EXT COASTAL ROAD - NIGHT

OPEN on a highway road in a remote coastal town. We see CAR HEADLIGHTS approach, and we see it's a CONVERTIBLE with the top down, an old 60's sportscar, beat-up but cool.

The driver is JIM TRUDELL; he winds his way down the road.

He's in good shape, and carries the look of a man who has seen and done much in his 32 years.

The road is desolate, except for a lone ROADHOUSE BAR up in the distance. Jim sees it and heads toward it -

CUT TO

EXT ROADHOUSE BAR - NIGHT

As Jim approaches it we see the lot littered with bikers and Harleys - regulars.

Jim slows down and pulls up into the driveway -

We see two large men, LURCH and WEENER, stagger out the front door. They are very drunk and looking for trouble.

Jim gets out of his car, and coolly surveys the rowdy bar.

Lurch stops and looks ahead - he sees Jim approach the front door. He slaps Weener on the arm -

LURCH

How much you give me to fuck with

this guy?

WEENER

How about nothin'?

LURCH

You're on.

Jim approaches the front door. Lurch greets him gregariously -

LURCH

A hearty good evening to ya. There's a

$50 dollar cover charge tonight.

Jim nods, realizing they're drunk. He heads toward the front door, but Lurch stands in front of him, blocking his access.

Jim smiles weakly at the idiot, simply wanting to get by.

JIM

Funny.

LURCH

Didn't you hear what I said?

Jim goes to head in, but Lurch stops him by jamming his HAND into Jim's CHEST - Lurch smiles at him -

LURCH

Fifty bucks.

Weener muffles a laugh. Jim smiles, and calmly moves Lurch's hand away -

JIM

Yeah I remember when I had my

first beer - goodnight, guys.

Lurch grabs Jim by the arm and yanks him back outside--he shoves his palm into Jim's chest again--HARD--knocking Jim backwards--

LURCH

You should watch your attitude

around here...

In a flash Jim grabs the mans's hand, twisting the wrist backwards, sending Lurch to his knees--

JIM

Thanks for the advice...

CUT TO:

INT. BAR - NIGHT

The bar is smoky, loud, and crowded. He winds his way through the unruly crowd to the bar.

He sees a SKELETAL, LEATHER-FACED BARTENDER, pouring whiskies and beers. He is at the other end of the bar, serving a customer.

Jim scans the bar: POOL PLAYERS, BIKER MUSIC, a rowdy crowd.

Then, suddenly, something catches Jim's eye - he tracks it across the room.

We see a sexy WOMAN enter--the head of every local patron turns in her direction. She's clearly out of place in this establishment as she heads through the crowd, arrives at a payphone, and makes a call.

Jim eyes her, as the bartender approaches him. She hangs up, apparently frustrated. She seems apprehensive about something.

BARTENDER

What can I get ya?

JIM

You know the nearest place to stay

around here?

BARTENDER

(shrugs)

South of here. I dunno.

JIM

You know about how far down?

BARTENDER

(irritated)

What do I look like, a travel

agent? Now you want to order or

what?

Jim reacts to the non-information he just received. He'd just as soon leave, but he sees the woman make her way toward the bar, not really noticing Jim.

Jim gestures to the tap -

JIM

Give me a beer.

The bartender pours the shot, and plunks down the beer.

BARTENDER

Three.

Jim pays and the bartender goes to the cash register.

The woman waits for the bartender, and looks over at Jim then scans the room, before looking up at the TV behind the bar.

Jim takes this opportunity to inconspicuously glance at the woman - she takes note of Jim - she is very sexy, a mysterious air about her.

She looks forward, at the TV -

The bartender looks over the girl as he approaches her.

BARTENDER

What will it be, darlin'?

WOMAN

Stoli and tonic.

BARTENDER

(stone-faced)

We don't have - "Stoli" - and

I just ran out of tonic.

She looks at him -

WOMAN

How about a glass of water. Or are

you out of glasses?

The bartender smirks and gets her some water. Jim and the woman exchange looks -

JIM

It's that kinda service that'll

keep me comin' here...

The woman smiles faintly and looks ahead, preoccupied--

LURCH(O.S.)

Hey! Hot dog!

The woman turns around to see the group surrounding them. WEENER, LURCH, and three big, mean BIKERS. Lurch stares at Jim. The others ogle the woman -

The bartender scowls at the two men -

BARTENDER

I told you two to get outta here!

Lurch stares down the bartender with hostile eyes.

LURCH

Make us, ya old fart...

The bartender grabs a sawed-off bat under the bar, but one of the bikers slams the bartender's hand to the counter -

Lurch then directs his attention to Jim, and the woman...

LURCH

Hot dog thinks he owns the place!

Jim shakes his head to himself, as if he knows what's gonna happen - it's routine to him.

The woman senses real trouble but turns away, and plays it cool.

LURCH

What's your name, sweet thing?

(gestures to Jim)

Are you with chickenshit here? Huh?

Weener cackles along with the three other goons surrounding them. Jim keeps his cool.

LURCH

Huh?

Lurch staggers, then gains his footing.

WEENER

I think she's ignoring you, Lurch.

