really? Who?

SHAWN
I didn't get the name.

MURRAY
Ok, well I'll be right back.

Murray gets out of the car and walks away.

Shawn quickly goes to the trunk and grabs the PIECE OF
SHIRT. He puts it in his pocket and scrams. Shawn looks
relieved.

INT. POLICE STATION - DAY

Michael sits at his desk, looking over paperwork. Joanna
approaches. She stops behind him.

79.

JOANNA
Excuse me, detective.

Michael turns, surprised.

MICHAEL
Joanna, hi--what brings you down
here?

JOANNA
I have something to give you.

Joanna reaches inside her purse and pulls out a tape. She
hands it Michael.

MICHAEL
What's this?

JOANNA
When Giselle thought Bruce was
cheating, she started hiding video
recorders in her house.

MICHAEL
How'd you get this?

JOANNA
I just received it today. Giselle
mailed it to me, before she was
murdered.

MICHAEL
What's on it?

INT. BRUCE'S BATHROOM - DAY

FLASHBACK

SUPER: "8 Weeks Earlier"

Giselle stands in front of the mirror, adjusting her blue
dress suit, getting ready for work.

DOORBELL RINGS

Giselle gets an excited, yet expected look and scuttles out.

INT. BRUCE'S LIVING ROOM - MOMENTS LATER

Giselle opens the front door. A UPS WORKER, holds a package.

80.

INT. BRUCE'S BEDROOM - MOMENTS LATER

Giselle places the package on the bed and opens it. She
excitedly pulls out a TEDDY BEAR. She reaches in and pulls
out a blinking red light.

INT. BRUCE'S OFFICE - MOMENTS LATER

Bruce sits at his immaculately kept desk, in front of his
computer and on the phone. He smiles.

BRUCE
Yeah, she's leaving to work any
minute.

A KNOCK AT THE DOOR.

Bruce abruptly hangs up as the door opens. Giselle peers in,
noticing.

GISELLE
I just wanted to say bye before
work.

BRUCE
Ok, sweetie. Have a good day.

Giselle kisses Bruce on the lips then walks out. The front
door closes as she leaves.

INT. BRUCE'S LIVING ROOM/BEDROOM - MOMENTS LATER

The DOORBELL RINGS. Bruce excitedly gets up.

Bruce opens the door. Scarlett stands there, ogling him with
seductive eyes.

Without saying a word, Bruce leads Scarlett to the bedroom.

No sooner is the door shut than they're all over each other.
Scarlett arches, moaning, fumbling with his fly.

GISELLE'S TEDDY BEAR, on the mantle, gazes at the action
with a watchful eye.

END FLASHBACK

INT. POLICE STATION - CONTINUOUS

Shawn walks through the station. Captain Harris approaches.

81.

SHAWN
What's up, Captain?

CAPTAIN HARRIS
An old friend of yours was
murdered a couple nights ago.

SHAWN
Who's that, Captain?

CAPTAIN HARRIS
Edmund Prescott.

SHAWN
Who?

Captain Harris holds up a picture of Frogger, dead on the
street. Shawn smiles at his handiwork.

SHAWN
(cont'd)
Frogger, his name's Edmund? Not
very gangster of him.

CAPTAIN HARRIS
A witness said she saw four white
males, dressed in black, approach
our amphibian friend. After a
brief conversation, one of the men
shot him. They left the gun--filed
off serial number.
(beat)
What do you make of that, Shawn?

Shawn ponders; as cool as a cucumber.

SHAWN
Sounds like a Russian Hit Squad.

CAPTAIN HARRIS
Now, why would the Russians want a
little piss head like Frogger
killed?

SHAWN
I'm just a detective--that's more
of a Violent Crimes Unit thing,
don't ya think?

CAPTAIN HARRIS
Where were you two nights ago at
10pm?

82.

SHAWN
With my old team, watching the UFC
pay per view. It was a good one.

CAPTAIN HARRIS
Just the four of you--anyone else?

SHAWN
We were bonding.

Captain Harris smirks condescendingly and walks away.

INT. POLICE STATION - MOMENTS LATER

The station is bustling. Michael paces back and forth
anxiously. Shawn walks up. Michael immediately turns towards
him.

MICHAEL
Where were you--I've been waiting
half an hour?

SHAWN
(awkwardly)
I was checking on a lead.

MICHAEL
Find anything?

A beat.

SHAWN
It was nothing. So what's got your
tighty whities in a twist?

Michael presses play on his computer.

THE SCREEN

comes to life with an image of Bruce Claymore's bedroom.
Bruce and Scarlett lay under the covers, fresh from sex.

SCARLETT (V.O.)
You make me so happy, Bruce.

BRUCE (V.O.)
I love you babe.

SNUGGLING SOUNDS

83.

SCARLETT (V.O.)
(mockingly)
I can't believe that bitch
actually thinks she's going to get
away with this.

