CLOSE ON T.V. PHOSPHORS Too close to see what's happening, but the sounds make it clear. Tires squeal, radios squawk and shots are exchanged; a police chase is in progress. As the police close in on their suspect, more phosphors are revealed. When the image becomes clear, the police have their man spread against a car, guns drawn. The policemen handcuff their suspect and begin to read him his rights. It looks like the perfect end to a chase... because it is. ROGER WHITE, in trench coat and fedora, steps beside the policemen in a perfect pool of light. His entrance causes the policemen to quiet themselves, as not to cover Roger's lines. ROGER Because of a tip from an ordinary citizen like YOU. He points at the camera. Behind him the police cuff the suspect and lead him to the police car. ROGER (CONT'D) This vicious criminal was apprehended only moments after he perpetrated his heinous crime. He just now stopped pointing. He remembers to look at the police as they drive off. He shoves his hands deep into his coat pockets. ROGER (CONT'D) Remember it's up to all of us to stop crime before crime stops us. (beat) Until next time, I want to thank you for taking part in "Citizen's Arrest". Damn, he needs that hand again. ROGER (CONT'D) Signing off, I'm Roger White. He salutes. The credits begin to roll over the scene. We're back far enough now to see the entire TV set. A hand reaches in and turns the set off. The reflection in the darkened TV is of a modest motel room. MARK FLETCHER walks from the set to one of the club chairs in the room. He takes a heavy seat. He's weary, too weary it seems for his thirty-five years. He runs his fingers through his hair and sighs. Finally, he looks in earnest, as though he's talking to an unseen person. MARK I'm going to kill Roger White. INT. ROGER'S HOUSE - LIVING ROOM - MORNING An enormous mass of a human, STANLEY IGERS, sits in a comfortable sofa. He's seen Roger like this before, so he doesn't mind him circling like a panther. Roger snatches something small from the coffee table. STANLEY I wish you wouldn't have done it that way. That's all. Converting that much money attracts the kind of attention we don't want. ROGER We? STANLEY I would have preferred to move it a little more discreetly. ROGER (more to himself) You're upset that more people may know... That's rich, Roger paces to the bar and examines the contents of his hand. ROGER (CONT'D) You know what upsets me? He throws it at Stanley. ROGER (CONT'D) This. Stanley inspects it. It's a name tag with "Luis Torrez" engraved on it. STANLEY I'd be upset too, they spelled your name all wrong. ROGER Very funny. Can you explain it? Is he kidding, surely it's what it looks like. STANLEY Well, Roger, these were invented to identify a person, usually in the service industry. Roger eyes him. STANLEY (CONT'D) And typically they're worn over their heart. He stands and holds it against his chest by way of example. ROGER And the name, you know who that is? Stanley looks down and reads the name. STANLEY Of course. The tag explodes. Is it some sort of gag? Stanley doesn't know what to make of it and less of the blood that begins to seep from his chest. He looks at Roger. Smoke still pours from the barrel of Roger's gun. The large man crashes to the floor. Roger stands over Stan. ROGER We don't want to attract attention?! JAMES REYNOLDS rushes into the room. JAMES What the hell? He surveys the room. The answer is obvious. Roger tosses James the gun. ROGER Problem solved. JAMES Problem? Roger looks over the body. ROGER He knew. JAMES What? ROGER His name. JAMES Luis Torrez? Half the country knows who Luis Torrez was. Roger eyes him confidently. ROGER He knew about the money. James is suspicious. JAMES What about the money? ROGER That smug bastard wanted to keep it quiet. JAMES An accountant would. Did he mention where it is? Roger looks less confident now. JAMES (CONT'D) You don't think do you? You just react. ROGER But he knew. Roger just stares at the body. JAMES Listen, there are eyes on you. We can't just hope to be lucky again. ROGER I want it to stop. I paid. JAMES Imagine the price you'll pay if you get caught. ROGER I think... JAMES I do the thinking, okay? If you pull anything... ANYTHING like this again, I'll turn you in myself. James looks at Roger to make sure the point has been driven home. Perhaps too hard, he realizes. Amends are in order. JAMES (CONT'D) I'll take care of things. He tries to roll the body into the rug it's on. It's no use, Stan's mass is too much for one person. JAMES (CONT'D) Although, this... (indicates Stan) I may need a little help with. Roger helps James drag the body, but it's not moving fast. They stop trying. JAMES (CONT'D) Over here. They roll Stan behind the sofa. JAMES (CONT'D) Where's Chip? Roger hardly looks up from the body. He points. ROGER Over there. CHIP, a twenty-something surfer dude, is seated facing away from them. He's engrossed in a hyper violent video game on the television. James can't believe it. He's been there the whole time. He looks to Roger and shakes his head. How's he going to explain... James draws near the twitching Chip. JAMES Chip. Chip doesn't respond. JAMES (CONT'D) Chip? James lifts the headphones from Chip's head. The game sounds erupt into the room. EXT. ROGER'S HOUSE - MORNING James and Chip carry out a rolled up carpet. Being on the top of a hill, they can be seen from any number of directions, yet don't seem to care. WILL (O.S.) What the hell? INT. WILL'S CAR - DAY Undercover officer, WILL ELDRIDGE, is sitting in his plain car. Across the valley from Roger's house and shaded under a eucalyptus tree, he has a clear view of the activities. Will takes up his binoculars. WILL Now isn't this interesting? James and Chip plop the carpet into the back of James' SUV. WILL (CONT'D) And in broad daylight. He wonders. WILL (CONT'D) What are you up to? James and Chip get in the SUV and drive off. Will lowers his binoculars. WILL (CONT'D) Remodeling? (he looks after the SUV) You got me curious. He starts his car. INT. JAMES' SUV - DAY James and Chip drive through the winding roads. Chip is captivated by his GameBoy. JAMES You're there twenty four hours a day, have you noticed anything strange? CHIP Other than this? Chip points over his shoulder, though never stops his game. JAMES You'd tell me