LURCH

Excuse me, but I'm talking to you.

Are you ignoring me?

Then, finally, the woman slowly turns and looks Lurch up and down.

WOMAN

Now why would I want to ignore

a fat, drunken slob like you?

Lurch's buddies go "Oooooohhh," and laugh at this affront, but Lurch is not amused.

LURCH

You know, I ought to teach you

some manners...

Lurch grabs the woman by the arm and YANKS her close to him.

Jim moves, yanking Lurch's hand off the girl and staring him down -

JIM

That's it. Show's over.

Lurch SWINGS - Jim DEFLECTS the punch and SMASHES Lurch across the face -

Lurch crashes to the ground -

Lurch staggers up and whips out a SWITCHBLADE, people back up -

The woman looks at Jim, fearing the worst -

Lurch takes a furious drunken SWING at Jim -

Jim DUCKS and POW!! - grabs Lurch's wrist -

Jim SLAMS the blade down into the felt of a POOL TABLE before delivering a COMBINATION that sends Lurch spinning and crashing into a table of drinks -

BIKER 1 SWINGS his mallet fist at Jim's face but Jim SLAPS it to a stop, twists it hard - tendons SNAP as Jim flips him on his ass -

Weener LUNGES and GRABS Jim around the waist, sending them to the ground -

Jim FLIPS Weener off of him and rolls to his feet - as Weener staggers up and Jim lands a DEVASTATING ROUNDHOUSE KICK to the skull which DROPS him -

BIKER 2 approaches from behind but Jim BACKHANDS his face -

BIKER 3 CONNECTS with Jim across the jaw - Jim LASHES INTO HIM with a combination that SHATTERS his nose -

Lurch SPRINGS to life brandishing a POOL CUE - people clear-

Lurch charges Jim, SWINGING the cue furiously - we hear it WHIPPING through the air -

Jim waits for the right time before GRABBING the cue and wrenching it out of Lurch's hands -

Weener approaches from behind and Jim JUTS the back of the cue into his ribs - we hear a bone CRACK - Jim SMASHES him to the ground turning around just as Biker 2 CHARGES -

Jim STABS the back of the cue into the biker's face and a LIGHTNING FAST kick sends him colliding into the barstools -

Lurch makes a final charge and WHAM!!! Jim SHATTERS the pool cue over Lurch's skull, ending the melee.

Jim holds the broken cue, looking for anyone else who wants to start up - no one does.

Then Jim looks toward the woman - she stares hard at him -

He surveys the destruction - throws the pool cue to the ground -

The bartender runs around the bar...

BARTENDER

Goddammit look at this! Look at this!

JIM

Are you OK?

WOMAN

Yeah...thank you.

Jim nods, and takes off toward the door -

The woman watches him leave.

EXT ROADHOUSE BAR - NIGHT

Jim gets into his car.

WOMAN'S VOICE(O.S.)

Hey. Wait!

The woman approaches the car. Jim looks at her.

WOMAN

Where are you going?

JIM

(Beat)

Well I've kind of had my fill of

the place, you know what I mean?

WOMAN

You must be going somewhere.

JIM

I don't have any real destination.

I'm just going South.

WOMAN

Mind if I come along for the ride?

He scrutinizes her for a second.

WOMAN

I'm stranded out here.

JIM

(Beat)

Hop in.

The woman climbs in, and the car peels out onto the highway-

DISSOLVE TO:

EXT. ROAD - NIGHT

The convertible books down the road -

CUT TO:

EXT CAR - NIGHT

Jim drives - the woman sits in the passenger seat.

WOMAN

Where did you learn to fight like

that?

JIM

(Beat)

I read a book.

WOMAN

Well, you saved me from a bad situation.

Thanks.

(Beat)

I admit this is...unusual.

JIM

Are you a regular there?

WOMAN

Are you serious?

(Beat)

My boyfriend ditched me...

JIM

Ditched you?

WOMAN

We were fighting - I told

him to let me out.

(Beat)

So where are you headed?

JIM

Bartender said there are motels

south of here.

The woman looks out and then back at Jim.

WOMAN

Would you be into...getting a room?

Jim looks at her, then looks ahead, as if this is too good to be true:

JIM

What would your - boyfriend - think?

WOMAN

Screw him!

They drive silently for a beat; Jim is amused by the strangeness of the situation.

JIM

You don't seem afraid of much.

WOMAN

Not with this...

At that point she looks at Jim and pulls a 9mm semi-automatic out of her purse - she pulls back the chamber - Jim sees it, and smiles -

JIM

You should have told me ahead of

time, saved me the trouble.

There is a pause. Neither says anything. Then Jim extends his hand in friendship.

JIM

My name's Jim...

She looks at him, and shakes his hand.

WOMAN

Stephanie...

The convertible heads down the dark road -

DISSOLVE TO:

EXT HOTEL - NIGHT

CLOSE SHOT of blazing neon, pulling back to reveal the

ROADSIDE MOTEL sign buzzing in the night air -

CUT TO:

INT. HOTEL ROOM - NIGHT.

We follow the neon glare through the windows of the cheap room.

We see two double beds. Jim is lying on one, looking out the window, hands behind his head.