BRUCE (V.O.)
She'll get what's coming to her.

SCARLETT (V.O.)
Killing her will be my
pleasure--then all our problems
will go away.

INT. INTERROGATION ROOM ONE - DAY

Scarlett sits at the table edgy, fiddling with her hands,
mind racing. Michael across from her. Scarlett's lawyer, MS.
BROOKS, is next to Scarlett.

SCARLETT
I don't care what your evidence
says, I didn't murder Giselle
Claymore!

MICHAEL
(sarcastically)
Well I guess we can ignore your
constant lies and the mountain of
evidence against you as long as
you pinky promise you didn't do
it.

Michael gets out of his chair and begins pacing a circle
around Ms. Brooks and Scarlett.

SCARLETT
Well, it's the truth.

Scarlett turns away from Michael and stares at the wall with
a pissed off look and her arms crossed.

MS. BROOKS
We're not just going to sit here
and let you insult my client like
this. Either show some respect or
this interrogation is finished.

MICHAEL
We're just getting started.

Scarlett gives Michael a contemptuous look.

84.

SCARLETT
What does the rulebook say about a
detective having sex with someone
involved in their case?

MICHAEL
(uneasy)
Are you suggesting something?

Ms. Brooks looks back and forth. The tension is palpable.

INT. CAPTAIN HARRIS' OFFICE - MOMENTS LATER

Captain Harris sits at his desk, Shawn and Michael across
from him.

CAPTAIN HARRIS
(to Michael)
Did you have sex with Scarlett
Marie?

Michael fidgets uncomfortably.

SHAWN
Captain, he was with me that
entire night--we were knocking a
few back. She's just saying that
because we have her backed in a
corner and she knows it.

CAPTAIN HARRIS
Is that true, Michael?

MICHAEL
Yeah, she's making the whole thing
up.

CAPTAIN HARRIS
We are gonna search her house for
the condom she claimed you wore--

MICHAEL
--And you wont find it.

EXT. SHIPPING WAREHOUSE - NIGHT

FLASHBACK

SUPER: "2 Weeks Earlier"

85.

Bruce sits behind the wheel of his blue Bentley, intently
focused on a lone car a dozen yards away.

SHAWN (V.O.)
I know you hired the escort to
meet Aaron at the motel that
night. Did you find her on
Craigslist?

BRUCE (V.O.)
You don't even realize, do you?

SHAWN (V.O.)
What?

BRUCE (V.O.)
I found out a little secret about
Aaron.

Aaron exits the warehouse and shuffles towards his car. The
engine starts, the lights pop on and the car pulls away.

Bruce starts the Bentley and trails at a safe distance.

EXT. LOCAL BAR - MOMENTS LATER

Bruce parks across the street of the busy, non-nondescript
bar. He watches Aaron enter the bar. A second later two
young guys come out, horse playing.

A devilish smirk crosses Bruce's face.

INT. HOTEL LOBBY - DAY

SUPER: "7 Days Earlier"

Bruce casually strolls through the cheaply decorated lobby.
No one notices him.

He turns down a hallway leading towards the rooms. He stops
at his destination.

KNOCKS ON THE DOOR

A beat.

Attractive Male, who we met earlier, answers.

BRUCE
Hi.

86.

ATTRACTIVE MAN
Come in.

Attractive Male closes the door behind him. He lifts his
shirt, revealing two chiseled pecks.

ATTRACTIVE MAN
(cont'd)
Touch them so I know you're not a
cop.

Bruce reaches both hands out, obliging his request. He lets
go and Attractive Male puts his shirt down.

ATTRACTIVE MAN
(cont'd)
So did you want the hour or half
hour?

BRUCE
Actually, I had something special
I wanted to ask.

ATTRACTIVE MAN
Ok, just so you know, anal is an
extra fifty.

BRUCE
It's not for me. How would you
like to make $4,000 for a couple
hours work?

END FLASHBACK

INT. INTERROGATION ROOM TWO - MOMENTS LATER

Bruce, Mr. WEST, and Shawn are all sitting at a table. Bruce
and Shawn stare at one another; each trying to get a
psychological edge.

SHAWN
How do you sleep at night?

BRUCE
I own a very comfy bed. It's a
Serta--I'll be back in it soon
enough.

Shawn lifts his cup of coffee and takes a long, loud,
obnoxious sip.

87.

SHAWN
I'm going to do everything in my
power to keep you on an
uncomfortable, lumpy mattress for
a long time.

Bruce sits there, looking at Shawn stone faced.

MR. WEST
Don't worry, they don't have
enough evidence on you.

SHAWN
Is that so?

MR. WEST
Unless you have some evidence I'm
not aware of, yes.

Shawn shoots them a cocky smirk.

SHAWN
I have a video tape you might like
to see.