though, right? CHIP I'd tell you if anything was up, man. I owe you guys. Chip continues playing. Still, James takes him at his word. CHIP (CONT'D) You changed my life. JAMES The least we could do. Finally, Chip stops playing the game. CHIP You know, there is something I want to ask you. He sets the game aside. This is serious. JAMES Go ahead. CHIP Roger's show, you know, they're all actors, right? JAMES "Citizen's Arrest", yeah. CHIP I was thinking... well you know, I know Roger. James agrees. CHIP (CONT'D) So if like, maybe if I was taking an acting class. And maybe if they needed somebody on the show. Maybe I could, you know... JAMES Yeah. CHIP I could?! JAMES Maybe, I don't know. CHIP Okay, don't tell Roger... (whispers) I'm taking an acting class. INT. WILL'S CAR - DAY He's spotted James' SUV in the distance. It disappears around a corner. When Will rounds the corner, no SUV. WILL Shit! The road splits off in two directions. Will chooses left. EXT. HOLLYWOOD HILLS - DAY Will winds through the hills, but no SUV. Until... WILL (O.S.) Shit! INT. WILL'S CAR - DAY Will stops the car. WILL There you are. He pulls out his camera and shoots a couple shots of James stopped on a road through the trees. Chip climbs back into the SUV. EXT. HOLLYWOOD HILLS - DAY Will pulls his car over where he saw Chip get back into the SUV. He gets out and looks down the hill. It's there. He scrambles down to the carpet. Will reaches the carpet and opens it. He is surprised, doesn't know what to make of it. Finally... WILL Frozen meats. He picks up a few and tosses them out. WILL (CONT'D) Chuck roast, spare ribs, frozen meats. Interesting. INT. ROGER'S HOUSE - DAY A sweaty Roger plops onto the sofa just as James and Chip return. James eyes the out of breath Roger. He looks to where Stanley was last seen. He's not there, isn't anywhere in sight. Chip heads for the video game. James is satisfied Roger did what was asked. He takes off his coat and opens the closet door. JAMES Shit! Stan's legs spill into the room. JAMES (CONT'D) I told you... He looks to Chip who is oblivious. JAMES (CONT'D) (in a heated whisper) I'd rather not have to explain this to Chip. That's why we emptied the freezer. He looks after Roger expecting some help, but Roger is too exhausted. ROGER (equally heated) That's as far as I got. James looks to where Stanley started and now ended up. Twenty feet tops for crying out loud. James struggles to fold Stan back into the closet. Finally, success. Now, James needs a drink. EXT. HOLLYWOOD HILLS - DAY Will is at his surveillance spot next to his boss, LIEUTENANT ROBERTS. A slim, muscular man, who looks at Roger's house through binoculars. LIEUTENANT ROBERTS You didn't hear anything? WILL Not from here. LIEUTENANT ROBERTS But you saw it. Will shakes his head. WILL Come on, Lieutenant. Lieutenant Roberts lowers the binoculars and looks at him. LIEUTENANT ROBERTS Come on, what? You've got squat. WILL A carpet roll of frozen meats? Nothing? LIEUTENANT ROBERTS Suspicious yes, unless White's gone vegetarian. Unbelievable. WILL You and I both know it ain't tofu in the freezer. If I could get a search... The Lieutenant isn't going along with this. Frustrated Will shoves his hands into his pants pockets. WILL (CONT'D) You're not going to do anything. LIEUTENANT ROBERTS YOU are not going to do anything. This isn't a case. Will flinches. He pulls out a white poker chip and starts thumbing it. WILL It can be. The Lieutenant shakes his head. WILL (CONT'D) So now because he's a TV star we can't touch him? LIEUTENANT ROBERTS It's more than that. (beat) The DA's embarrassed. WILL So am I. LIEUTENANT ROBERTS They just want to let it die. WILL So a twelve hundred dollar an hour legal team buys you immunity? They made me look like a fool. LIEUTENANT ROBERTS It wasn't you're fault. That's not a salve. LIEUTENANT ROBERTS (CONT'D) But anything we do now will look like a vendetta. Will may disagree, but doesn't. LIEUTENANT ROBERTS (CONT'D) Now I could order you away from here, but you'd be useless to me. You should take some time off, but I know you'll just spend it here anyway. So, you may as well make some money doing it. There's some light. LIEUTENANT ROBERTS (CONT'D) But, until you see him chucking bodies down the hill or filling his pool with 'em, I don't want to hear it. Will gets it. CLOSE ON FEET as they slide through frame. Mark slides slowly from an MRI unit. MARK Yee-ha. INT. HOSPITAL - DAY In the middle of a long hallway, Mark leans against an open doorway. As DR. PETERSON approaches Mark pulls himself away and matches her step. MARK You're not saying much doc. She nods. MARK (CONT'D) So, what's the word? Dr. Peterson knows no better way than honesty... DR. PETERSON Bigger. Mark suspected as much. MARK And... DR. PETERSON Every one here needs to take a look. Mark tries to read her look. DR. PETERSON (CONT'D) I'm sorry Mark. I wish there was something... MARK (interrupting) Me too. (beat) Damn. DR. PETERSON I know. MARK (shakes his head) I'm not gonna make Laker tryouts this season. Dr. Peterson looks at Mark. DR. PETERSON (with a laugh) You're pretty remarkable. MARK 'Cause I can laugh? DR. PETERSON You haven't let it beat you down. MARK Right. Got too many things to do. And not a whole lotta time. How much time? He inquires with just a look. Dr. Peterson holds Mark's gaze for a moment. Is he ready for this? DR. PETERSON Can't say for sure, but I'll call you. Mark picks up his coat, but there's more to this diagnosis. DR. PETERSON (CONT'D) So you know Mark. You may start to forget things. Yesterday, last night. The name of someone you just met. MARK I've always done that. DR. PETERSON And strange things. MARK Like? They stop at a drinking fountain and Mark leans in for a sip. DR. PETERSON Nouns. Mark didn't hear that right, couldn't have. MARK "Nuns"? I don't know any nuns. DR. PETERSON (pronouncing it) Nouns. Other people with tumors like yours experienced it. We don't know why. MARK 'Cept because there's a golf ball in my brain. DR. PETERSON That is one explanation. MARK Anymore good news? DR. PETERSON I appreciate your decision to stay out of a hospital, but as your condition advances, you may experience pain or weakness in your limbs. MARK Great. Thanks doc. I'll keep an eye out for those nuns. Hopefully they don't run too fast. INT. MARK'S