We see Stephanie looking out the window, neon light reflecting on her face. There is a distant, preoccupied look in her eyes...

JIM

Afraid your boyfriend will show up?

Stephanie pauses, then looks at Jim:

STEPHANIE

You never know. He can be...psychotic

some times.

Jim senses she's lying but says nothing.

Stephanie changes the subject -

STEPHANIE

So where are you from?

JIM

Up north.

STEPHANIE

Where up north?

JIM

Seattle.

STEPHANIE

(Beat)

You got any family?

Jim looks out the window for a pause, reflecting.

JIM

No...

STEPHANIE

You're the mysterious type, right?

Jim looks at her and decides to play quid pro quo -

JIM

I'm running from my psychotic

girlfriend.

The two exchange knowing looks.

STEPHANIE

OK, no more questions...

Stephanie heads over to the light.

STEPHANIE

Mind if I turn out the light?

JIM

No...

She flips out the light and begins to undress. Jim watches her.

STEPHANIE

You know, you don't seem afraid

of much either. How do you know

I'm not going to try to rape you?

JIM

Figure you would have tried it already.

The woman looks at him, continues to undress. The neon light illuminates her body in the dark room...

JIM

You always carry a gun with you?

STEPHANIE

No.

JIM

Only on dates?

The woman slides under the covers, her back facing Jim.

STEPHANIE

I just listen to my instincts.

Jim rolls over; he looks at her bare shoulders -

JIM

What are your instincts telling

you now?

We see the woman looking at the wall, a preoccupied look on her face -

STEPHANIE

Stay out of trouble...

Jim looks at her for a beat, then looks out the window...

SLOW DISSOLVE TO

INT MOTEL ROOM - DAY

Jim's eyes open slowly to the morning light -

He discovers he's alone.

He gets up, checks the bathroom, checks the hallway, looks around - no sign of the woman.

He stops, stands there, thinks, and laughs at how strange it was. Then suddenly something catches his eye -

A KEY on the dresser, apparently to a BMW:

Jim inspects the key, then looks up - something DAWNS ON HIM--

CUT TO

EXT PARKING LOT - DAY

Jim runs out to find an EMPTY SPACE where his car once was -

JIM

Son of a bitch!

Angered at his stupidity, Jim looks around, then looks at the key.

Jim thinks for a second, then heads off.

CUT TO

EXT ROADHOUSE BAR - DAY

We see a TRUCK drive down the road. It slows and pulls over on the shoulder.

Jim exits the passenger side -

JIM

Thanks.

The driver pulls away. Jim crosses the street and looks around - the place is closed up, desolate.

But lo and behold, around the corner...

There is a SHINY NEW BMW in the back parking lot.

He approaches the vehicle and slips the key into the driver's door - it slips right in and the door opens.

JIM

(under his breath)

Goddamn...

Jim climbs in -

CUT TO

INT BMW - DAY

Jim sits down and inspects the car. He opens the glove compartment. Finds the registration.

The registration has a name - "Sarah Williams," and an address the Hollywood hills.

CUT TO

EXT ROADHOUSE BAR - DAY

Jim heads to the payphone, carrying the registration.

He dials information, waits...

OPERATOR(V.O.)

Operator four nine, what city please?

JIM

Yes, Hollywood. Sarah Williams.

OPERATOR(V.O.)

Checking Hollywood...I'm not showing a

listing for a Sarah Williams.

JIM

Thanks...

Jim hangs up, and looks back at the car.

CUT TO

INT BMW - DAY

Jim gets in, thinks for a second, then smiles faintly to himself, then becomes serious again...

He then closes the door, starts up the car -

EXT ROADHOUSE BAR - DAY

Jim peels out in the BMW and heads down the road...

CUT TO

EXT ROUTE 1 - DAY

Jim drives the Beemer down the highway -

We see signs indicating that he is headed to Los Angeles, 50 miles south -

MONTAGE of Jim making his way down Route one -

DISSOLVE TO:

EXT CANYON ROAD - LATE AFTERNOON

Jim pulls up a road leading to an exclusive canyon road, scattered with upscale homes.

He slows down, looking for street addresses - a WOMAN driving an expensive car approaches and passes Jim -

CUT TO:

INT WOMAN'S CAR - NIGHT

The woman inspects Jim suspiciously through her rearview mirror and drives on--

CUT TO:

INT BMW - LATE AFTERNOON

Jim continues to look for street numbers.

CUT TO:

EXT. HOUSE - LATE AFTERNOON

Jim pulls up and turns off the lights, parking in front of the house. He looks at it -

It's a nice, remote house - shades drawn, no sign of life.

Jim gets out of the car, and heads to the door.

At first he hesitates, then he knocks lightly...no answer.

He looks around and tries the door - it's locked.

He looks around again and heads to the back of the house, hopping the wooden gate.

CUT TO

EXT BACK DOOR - LATE AFTERNOON

He knocks again, this time a little harder. This time the door CREAKS OPEN, as if pulled open by a light wind, inviting trouble.

Jim hesitates again, then pokes his head inside -

JIM

Hello? Is anyone here?

Jim looks around - something catches his eye that causes him to go in...