INT. INTERROGATION ROOM ONE - MOMENTS LATER

Scarlett and Ms. Brooks are sitting. Michael leans against
the wall looking in a manila envelope.

MICHAEL
So why were you wearing Giselle's
necklace?

SCARLETT
I didn't know it was hers--Bruce
gave it to me.

MICHAEL
We have your sword, found in your
house, with your fingerprints and
Giselle's blood.

SCARLETT
Of course my sword's going to have
my fingerprints.

MICHAEL
We have a tarp found in the desert
with Giselle's blood and a
matching tarp found in your
garage.

88.

MS. BROOKS
That doesn't prove anything. They
probably sell those tarps in a
hundred different places.

MICHAEL
You saw the tape.

MS. BROOKS
Are you offering us a deal or are
you wasting our time?

MICHAEL
If she testifies against Bruce
Claymore, Man One. She'll serve
fifteen to twenty.

SCARLETT
Wait, what? No I don't want a
deal. I didn't do anything!

MICHAEL
I know exactly what you did.

EXT. GISELLE'S APARTMENT - NIGHT

FLASHBACK

Scarlett parks her car outside the apartment. Her eyes shift
back and forth, searching.

MICHAEL (V.O.)
You went to Giselle's apartment in
the middle of the night....

INT. GISELLE'S APARTMENT - MOMENTS LATER

Street light streams in through the slowly opening front
door. Scarlett's silhouette creeps in, sword in hand.

She tip-toes through the near pitch black living room and
reaches the bedroom door.

MICHAEL (V.O.)
She was asleep when you got
there--she had no chance of
stopping you.

89.

INT. GISELLE'S BEDROOM - MOMENTS LATER

The bedroom door cracks open; Scarlett enters. She raises
her sword as she approaches. Giselle stirs awake.

GISELLE
What the...?

Scarlett plunges the sword into Giselle's midsection as she
attempts to stand.

Scarlett lunges at Giselle. They wrestle, CRASHING INTO
FURNITURE. Scarlett chokes the life out of her.

Giselle grabs a chunk of her hair, before slowly, painfully
fading.

INT. GISELLE'S BEDROOM - LATER

The bedroom light reveals the destruction of the struggle.
Giselle's lifeless body rests on a gray tarp. Scarlett
stands over her, bloody, sword in hand.

MICHAEL (V.O.)
(CONT'D)
After you killed her, you used
your sword and chopped her into
little pieces.

Scarlett raises her sword and violently brings it down.
CAMERA CUTS AWAY before it makes contact with Giselle.

EXT. NEVADA DESSERT - NIGHT

Scarlett finishes burring a hole in the desert. Moonlight
reflects off the sweat on her brow.

MICHAEL (V.O.)
(CONT'D)
Then you buried her in the dessert
where you thought no one would
ever find her.

END FLASHBACK

INT. INTERROGATION ROOM ONE - CONTINUOUS

Ms. Brooks gives Scarlett a concerned look. Michael leans
next to Scarlett's face. She looks intimidated.

90.

MICHAEL
(CONT'D)
Despite the bravado your lawyer
has been showing, she'll be the
first to tell you that you're in a
horrible position. Stephen Hawking
is more likely to win Dancing With
the Stars than you are beating
this case in open court. If this
goes to trial you'll spend the
rest of your life in prison.

Scarlett gives Ms. Brooks an accusing stare.

MS. BROOKS
Look, if you want to fight these
charges and take this to trial
then I'll be right by your side.

SCARLETT
Can we win?

Ms. Brooks expression is filled with doubt. Scarlett buries
her face in her hands and cries.

SCARLETT
(amused bitterness)
I may not have killed Giselle, but
I deserve to be here.

MICHAEL
Tell me.

SCARLETT
Giselle found out about the scams,
the affair, everything.
(beat)
She blackmailed Bruce for two
hundred fifty thousand dollars.

MICHAEL
Wow.

SCARLETT
I hated Bruce--I despised Bruce!
He pretended to have cancer,
ripped off the terminally ill,
cheated on his wife--I saw an
opportunity! I was never going to
kill Giselle--I just wanted to
take Bruce's blood money and
leave, start all over again.

91.

MICHAEL
(angry)
My partner Shawn is in the next
room with Bruce. He's charged with
Giselle's murder as well. Now that
you told me Giselle blackmailed
him, we can use that against him.

Scarlett looks at Ms. Brooks desperately.

INT. INTERROGATION ROOM TWO - MOMENTS LATER

Bruce, Shawn and Mr. West are all sitting at the table. The
door opens and Michael enters.

MICHAEL
Shawn, can I speak to you?

SHAWN
Yeah, I need a break from these
guys.

Shawn gets up and walks out of the room.

MR. WEST
So how was Colorado?

BRUCE
I went skiing in Aspen--saw Kevin
Bacon.

MR. WEST
I'm planning a trip there with the
wife soon.