MOTEL ROOM - AFTERNOON Mark sits on the bed and stares out the window at nothing. One thing grabs his attention, Roger White, in his SUV, exiting the studio and getting swamped by fans. The phone rings. Mark's about to snatch it up, but takes a moment to turn on his video camera. He aims it at himself then takes the phone off the hook. MARK Hello... Oh, hey. What's up Doc? Listening closely. MARK (CONT'D) Go ahead. (beat) Will it be better news in person? Then tell me. (beat) Really? (he ponders the time) No, no. (beat) Thanks for being honest. Mark hangs up the phone and turns to look into the video camera. MARK (CONT'D) They're not talking about "weeks" no more. With a bitter smile. MARK (CONT'D) All in all it hasn't been too bad. I had a great career, saw a good chunk of the world, had some laughs. He tries to lighten it up. MARK (CONT'D) I would've liked to try skydiving, though. But that's crazy. I could get myself killed. He laughs at his own joke until tears well up in his eyes. He's really crying. Mark reaches for the camera, adjusts a button and the screen goes black. The video starts again on TV. Mark's eyes are red, but he's much more composed. MARK (CONT'D) You probably don't care about what I didn't do in my short life. You're probably more interested in why I did what I'm about to. MARK watches himself on TV, satisfied with this take. MARK (ON TAPE) (CONT'D) About a year and a half ago, doctors discovered a tumor growing in my head. They knew it was inoperable and people with this rare cancer don't experience miraculous remissions. Mark runs his fingers through his hair, unconsciously massaging his tumor. MARK (ON TAPE) (CONT'D) The doctors suggested all sorts of alternative treatments, right? So, what the heck? Mark shakes his head, remembering. MARK (ON TAPE) (CONT'D) Now, I'm in the hospital and this guy in the next bed, who's been there forever and isn't leaving soon, decides he owns the remote. His favorite show; "Citizen's Arrest". Mark grimaces at this as if the memory alone were too much to bear. MARK (ON TAPE) (CONT'D) If you've ever hated someone before, seeing him three shows a day and every damned commercial break could drive you to... (considering his words) extremes. He couldn't agree more with his last statement. His on screen self is maddened. He turns on the TV behind him and flicks through the channels until he lands on the "Citizen's Arrest" episode that opened this story. ROGER (ON TAPE) Because of a tip from an ordinary citizen like YOU. Mark continues to watch but retrieves the yellow pages from the nightstand, tosses it on the bed and starts fingering through it. ROGER (ON TAPE) (CONT'D) This vicious criminal was apprehended only moments after he perpetrated his heinous crime. Mark finds what he's looking for in the "G" pages. His finger lands on Gun shops. He lifts the receiver and dials. ROGER (ON TAPE) Remember it's up to all of us to stop crime before crime stops us. (beat) Until next time, I want to thank you for taking part in "Citizen's Arrest". (beat) Signing off, I'm Roger White. MARK How late are you open tonight...? Oh, okay, when do you open tomorrow? And where...? (he writes the directions) That's near the Chinese, right? Okay, thanks. Mark looks back at the TV and watches as the camera pans around and faces an empty chair. The on screen Mark takes a seat. MARK (ON TAPE) I'm going to kill Roger White. INT. WILL'S CAR - MORNING Daylight doesn't seem to interfere with Will's sleep. A slight hissing sound does. Something's leaking, he doesn't know what. He looks around inside the car, nothing. He sees a reflection in his side view mirror. A little boy is deflating his rear tire. WILL Hey! Will tries to jump out and chase the boy but his girth prevents any real speed. The boy is long gone before Will is fully from the car. WILL (CONT'D) (after the kid) You think that's funny? (more to himself) Stupid little grub. I'll have your parents arrested... He looks over the tire. It's not too bad. WILL (CONT'D) Just one day at a time. One day at a time. He was awakened too suddenly, a stretch comes over him. He looks around, it's daylight. He checks his watch. WILL (CONT'D) Time enough to be up, I guess. He reaches into the car for his binoculars. WILL (CONT'D) So, anything new? He spies a Fed Ex truck parked at the house. WILL (O.S.) (CONT'D) Hmm, another one. That's every Wednesday for three weeks. What's that about? INT. ROGER'S HOUSE - LIVING ROOM - MORNING Roger is standing with the unopened Fed Ex pack in his hand. He doesn't want to open it. JAMES Who's it from? Roger doesn't answer. JAMES (CONT'D) Torrez isn't it? Roger throws the pack at James in disgust. He reads it. JAMES (CONT'D) Quite the pen pal for a dead man. James opens the pack and removes a crumpled red vest, the likes of which you would only wear if you were a Valet. A note falls from the pack. James picks it up and reads... JAMES (CONT'D) "Confess". You know, it'd be great if he came up with something new to say. James flips the pack over and reads the waybill. JAMES (CONT'D) And look, he sent this yesterday while Stan was here. I don't need to tell you what that means. Roger glares at him. ROGER I paid the money. What does this guy want? James holds out the note. ROGER (CONT'D) You know that's not going to happen. Besides, it's not just my ass. He gives a long look to James. ROGER (CONT'D) I've been acquitted. But, you haven't faced a jury. James doesn't like the sounds. Is Roger threatening...? ROGER (CONT'D) And that's not how justice would be served. Justice is served when... (he grabs the note from James) we stop this man. James watches as Roger froths. ROGER (CONT'D) This man... (stabbing at the note) who wants to bring down all that we've built. All the good we bring. James nods, there is some truth. ROGER (CONT'D) Helping people rise up and take action, become self-reliant and stop crime. James claps. JAMES Amen, brother. ROGER Don't be an ass. JAMES Okay, but remember Roger, I'm in the choir. You need to start practicing your preachings. We got lucky the first time. But you need to cool the fuck down. ROGER Then stop him. JAMES I'm working on it. One problem at a time. JAMES (CONT'D) But, for now, you haven't seen Stan in days. Roger understands. JAMES (CONT'D) I'm hoping the temperature will push time of