CUT TO

INT HOUSE - LATE AFTERNOON

Jim walks in and looks at the strange shapes in the dark -

Soon we see the shapes are FURNITURE, drawers opened and dumped on the ground -

Jim looks around - everywhere there is furniture stuffing, broken wood, emptied drawers -

Suddenly a LAMP CORD is wrapped tight around Jim's neck by a MAN behind him -

The man is a formidable opponent - Jim struggles to break free - the man yanks HARD, tightening the cord with all his might -

In a surge of energy Jim WRENCHES free and FLIPS the man, who crashes into a BOOKCASE -

The man staggers up and CHARGES Jim - the two SLAM against a wall -

Jim doubles the man over with a blow to the RIBS, and sends him FLYING BACKWARDS with a blow to the FACE -

WHAM! Jim lands a shattering kick to the head, breaking the man's neck -

He spins and crashes into a glass COFFEE TABLE - DEAD.

Jim looks at the unconscious man for a beat before seeing if he's still alive -

He feels for a pulse - the face is frozen as Jim checks for signs of life -

He flips open the man's coat, and finds his WALLET...

But soon the lights from POLICE CARS begin to cut red streaks of light through the room -

Jim opens the wallet -

And sees a POLICE BADGE...Lieutenant Tom Fleming LAPD.

JIM

Oh shit...

Jim reacts to this discovery as we hear tires SCREECHING out at the front door -

Jim whips around and looks toward the front door -

BANG! The door flies open and we see two UNIFORMED OFFICERS burst in, guns aimed -

One of them whips around the corner and sees Jim -

COP1

Freeze - lemme see your hands!! Now!

Jim puts his hands up -

The other cop bursts in, and heads to the dead body -

COP1

Hands!! Put 'em up or you

will be shot!! Turn around!

Jim puts his hands up and turns around -

Cop2 approaches the man on the ground, feels his pulse - then picks up the wallet, sees the ID -

COP2

Shit...he's a goddamn lieutenant -

Jim starts to turn around -

JIM

He was trying to kill me!

COP1

I said don't move you son-of

a-bitch! You wanna die right here?!

COP2

I'm calling it in -

Jim looks at the wall, the awful circumstances sinking in...

CUT TO:

EXT HOUSE - NIGHT

We see an ambulance, other patrol cars, and onlooking neighbors.

An unmarked car pulls up and out steps CAPTAIN RAYMOND DOYLE, a tough, street-wise black officer in his 40's. He is followed by JOHNNY MARVOSA, a well-muscled but haggard-looking detective in his mid thirties, with a grim expression on his face.

They get out and are approached by one of the original uniformed officers on the scene as he heads toward the front door.

DOYLE

What do we have?

Cop2 produces a wallet and hands it to Doyle, who opens it with a sober expression on his face.

COP1

Detective Tom Fleming, from Central

division. He was dead before we

got here.

DOYLE

Shit...what the hell was he doing

up here?

COP2

Off duty? Who knows. The house is trashed,

and the suspect isn't saying much.

DOYLE

Where is this - suspect?

COP2

Inside.

CUT TO

INT HOUSE - NIGHT

Doyle and Marvosa head in to see the wrecked room, and the suspect, Jim Trudell, getting handcuffed by Cop1.

DOYLE

Who lives here?

COP2

Car's registered to a Sarah Williams.

The neighbor across the street saw

the suspect driving the car, and

hopping the fence to the backyard.

Doyle looks at Cop1.

DOYLE

Did you read him his rights?

COP2

Yeah...

Doyle goes over to Jim and looks at him; Doyle immediately dislikes and suspects Jim, and he cuts through the bullshit.

DOYLE

Alright, where is she?

JIM

And who are you?

DOYLE

Who am I? I'm gonna be your worst

fucking nightmare until you start

breaking it down for me. You

understand? Where did you get the car!

JIM

I'm done talking until I get a lawyer.

The two men stare hard at each other--

DISSOLVE TO

INT INTERROGATION ROOM - NIGHT

We see Jim, distraught and deep in reflection over the situation...

Sheriff Doyle grills Jim, along with MARVOSA. An inexperienced pencil- necked PUBLIC DEFENDER shuffles papers.

JIM

No - that's not it! She said her

boyfriend stranded her up there!

I didn't ask her to come with me!

MARVOSA

Did you have sex with her?

JIM

What?

MARVOSA

Did you have sexual intercourse

with the woman in question?

JIM

No. It wasn't like that!

MARVOSA

Then what did you do, play canasta?

DEFENDER

I - uh, believe my client has asnwered

that question sufficiently...

Jim looks over at his lamebrain lawyer with apprehension -

DOYLE

(Beat)

Anyhow... you wake up and she's gone.

But--

(to Marvosa)

--this is my favorite part--

(to Jim)

she leaves you the keys to

a brand new Beemer.

JIM

She stole my car!!

MARVOSA

Bullshit...

DOYLE

Did you report it stolen?

In response, Jim says nothing. It doesn't look good for him.

Doyle stares long and hard at Jim, convinced beyond a shadow of a doubt he is guilty. Jim realizes his story is sketchy at best.

DOYLE

So...

(to Marvosa)

to get the car back, you break into

her house.

JIM

I didn't break in - the back door

was open!

DOYLE

Yeah, it was opened -

(shouting in Jim's face)

with a goddamn screwdriver!!!

Doyle steps back, gains composure -

DOYLE

I gotta tell you something, son.

I think you're trying to make a

fool of me. You're driving a stolen car,

the owner is missing, her house is

ransacked, and a police officer's dead!

Doyle gets up -

Jim looks at the men -

JIM

I told you it was self-defense!

He was trying to kill me!

Doyle looks back at him in disgust -

MARVOSA

You can cut the shit, asshole--

DOYLE

we've got kidnapping, grand theft

auto, burglary, and two counts of

murder on you, and I'm gonna see to

it personally that it sticks!

He looks at Marvosa -

DOYLE

Take him down to C.J. Get him

out of my sight.

CUT TO:

EXT HALLWAY

A door bursts open as Jim and Marvosa head down the hall - Marvosa shoves him forward -

They are approached by STANTON, a long-faced plainclothes

detective who joins them.

He and Marvosa exchange knowing looks.

EXT POLICE STATION - NIGHT

Stanton and Marvosa lead Jim into an unmarked car -

JIM

Where am I going?

MARVOSA

County jail - get in.

They shove him in the backseat and get in.

CUT TO

EXT HIGHWAY - NIGHT

The unmarked car makes its way down the road -

CUT TO

INT UNMARKED CAR - NIGHT

Stanton and Marvosa seem preoccupied; they say nothing, looking cautiously out the windows.

Jim looks out the window. They're heading into strange territory - turning off toward an INDUSTRIAL ROAD -

Jim does not know why he's going there. He wants to say something, but hesitates.

The cops say nothing, looking out the window.

CUT TO

EXT WAREHOUSE - NIGHT

The unmarked car pulls up to the warehouse.

They take Jim out of the car...

JIM

What the hell is this?

Suddenly, Stanton clenches his jaw and SQUEEZES the cuffs tight around Jim's wrists -

Jim winces in pain as the metal tears into his wrists -

JIM

Aaah - Jesus! -

Brandishing a NIGHTSTICK, Marvosa looks around and hastily unlocks the door as they drag JIM into the warehouse -

CUT TO

INT WAREHOUSE - NIGHT

Marvosa and Stanton shove Jim into the warehouse -

JIM

What are you, crazy!!

Jim skids to the floor - as he goes to get up Marvosa SMASHES him with the nightstick - Stanton stands on the back of Jim's knees and ties up his feet with rope -

Marvosa relents and Jim writhes on the ground, unable to protect himself.

STANTON

Now...

They drag Jim toward a WATER TROUGH (serving some industrial purpose) -

STANTON

...you're going to tell us everything.

You're gonna tell us where the whore

is heading, what she told you - everything.

JIM

I don't know anything about her -

what the hell do you want???!!!

They grab him by the throat and SHOVE his face in the dirty water - Jim struggles but the two cops are clearly in charge-

They use all their force and keep him down for a while - Marvosa BASHES Jim in the ribs, causing him to exhale, and swallow water - after a nerve-racking length, they pull his head up -

MARVOSA

This is nothing, man! Now you're

going to die tonight, understand? You

just have to decide how you want to

do it. The easy way or the -

SPLASH!!! His head is angrily slammed back into the water -

MARVOSA

- hard way!!!

Stanton chokes Jim hard - Marvosa JAMS the club into his ribs -

Jim coughs underwater - BLOOD runs from his mouth as he exhales hard and swallows another mouthful of water -

The two men hold him down, then pull his head - he coughs and gasps for air -

STANTON

What's it gonna be hard ass?

Start talking -

Jim struggles to catch his breath - long enough to SPIT hard in Stanton's face -

JIM

Fuck you!

CUT TO

INT WAREHOUSE - LATER THAT NIGHT

We see Jim's handcuffed HANDS being hoisted up on an industrial hook - his shirt is ripped off -

Jim swings in the air as Marvosa CLUBS HIM HARD with the billy club -

Stanton heats an IRON ROD with an ACETYLENE TORCH -

MARVOSA

You know, I'd really like to believe

you because I got better things to do

with my night, understand? I got

a c-note on the Colts Dolphins game and

I'm sitting here with a scumbag that's

lying to me!!!

Jim appears out of it -

JIM

You're...crazy...

STANTON

No...

Stanton STABS the RED HOT IRON into Jim's chest - he SCREAMS, instantly coming to life -

STANTON

...you're stupid!

Stanton pulls the iron away - Jim grimaces in agony on the hook - Stanton looks up at him -

STANTON

Now where...is...the whore?

JIM

I told you...I don't know...

anything...