death away from when he disappeared. ROGER What do you want me to do? JAMES I want you to STOP doing. James clenches his fists. This is futile. JAMES (CONT'D) Just leave it to me. EXT. MANN'S CHINESE - MORNING Mark walks through the early morning crowd of tourists. MARK So many people... He spies the impressions left by celebrities and zooms in with his DVC. MARK (CONT'D) leave behind a legacy. To people around him he looks like a tourist narrating his home video of the "Walk of Fame." MARK (CONT'D) A mark. Mine won't be too favorable. Hopefully, this tape will clear up the big "why." People won't be left guessing. He pans the camera around and aims it at himself. MARK (CONT'D) Consider this my epitaph. INT. GUN SHOP - DAY The place is filled with weapons, rifles, hand guns and knives. Big ones, little ones, some look as though they've seen battle, some look as though they belong on Rodeo Drive. So many that a small army could be sated. Mark looks around a bit. It's an awe inspiring collection. Mark steps up to a counter. The salesman is scary, as though Vietnam was too familiar, still may be. SALESMAN What can I do ya fer? MARK Yes. I'm looking for a... Directly before Mark, several guns are displayed, possibly hundreds. He sees them, recognizes them but can't quite... MARK (CONT'D) I need a... This is frustrating, it's on the tip of his tongue. MARK (CONT'D) You load them, you aim them, you shoot them. They are...? The salesman just stares at Mark. What, is he kidding? MARK (CONT'D) No help, you are no help. You have them are all over this place. Guns! They're called guns. People shoot guns. You sell guns. I'd like to buy, a gun. The salesman nods. SALESMAN What kind? Mark has no idea. INT. GUN SHOP - SHOOTING RANGE - DAY In one of the stalls the salesman lays out a couple guns, an AR-15, Ruger Mini 14, Colt 45 Government and a Smith & Wesson 686. He picks up the AR-15. SALESMAN This is an AR-15. The civilian little brother to the M-16. He starts to take it apart, without looking. Mark watches. SALESMAN (CONT'D) Little brother ain't quite right. It is an M-16, 'cept it can't go full auto. The gun is completely apart and spread on the bench. SALESMAN (CONT'D) Used to be you could buy the drop auto sears and make it full auto. Not anymore. He looks around. So does Mark. SALESMAN (CONT'D) (seeking a laugh) Least not dur'n business hours. He gives Mark a broad smile and slams a clip into the rebuilt weapon. He hands it to Mark. SALESMAN (CONT'D) Give 'er a ride. Mark takes the rifle from the salesman and looks it over. It's cool. Whatever one thinks of guns, the machine, is cool. He shoulders it, aims at the paper target and fires. He misses it completely. MARK Wow. He looks to the target. MARK (CONT'D) Bigger target next time maybe though, huh? He smiles. SALESMAN Haven't done this 'fore, have ya? MARK No. SALESMAN Didn't figure. Takes practice. Try again. Mark squeezes off a few more rounds. Still, no holes erupt in the target. The salesman draws the target a little closer. SALESMAN (CONT'D) One more time. Mark fires off a couple of rounds. The paper remains intact. SALESMAN (CONT'D) Well, we may need to adjust the sights. MARK I haven't a clue which way. The salesman looks to the target. SALESMAN Me neither. He takes the gun from Mark. SALESMAN (CONT'D) That's awright. Dur'n the wait you can come back 'ere as much as you like an we'll get 'em lined up fer ya. No problem. MARK The "wait". SALESMAN Five to seven days depend'n on how fast Sacramento's mov'n. MARK Sev... I can't wait seven... He looks around. MARK (CONT'D) (quietly) I got money. Plenty. The salesman looks Mark over. Then he checks out who else may be around. There's no one. He walks Mark out of the view of the surveillance camera. SALESMAN (quieter) Money's not the problem; serial numbers. The salesman starts patting Mark down, looking for a wire. SALESMAN (CONT'D) You gotta tell me if'n I ask. MARK Sure. SALESMAN Is you a cop? Mark has to raise his arms so the salesman can check everywhere. MARK No. SALESMAN FBI? MARK No. SALESMAN ATF? MARK No. The salesman is satisfied there's not a wire. Mark can put his hands down. SALESMAN If you can think outside a guns. I might could help. One last question, are you soliciting me for illegal weapons? MARK (thinks) Yes. INT. ROGER'S HOUSE - DEN - DAY Chip looks up from a script at VANESSA, his acting partner. VANESSA That wasn't too bad. But what if this was really happening to you. How would your character feel? CHIP (thinks) Worried...? He looks to Vanessa, did he guess right? VANESSA No. You don't need to answer me. Answer through your lines. CHIP Oh, I get it... (nodding) through the lines, yeah. VANESSA Try again? CHIP Okay, yeah. Vanessa relaxes as her character overcomes her. Chip tries to think his character out. VANESSA Oh, Bobby, I'm so glad your here. CHIP (reading) I came as soon as I got your call, sis. How's mom feeling? VANESSA Better, much better. She hugs Chip who keeps reading, looking for his next cue. VANESSA (CONT'D) If you hadn't come up with the money, I doubt she'd have made it. Behind Vanessa, Roger walks in. CHIP Roger! Hi. Chip separates himself from Vanessa. ROGER What's going on? Vanessa confirms her hair is in place. A broad smile overtakes her face. CHIP Nothing, nothing. Just talking to my... my sister. Vanessa doesn't get it, but goes along. Especially, since this is a chance to shake hands with Roger White. VANESSA (with stars in her eyes) Hi, I'm Vanessa. I love your shows, you're great. ROGER Thanks. CHIP I didn't think you were going to be home this early. Roger shrugs. CHIP (CONT'D) I'm almost finished... talking. With my sister. ROGER Fine. It was nice meeting you. Roger heads out. CHIP Did you see that? Vanessa isn't listening. She stares off after Roger. CHIP (CONT'D) I stayed in character and he believed you were my sister. (sure of himself) It's like, method, man. EXT. ALLEY - DUSK Mark and a thick, tattooed, sweaty man called CRUSHER look over the contents of a small backpack. Mark nods, Crusher nods. Mark hands Crusher his keys. Crusher hands over his. Crusher looks over the Vette. CRUSHER It's been a pleasure doing business. He opens the door and settles into his new acquisition. MARK Wait. I don't even know how to use it. Indicating the backpack. Crusher pulls out a piece