Marvosa SMASHES Jim hard with the club - the blows rain down as his body swings from the hook -

STANTON

Then this is going to be a very long

night for you -

BAM!!! In an unexpected surge of energy Jim KICKS Stanton HARD in the face and his head SMASHES into the concrete wall, bone SMACKING LOUDLY as he collapses - two teeth are SMASHED OUT and blood spatters his lips -

Jim THROTTLES Marvosa by the neck as he reaches for his gun, HOISTING himself off the HOOK - the two men collapse to the ground as Marvosa's gun RATTLES across the floor -

JIM SMASHES Marvosa with a kick that leaves his ears ringing

Jim frantically rips the ropes off his feet and takes off running as a dazed Stanton staggers slowly to his footing -

The officers go for their guns -

Jim is up and running -

POW POW POW POW POW POW POW POW!!! They fire at Jim as he takes off through the warehouse - bullets rip whole chunks of concrete off the walls -

The officers race toward him -

CUT TO

EXT HALLWAY

Jim can go one of two ways - goes left - BAM! Through the stairway door -

CUT TO

INT STAIRWELL -

Jim LEAPS up the stairs in threes -

INT HALLWAY -

Marvosa and Stanton follow in hot pursuit -

MARVOSA

Take the stairs!

Stanton heads left -

INT STAIRWELL -

Jim gets to the top - but the ROOF DOOR IS LOCKED with a padlock -

He grabs the FIRE EXTINGUISHER OFF THE WALL, BASHES the lock - no luck -

BAM! Stanton CRASHES through the door and speeds up the steps, hearing Jim desperately try to open the door -

Stanton whips up the stairs, holding out his GUN -

As he rounds last corner -

Jim SMASHES Stanton in the FACE with the EXTINGUISHER -

Stanton SMACKS into the wall -

Jim drops the extinguisher and GRABS for Stanton's gun -

The two struggle with it - Stanton FIRES REPEATEDLY -

EXT HALLWAY

Marvosa hears the GUNSHOTS and tears in the direction of the stairs -

INT STAIRWELL

Jim and Stanton STRUGGLE for control of the gun - Stanton PUNCHES Jim in the face with his free hand -

Jim SLAMS Stanton's hand against the handrail -

The gun DROPS - Jim SMASHES Stanton in the face with his cuffed hands -

Stanton retaliates, the two men exchange punches -

Jim LOOPS the handcuffs around Stanton's neck, and YANKS his neck - hard -

There is a CRUNCH and Stanton falls to the ground - neck broken.

Jim has no time to waste - his wrists bleed from the sharp metal ripping lacerations -

He RIFLES through Stanton's pockets -

Jim fumbles for Stanton's KEYS - finds them -

BAM!!! Marvosa speeds up the stairs -

Jim hears him, and scrambles for the gun with his free hand-

Marvosa gets closer -

Jim FIRES at the LOCK till the gun clicks EMPTY - the last bullet OPENS the lock - he KICKS the door open -

Jim RACES out as Marvosa gets to the last corner -

CUT TO

EXT ROOF - NIGHT

Jim runs to the EDGE and looks below him -

It is a CAR JUNKYARD, rows of densely packed junkers three stories below him -

Marvosa CRASHES though the door - begins to AIM -

Jim JUMPS -

CUT TO

EXT JUNKYARD PARKING LOT - NIGHT

Jim lands on the roof of a jalopy with a THUD - he scrambles to his feet and starts running -

CUT TO

EXT ROOF - NIGHT

Marvosa reaches the edge of the roof, sees Jim -

He FIRES - misses -

EXT CAR JUNKYARD - NIGHT

Jim RUNS over the hoods and roofs of densely parked cars -

Marvosa FIRES -

BLAM! A bullet RIPS through Jim's arm -

Jim STAGGERS, but regains his footing -

CLICK! CLICK! Marvosa's out of bullets -

Marvosa JUMPS, SLAMS on top of a car, gets his footing,

Jim jumps high on a WIRE FENCE, his cuffed hands STRUGGLING-

Jim STRADDLES the fence before -

WHAM!! He crashes to the ground, HARD -

Stanton's KEYS SKID across the asphalt - Jim grabs them up -

Marvosa stomps over the cars -

He SLIPS and FALLS -

He CRASHES, busting a WINDSHIELD with his shoulder -

Jim scrambles to his feet, and heads off -

Marvosa gets his footing, to see Jim running to freedom -

Having no choice Marvosa continues his pursuit -

CUT TO

EXT DESOLATE STREET - NIGHT

Marvosa runs down the streets until he gets to an intersection -

No sign of Jim - in any direction.

Marvosa looks around, desperate and out of breath:

MARVOSA

Shit...shit!

CUT TO:

EXT WAREHOUSE PARKING LOT - NIGHT

Marvosa runs back to his car and gets on his radio:

MARVOSA

(out of breath)

6A15 we have an officer down -

1400 North Baldwin...

Marvosa slumps to the pavement, holding the radio -

OPERATOR(V.O.)

All units stand by - 6A65 respond,

code three 1400 North Baldwin...

Marvosa thinks as fast as he can about the situation.

He opens the back trunk, produces a TIRE IRON -

-- and proceeds to SMASH OUT a rear passenger window from the inside.

CUT TO:

EXT ALLEYWAY - NIGHT

Tight on Jim opening the handcuffs - he throws them on the ground and rubs his torn wrists -

He checks his arm wound -

SIRENS begin to wail in the distance -

He looks around, and takes off down the alley -

CUT TO -

EXT WAREHOUSE PARKING LOT - LATER

Police lights illuminate the scene.

We see EMS technicians pulling up in an AMBULANCE.

CAMERA TRACKS as we see MARVOSA, and other officers.

DOYLE arrives and quickly heads over to Marvosa - behind him a K-9 OFFICER (or officers) leads the German shepherd out of the back of a patrol car -

An agitated Doyle approaches Marvosa -

DOYLE

What the hell happened?

MARVOSA

He busted the back window with his

feet, and fled on foot. We pursued

him into this warehouse - but he's -

gone, south - maybe a couple of miles

if he's fast -

DOYLE

Why didn't you call for back-up!

What were you thinking, Jesus!!!

MARVOSA

It happened too fast. He was in

the back, quiet and calm and boom!

He was out - and gone.

(Beat)

We...we fanned out...Stanton must

have let his guard down!

Doyle seems disgusted by this.

DOYLE

I don't know how you're used to

doing things, Marvosa, but it

sounds like some damn sloppy

work to me!

MARVOSA

Oh for Chrissakes it could have

happened to anyone of--

DOYLE

Bullshit! Another officer dead?! There's

no excuse for this! Now I want this son-

of-a-bitch back in custody tonight, you

understand?

Doyle looks at the other officers around him -

DOYLE

Does everyone understand?! We have a

cop killer on the loose. I want to set

a wider perimeter - three miles - units

at Baldwin, Temple, Nelson and Austin.

No vehicles come in or out! We're looking

for a man in his 30's six feet, one

eighty-five, dark hair, black jacket,

wounded, and cuffed.

Doyle turns to another officer -

DOYLE

And get me two air units down here now!

If the body's still warm there's nowhere

he can run.

CUT TO

EXT ALLEY - NIGHT

Bleeding and shirtless, Jim runs down the alley as fast as he can -

At the end of the alley there is an old, bearded HOMELESS MAN asleep and wrapped in a blue plastic tarp. Next to him is a shopping cart full of broken junk and grungy clothes.

Jim approaches the cart and gingerly digs through it - he finds a small, old ripped FLANNEL SHIRT which he takes out - he also finds a DIRTY SOCK (or rag) - he ties the sock tight above his wound - the man STIRS...suddenly we hear the sound of ROTORS -

Jim DIVES back in a dangerously narrow hiding spot - the INSTANT a HELICOPTER ROARS overhead, beaming a powerful and precise WHITE LIGHT through the narrow alleyway -

The bum stirs, and Jim freezes in place -

The helicopter light then falls DIRECTLY onto the sleeping man and stays there -

POV HELICOPTER - NIGHT

It peers down on the bum, who wakes up to the blinding light engulfing him - and angrily FLIPS THE BIRD to the helicopter -

EXT ALLEYWAY - NIGHT

BUM

Fuck off! Pigs!

The helicopter light SLOWLY heads down the alley and disappears over a rooftop -

The bum's head drops back to sleep -

Jim cautiously steps out and makes his way down the alley -

CUT TO

EXT ALLEY

An officer approaches Doyle and Marvosa -

OFFICER

Well, the dogs found a blood trail, so

we know he's wounded.

MARVOSA

I clipped him pretty good.

Doyle heads over to a cell phone in an unmarked car -

DOYLE

So...either we find his stiff ass in

an alley or we nail him at a hospital.

Helps the odds a little.

Just then we see SHELLEY ZYDOWSKI, a skinny, bespectacled no-nonsense fingerprint specialist approach Doyle as Doyle heads toward a police car - Marvosa listens attentively -

DOYLE

Zydowski. It's about time.

ZYDOWSKI

You won't like this. I ran the prints

from the house. No police record on

your suspect--at least not in our files.

But there is a match on the girl.

DOYLE

Yeah?

ZYDOWSKI

Her prints belong to Stephanie Field,

convicted for soliciting two years ago.

DOYLE

What? Wait a minute -

ZYDOWSKI

That's not all. According to the

computer - she died of a drug

overdose last year.

DOYLE

(sarcastically)

That's great Zydowski, you tech guys

are really on the ball.

(to another officer)

Harding - call the print lab at the FBI,

run the prints through their library, see

if it's less screwed-up than ours...

OFFICER'S VOICE (O.S.)

Captain!

An officer runs over to Doyle - then holds up the HANDCUFFS-

OFFICER

We found these in the alley.

Doyle sees this and snatches them out of his hand -

DOYLE

What the hell is this Marvosa!!

MARVOSA

He must have got the keys... off Stanton.

DOYLE

Great. Well that changes a lot...

Marvosa looks around, this is getting bad for him -

MARVOSA

I'm going to look for him on my own.

Fuck this.

DOYLE

We're all gonna fan out!

(to an officer)

C'mon, let's do a sweep of the

alleys -

As Marvosa heads off, Doyle slaps a new cartridge into his gun -

DOYLE

And Marvosa!

Marvosa stops, looks at him - Doyle approaches him -

DOYLE

Don't take any chances. Call for

back-up this time!

MARVOSA

Don't worry -

Marvosa does the same with his weapon, before heading away -

MARVOSA

He's a dead man...