of paper and a pen from his pocket and starts writing. CRUSHER Go to this address. They have all the information you need. Crusher speeds off. Mark turns to Crusher's dilapidated truck; Mark's new truck. INT. MARK'S MOTEL ROOM - NIGHT The door opens from outside and Mark steps in carrying the backpack. He places it on the bed very carefully. He looks at it for a beat. Then quietly walks to the door, waits, then opens it quickly and looks out in each direction. Satisfied, he comes back into the room. He boots up his laptop and starts his browser. While it goes through its cacophony of hisses and beeps, he removes Crusher's note from his pocket and sits in front of the computer. He types the address on the paper, www.militia.com. The screen livens with the paranoid rantings of the fringe. Several options are available, "rights", "meetings", "instructions". "Instructions" leads to options from A-bomb creation to how to gut a human. Included in the list is C-4, which Mark clicks on. His finger scrolls through the document, occasionally he mouths key points. MARK Plastic explosive... Not volatile due to impact... You can burn it won't explode, huh. Requires detonator. He turns to the bed and the backpack. From it he removes several C4 bricks and a few detonators. MARK (CONT'D) Set detonator by... He follows the instructions and sets the detonator. The detonator's LCD clock begins counting down. Satisfied he knows how it works he reads on. MARK (CONT'D) The detonator cannot be... He grows concerned, he scrolls down and finds the instructions to stop the detonator and follows them. He carefully places the detonator on the table next to him. MARK (CONT'D) Not a toy. He prints out the page for easy reading. He pulls out his DV camcorder, places it on the table in front of himself and turns it on. DVC - VIDEO FOOTAGE Mark watches himself in the monitor and adjusts until he's framed. He thinks about what he is going to say. MARK I guess, good-byes are in order. That sounds final. MARK (CONT'D) So long and thanks to you guys at Adventuretech. Try to remember, creating games is supposed to be fun. Life is not 20 hours a day of Jolt cola, Balance bars and C code. Trust me. He can't forget. MARK (CONT'D) Dr. Peterson, thanks for understanding that I didn't want to stay at the hospital. Who wants to spend their last days tethered to machines, watching TV? (beat) That's a hell I was not ready for. And of course... MARK (CONT'D) Mom, dad, I hope you understand why I've done this. I never wanted to hurt or embarrass you. So I'm sorry if I did. Just know that I truly love you. And... This is it. MARK (CONT'D) I'm going to miss you. But even more. MARK (CONT'D) I'm going to miss it all. He reaches for the camera and turns it off. They don't need to see him break. EXT. UNIFORM SUPPLY - MORNING James pulls up in front of the Universal Uniform and Supply store. He gets out of his car and carries the red vest into the store. INT. MARK'S TRUCK - MORNING Mark is sitting behind the wheel. He looks down at the plastic explosives strapped to his waist. He sets the small timer for one minute, but doesn't initiate it. He looks at himself in the rearview mirror, the reflection of the person he will become to the world. MARK "He seemed like such a nice boy." He zips up his windbreaker. INT. STUDIO - STAGE - DAY The line of studio visitors is moving slowly. As Mark inches forward he realizes why. All the GUESTS are being ushered through a metal detector. Several guests are pulled to the side as two SECURITY GUARDS check their purses or run a wand over them. Mark keeps checking his watch. This wasn't part of his plan. He hesitates at the mouth of the detector and then strides through. The alarm goes off, seemingly buzzing louder for him than it did for any of the other visitors. A security guard puts his arm up. GUARD Hold up a second. As the guard turns toward his partner with the hand-held metal detector. MARK Oh, my keys. Mark abruptly drops his keys into a tray and steps around to go through again. He walks gingerly through the gate. Made it. As Mark starts down the hall he is stopped by... GUARD Excuse me. There is no way Mark could make a run for it now. Too many people. GUARD (CONT'D) Your keys. He dangles the car keys in front of Mark's, visibly relieved, face. The guard walks back to his post and Mark continues on with the other guests. An USHER directs people toward their seats with all the enthusiasm one can muster when repeating themselves for millions of times. USHER Watch your step. Please continue to the next available seat. Every seat has a good view. Mark nears the usher. MARK Excuse me. I need to use the restroom. USHER Down that way, take the second left, it's on the right. MARK Thanks. Mark follows her directions. INT. STUDIO - HALLWAYS - DAY Mark wanders past the restroom. He's in search of something else. Surprisingly few people pass, less even notice him. Here and there along the walls are posters of Roger advertising his shows. He rounds a corner and up ahead, a GUARD sits beside an open door. Several people make their way through the door, the guard seems to recognize them and doesn't stop them. From the other hall a few people advance. Some nod to the guard and he nods back. Mark matches their pace and gives a nod too. The guard nods with a smile. He's in, he's past the guard. Now... He continues down the hall until he reaches his goal, Roger's dressing room. He looks around, there's no one. He starts for the door knob just as Roger rounds the corner. Mark acts uninterested in the dressing room and walks to a nearby water cooler. He takes a sip to calm his nerves. Roger gets intercepted by a COSTUME DESIGNER holding out a tie for approval. ROGER That's orange. The designer meekly nods. ROGER (CONT'D) I'm not an orange person. Do I look orange to you? The designer shrugs, shakes his head. ROGER (CONT'D) Get that away from me before I string you up with it. The designer runs off. ROGER (CONT'D) (disgusted) Orange. Roger enters his dressing room. Now Mark's got him. He concentrates on what it is he's about to do. With a quick couple of breaths he steels himself. He opens his coat and triggers the timer. Without any hesitation Mark storms into the dressing room. INT. STUDIO - DRESSING ROOM - DAY The room isn't what Mark expected at all. It's