Marvosa heads into an UNMARKED CAR and drives off -

He turns the corner -

CUT TO

INT UNMARKED CAR - NIGHT

When the coast is clear Marvosa picks up his CELLULAR phone-

Marvosa dials the cellular phone while he drives, looking around nervously -

CUT TO

EXT VENICE STREET - NIGHT

A MERCEDES BENZ decked out with gold, and darkened windows, slowly cruises down the street, passing all the bungalows, blaring rap music out of an unnecessarily amped stereo -

CUT TO

INT BENZ - NIGHT

We see the driver D.T., a ruthless-looking thug - a girl sits in the passenger seat -

The CAR PHONE rings, and D.T. picks it up and turns the music down, doesn't say anything -

VOICE(O.S.)

D.T.?

D.T.

Yeah?...

CUT TO

INT UNMARKED CAR - NIGHT

We see Marvosa on the phone.

MARVOSA

It's Marvosa -

D.T.(V.O.)

What do you need?

MARVOSA

The shit just hit the fan, brother.

That bitch has a partner and he got

away from me.

INT BENZ - NIGHT

D.T. listens -

MARVOSA(V.O.)

He walked in on Fleming and took

him out.

D.T.

So what?

INT UNMARKED CAR - NIGHT

MARVOSA

So what is they have enough to shut

us down!

D.T.(V.O.)

You mean shut your ass down!

MARVOSA

(unhinged)

No I mean ours, motherfucker!

If I go down everyone's going

with me - you and your crew

especially! You won't get protection,

you won't get the trucks - nothing!

D.T.(V.O.)

(Beat)

So what do you want me to do about

it man?

Marvosa sticks Jim's enlarged DRIVER'S LICENSE PHOTO into the car fax and dials a number -

INT BENZ - NIGHT

MARVOSA (V.O.)

I'm in Rosemead now, when I get

information I want everyone ready

to roll. We gotta get to him first.

I'm faxing you his picture now.

SNAP

Man, I got plans tonight...

MARVOSA(V.O.)

Change them.

Marvosa hangs up.

DISSOLVE TO

EXT FBI BUILDING -NIGHT

Establish the Los Angeles division headquarters.

CUT TO

INT. FBI OFFICE - NIGHT

We see the place is pretty empty as the CAMERA TRACKS the hall to see a glass door reading IDENTIFICATION LAB.

We see DONOVAN, a middle-aged federal agent as he sits down at his desk, with a high-tech computer in front of him.

An ASSISTANT walks in and addresses Donovan--

ASSISTANT

You got LAPD on line four.

Donovan looks at his watch as if it's a little late for this, then nods at the assistant..

He picks up the phone -

DONOVAN

Lab, agent Donovan...

Donovan listens for a while, then flips a switch on his computer--

DONOVAN

Well, I'll see what we've got,

send the prints over.

The prints start to come over the computer--we see the prints begin to emerge on the screen as the computer scans it's files--soon a completed fingerprint emerges. The computer beeps and reads "MATCH VERIFIED."

DONOVAN

Bingo.

Donovan executes another command to bring up the information on the print, when suddenly a window appears over the screen reading "IDENTITY CONTROL - CODE 11A." At the bottom of the screen we see a message reading "ACCESS RESTRICTED - DISCLOSE NO INFORMATION."

Donovan has a look of concern--

DONOVAN

Uh, we're coming up blank here...

yeah...I'll have to get back to you...

right.

Donovan hangs up and looks at the assistant.

DONOVAN

We better Craig on the line...

this one's his.

CUT TO

EXT STREET - NIGHT

Jim makes his way quickly and stealthily down the street -

As CARS drive by, Jim ducks down into the shadows -

CUT TO

EXT STREETCORNER - NIGHT

Jim runs over to a PAYPHONE - dials 911.

OPERATOR(V.O.)

Nine one one...

Jim grabs up a phone book and flips through it frantically.

JIM

Yeah, uh, I think my father's

having a heart attack.

He comes to a name, JESSE TUBBS. He tears out the page.

OPERATOR(V.O.)

What is your location sir?

Jim looks at an apartment building across the street -

JIM

11040 Barman avenue. Hurry!

Jim clicks the switchook, dials "0"- and looks over his shoulder -

CUT TO

EXT. ALLEY - NIGHT

Doyle and an officer ride in a POLICE CAR --

DOYLE

Make a left down that alley,

and kill the lights --

They come upon someone hiding in a cramped doorway.

Doyle shines the car's FLOODLIGHT on him.

It's a DRUNKEN MAN pissing. He turns around and hastily does up his pants.

Doyle turns the light out, and the car continues on.

CUT TO

EXT STREETCORNER - NIGHT

Jim is on the phone as the operator comes on -

JIM

Operator I'd like to make a collect

call...

CUT TO

INT. TUBBS APARTMENT - NIGHT

CAMERA TRACKS to see a cluttered room filled with COMPUTER HARDWARE, SODA CANS, PIZZA BOXES, and articles on the wall ranging from JFK assasination theories to UFO cover-ups.

A PHONE rings as we see TUBBS, 40, a burly man asleep in his WHEELCHAIR, in front of a computer displaying some kind of weird game. He slowly stirs and picks up the phone -

TUBBS