abuzz with nearly a dozen people. Make-up and hair dressers poke at Roger, the stage manager reads off some notes to the lighting technician. PAs mill, waiting to have orders barked at them. Roger hasn't, nor couldn't, notice Mark's entrance with all the hands in his face. Mark notes every face in the room. Each face flashes and is etched in his mind. Too many people. He spins around to leave, but gets blocked by the designer's entrance. Mark is shoved deeper into the room. DESIGNER Celeste. Can I talk to you? Mark needs out and now. MARK Excuse me. The costume designer doesn't hear him. And if it's possible, it seems there are even more people in Mark's way. CLOSE ON TIMER with 18 seconds left there aren't many options. MARK (CONT'D) Jesus. It can't happen this way. MARK (CONT'D) I need out! MARK shoves his way through the people. They don't give way easily. INT. STUDIO - HALL - DAY Mark bursts into the hallway from the dressing room and crashes into the opposite wall before racing down the hall. INT. STUDIO - RESTROOM - DAY Mark nearly knocks the door off its hinges as blasts into the room. He dives into a stall. Mark rips at his jacket revealing the C-4 and detonator. He fumbles to stop the timer with no success. No choice, he rips the timer out and has it in his hand as the counter hits zero and the leads arc a current between them. Mark let's out a huge exhale. MARK That would've killed everyone. From the stall beside him. BATHROOM GUEST (O.S.) Mexican food, huh? INT. STUDIO - HALL - DAY Roger casually reads some script notes as he heads down the hall. Passing one of the production office doors he hears... CELESTE (O.S.) No, the vest can't be returned. Roger slows to a stop, he's interested. CELESTE (O.S.) (CONT'D) We lost it. That's why I'm calling, I want to know what it will cost to replace. Roger starts to boil. He steadies himself and walks into the room. Roger stands over the desk CELESTE CARBAJAL is seated at. CELESTE (CONT'D) Uh, whatever it costs, I'm sure we'll make good. With Roger hovering directly over her, it must be time to get off the phone. CELESTE (CONT'D) I need to go, call me later with the price. Thank you. She hangs up the phone. Roger simply stares at her. CELESTE (CONT'D) What's up, Roger? He sees only red... as in a vest. But, he can't accuse, needs to come up with... ROGER You know, I still haven't had a chance to go over the numbers for the new show. So, why don't we get together tomorrow and take care of it. CELESTE I'm not here tomorrow. ROGER Why not? CELESTE I'm leaving town. ROGER What? Where? CELESTE Tahoe for a week and a half. It's been on the sche... ROGER Then we need to get together tonight. CELESTE Tonight? I still have to pack. ROGER I'll pick you up around eight. He is the boss. CELESTE Fine. Roger leaves. Celeste picks up the phone and starts dialing. CELESTE (CONT'D) (sotto voce) That's right, it's your world Roger, we're just visiting. ATTENDANT (O.S.) Thank you for calling Reno Air. For reservations press one... She presses one. INT. MARK'S MOTEL ROOM - NIGHT On the TV Roger extols the virtue of self reliance. His guest on this episode is ex-Police Chief DANIEL GITTES. DANIEL Your case was special. There you were with a gun in your face, being car jacked. Somehow you got the upper hand. What should have happened is; you do what the carjacker says. ROGER But he would have taken my car and maybe more. DANIEL Nine times out of ten a carjacker doesn't want trouble, just your car. Mark rolls his eyes. MARK Nine times out of ten a carjacker is a carjacker. Jesus. He flicks off the TV. He sits back down before his computer. On the screen are architectural plans. Mark looks over the C-4 instructions he printed. He skims through the information. MARK (CONT'D) Placement... Best if used in conjunction with other flammables... natural gas. Makes sense. He looks over the plans on screen and finds... MARK (CONT'D) Water heater. I think I'll need these. While printing he continues looking over the plans. MARK (CONT'D) What else, natural gas. Oh, the... (the word is lost) In the kitchen, it's the thing you cook on, bake in... it's a... He grabs the plans from the printer. He reads off the instructions. MARK (CONT'D) Stove. They call it a stove, I will too. He shakes his head. He really doesn't like that symptom. He circles his targets on the plan, the bar and another gas fireplace. INT. ROGER'S HOUSE - LIVING ROOM - NIGHT Roger is behind the wet bar mixing drinks. Celeste wanders near the fireplace in the living room and admires some of the art and artifacts. She sets down her purse and picks up an artifact to examine. Roger brings Celeste her drink. She takes a sip. Roger watches as he also takes a sip. Without anything else to say there's always work, finally... CELESTE So, should we talk about those numbers? ROGER There's only one number I'm interested in, two million. Ring a bell? Celeste is a little confused. CELESTE Should it? ROGER If you return it, we can work things out. She shakes her head. CELESTE Return it? I seriously don't know what you're talking about. ROGER This afternoon, when I came by your office, you were calling about a vest. She's caught. CELESTE Oh, the vest... ROGER Can't be returned. Why is that? CELESTE Well... it was lost. ROGER (angry) Lost. Stop playing games. CELESTE I'm not... ROGER (interrupting) When did you find out about Torrez? CELESTE Torrez? She's totally confused. CELESTE (CONT'D) Maybe I should go. Headlights arc across the window. Roger sees James pulling up the drive. ROGER Shit! CELESTE Is that James? ROGER Of course it's James. Roger starts searching for something. What? ROGER (CONT'D) Always showing up at the wrong time. She really has no clue what he's talking about or looking for. Whatever it is, Roger can't find it, so he improvises. With a hefty right cross, Roger knocks Celeste to the ground. EXT. ROGER'S HOUSE - NIGHT James steps from his car and staggers toward the door. His key doesn't seem to fit, well, not that one. He tries another, and another. Finally. INT. ROGER'S HOUSE - LIVING ROOM - NIGHT James enters as Roger steps into the hall. He's not yet composed, but sizes James up and realizes he has time. ROGER Wasn't expecting you tonight. JAMES Surprise. I come bearing news. Roger looks for any evidence of Celeste. There it is, her purse is near the blow gun. Shit. ROGER What news? Roger circles James in an effort to make James look away from the purse. JAMES Who was that I saw you with a minute ago? ROGER Huh? JAMES When I pulled up, I thought I saw you talking to someone. ROGER Chip. It was Chip. He's gone to bed. CHIP I did? Jesus, when did he get there? CHIP (CONT'D) I thought I just got up. And he looks it. His disheveled hair, the robe more draped than worn. For anyone else this would be morning. ROGER Yes, but you said you were having such great dreams you thought you'd try and jump right back into REM. CHIP Oh right, right. Ladies night at menage a moi. My fave. He heads over to the sofa regaling in the memory of things to come. He starts to fade. James walks to the bar and pours a drink. ROGER So, what's your news? James looks over to Chip who is falling under the spell of sleep. JAMES (quietly) Our secret pen pal, I've got him. Him? JAMES (CONT'D) I know who he is. Roger looks off toward the bedroom, distracted. ROGER Who he is... Roger pours himself a drink. ROGER (CONT'D) How do you know? James removes a sales receipt from his pocket. JAMES Do you know how many uniform shops there are in L.A.? Roger wouldn't have a clue. JAMES (CONT'D) It's not like you buy valet vests at K mart. I went to nearly fifteen shops asking who might have bought a single vest and had a name tag engraved with Torrez's name. Roger takes another swig. James lays out the receipt and points to the top. JAMES (CONT'D) See there. Mark Fletcher. ROGER I see. Roger is resigned, this is good news, but... JAMES I'll have his address tomorrow. ROGER I knew you'd come through. James refills their drinks. They toast. Roger eyes James. ROGER (CONT'D) Do we need to make more room in the freezer? JAMES I was thinking something a little more subtle. James is swinging his drink a little wildly, Roger's hand isn't too steady either. ROGER Then I'll let you worry about that. Roger finishes his drink. ROGER (CONT'D) Good night, James. JAMES Good night? You're right it is a good god damned night. I thought you'd be thrilled. ROGER I am, I just have to... get some work done. Otherwise, I'd love to party all night. Roger attempts to escort James to the door. But James isn't budging. JAMES No problem. I'm just in a great mood. I got a head start, in case you didn't notice. ROGER Really? Well you probably want to get home and sleep it off. I know I always like to wake up in my own bed when I'm hung over. JAMES Me too. ROGER So, I'll see you then Roger heads for the front door again, James is planted. JAMES On the other hand, I think I've been over served. I should just crash here. Instead of out there. James laughs at his own joke. He's sooo funny. ROGER Oh come on, you drive better drunk than most people drive sober. Besides, I wouldn't want to keep you up. JAMES Don't worry, I'll sleep like a baby. James is moving now, but the wrong way. He heads down the hall. JAMES (CONT'D) I'll just grab any old room. Roger rushes to catch up and keeps James between himself and the purse. ROGER Let me help you. You know I could just call you a taxi. JAMES But I wouldn't answer to it. James has cracked himself up. JAMES (CONT'D) Besides, I'd just have to come back here for my car. They've stopped in front of one of the bedroom doors. ROGER Fine. How about right here. I'll get you a blanket. He shoves James into the room. EXT. ROGER'S HOUSE - NIGHT It's later and the lights are off in the house now. Everyone's asleep, or sleeping the best they can given the circumstances. There is some rustling in the shrubs along the pool. Mark Fletcher's head pokes out. He is wearing all black with the backpack over his shoulder. Mark nears the back door from the outside. He peers in, no one. Slowly he opens the door and enters. He removes the plans from his backpack, looks around the room and over the plans. MARK (quietly) You are here. He points at the plans. Looking around he spies his first placement spot for the C-4. At the fireplace, Mark sets down his backpack and removes a C 4 cell and detonator. He doesn't notice the lump of blankets on the couch. He checks his watch then sets the detonator for five minutes and puts the two leads into the C-4. He then places the entire unit just in front of the fireplace. He finds the gas control and turns it on. MARK (CONT'D) (whispers) Boom. He heads for another placement. Mark crosses the living room. Behind him and unbeknownst to each other, ROGER skulks down the hallway. He opens a bedroom door and peers in. JAMES (O.S.) (a little groggy) Not snoring too loud, am I? ROGER Nope, just making sure you're okay. JAMES (O.S.) A-okay boss. ROGER That's great. Sleep tight. He closes the door. His plans thwarted, he goes to the den and pours a drink. MARK finds the access door to the hot water heater. He blows out the pilot and sets the temperature for high. After checking his watch he sets the detonator and leaves another... MARK (whispers) Boom. ROGER finishes his drink and walks back to bed. MARK, on his way to the kitchen, just misses bumping into Roger. In the kitchen, Mark puts his head in the oven and blows. He turns the oven to high and turns on each burner. He then sets the detonator according to the time left on his watch and leaves it on the open oven door. MARK (CONT'D) (whispers) Boom. A second fireplace gets a... MARK (CONT'D) (whispers) Boom. ROGER pauses at the door of one of the bedrooms. He doesn't go in, he can't take care of her right now. He shakes his head and continues to his room. MARK puts a... MARK (CONT'D) (whispers) Boom. on the bar and surrounds it with liquor bottles. Several of which he opens and pours over the counter. He sets his last detonator according to his watch. He opens the door to place it, but one is already there and counting down. He doesn't remember placing it. The good news is, he's not going to have to deal with short term memory loss much longer. The bad news; where didn't he place a bomb? He retraces his steps and points toward each C-4 placement he remembers. MARK (CONT'D) (whispers) Boom... boom... boom... boom... boom. He looks at the one in his hand MARK (CONT'D) Boom. No clue. He shrugs and looks over the plans, but seems lost. Oh well, he enters a bedroom in search of a site for his last bomb. INT. ROGER'S HOUSE - BEDROOM - NIGHT Mark opens the closet door and peers in. He sees, umbrellas, a holstered gun, rain boots, an old toolbox, women's pumps with legs in them. He follows the legs up to see Celeste, gagged and tied to a chair. She watches him, doesn't recognize him, so she's unsure what's going on. MARK Who are you? The gag makes it tough for her to answer. He walks over and removes the gag. CELESTE Who are you? MARK (shakes his head) Nobody. Why are you here? CELESTE I don't know what's happening... MARK You shouldn't be here. CELESTE I won't be if you untie me. MARK Of course. He puts his last bomb on her lap and reaches behind her to untie her ropes. The detonator is counting down from forty-five seconds. Celeste is wondering... CELESTE Is that a... MARK Bomb. Yes. He realizes it's on her lap. MARK (CONT'D) I'm sorry. That's kind of rude. He removes it from her lap and puts it on the floor not more than a few feet from her. She never takes her eyes off it. MARK (CONT'D) Sorry. He returns to untying her. She watches it tick down from forty to thirty-nine, thirty eight... CELESTE That's in seconds isn't it? MARK Yup. He's finished. CELESTE It's going to go off soon. MARK Real soon. And others like it. CELESTE Others? MARK I better get you out of here. Mark grabs Celeste's hand. She follows for a moment, then stops, turns back to the closet and grabs the gun. She leaves the room, pointing the gun at any and everything. INT. ROGER'S HOUSE - LIVING ROOM - NIGHT Celeste continues to follow Mark out of the house. Everything gets a once over with the gun before she proceeds. They don't notice the lump of blankets stirring on the couch. But Celeste does note her purse and snatches it up. The blankets thrash more wildly. Chip pokes out a leg and an arm. Celeste sees the sliding glass door and runs out. MARK (whispering loudly) Not that way. He follows her out the door. CHIP Hey! Whoa dude! Hey. He struggles to get up from the couch, but is hopelessly tangled in blankets. EXT. ROGER'S HOUSE - POOL SIDE - NIGHT Mark directs Celeste around the corner of the house. Chip comes out from the house, too late to see Mark and Celeste round the corner. EXT. ROGER'S HOUSE - SIDE DRIVEWAY - NIGHT MARK I have a truck at the bottom of the hill. Go! CELESTE Are you crazy? Come on! Celeste tugs at Mark's sleeve. He pulls free. MARK You don't understand. Just go. Mark firmly pushes her toward where the truck waits. She stops resisting and runs down the hill. Shaking his head he looks back toward the house. He puts his hands in his jacket pocket. MARK (CONT'D) Oh great. He pulls out the keys to the pick-up truck JAMES (O.S.) What the hell is going on? CHIP (O.S.) Someone was in the house. Mark runs after Celeste. EXT. ROGER'S HOUSE - POOL SIDE - NIGHT Roger and James have join Chip outside the house. They look around, baffled. JAMES Dammit Chip, is this some kind of joke? CHIP Dude, I'm telling you. I heard someone and I think they went out here. ROGER Are you sure? The answer explodes behind them. INT. WILL'S CAR - NIGHT WILL Jesus! No need for binoculars. The explosion is lighting up the entire mountainside. Still, he grabs his camera and starts taking pictures. EXT. HOLLYWOOD HILLS - NIGHT Mark steps out from the brush. Celeste, stands next to the truck hugging herself. Though she still holds the gun, she seems in shock. He looks back toward the house and shakes his head. That didn't go as planned. MARK We have got to get out of here. Celeste doesn't respond. Mark opens the passenger door and she climbs in. INT. WILL'S CAR - NIGHT Will races through the Hills. He passes right in front of Mark and Celeste as they turn onto the street, moving in the opposite direction. WILL There you go. There you go. Will tries to keep an eye on them as he struggles to turn around. He gives chase, but gets cut off. WILL (CONT'D) Shit! It's okay though, he got the plates and writes it down. INT. MARK'S TRUCK - NIGHT Mark is oblivious to any of Will's activities. He drives and mulls over recent events. He looks to Celeste. Then checks himself in the mirror. She doesn't notice him, or anything else. MARK Can I take you someplace? She simply stares at the gun in her lap. EXT. ROGER'S HOUSE - POOL SIDE - NIGHT Roger paces back and forth as his house burns. Chip is looking for something to put the fire out. His splashes from the pool aren't effective. James may have come out of his drunken stupor, but he is far from sober. He dunks his head in the pool. Just what he needed. He looks over the fire. JAMES I'm constantly amazed by your good luck. ROGER What? You're kidding! Look at my house. James smiles at Roger. In the background Chip runs frantically toward the house with a watering can. JAMES You have insurance. And your um... "accounting error" has been disposed of. INT. MARK'S MOTEL ROOM - NIGHT Mark and Celeste enter his room. Mark looks around, doesn't know what to do or offer. MARK You're welcome to stay here. Though I'm not planning on being here much longer. Celeste is mute. She gazes around the room, barely noticing his laptop and the DVC camcorder on the table with a small note beside it. What's it mean? She's too numb to think about that right now. MARK (CONT'D) Can I offer you a soda, a drink? Still nothing. MARK (CONT'D) A seat? She drops down onto the bed and speaks in a monotone. CELESTE Who are you? MARK Mark Fletcher, software engineer. He offers his hand. She can't take his with out switching the gun to her left hand. CELESTE Celeste Carbajal. He smiles. CELESTE (CONT'D) Roger must have pissed you off something royal. MARK It's a long story. (laughs to himself) You might want to wait for it to come out on video. He looks toward his video camera. CELESTE What was he going to do to me? She tries to mentally piece together the days events. CELESTE (CONT'D) Was he going to kill me? Mark doesn't know, how could he. CELESTE (CONT'D) You work for someone every single day. You think you know them... She obviously didn't... CELESTE (CONT'D) Everything was going great. I had some time off and was about to go to Tahoe. The boss invites me over to discuss business then, wham... It's awkward, he wants to offer something, anything, but has nothing. CELESTE (CONT'D) I can't go back to work. I don't have a job anymore. She starts to cry. Mark takes the plunge. He sits down next to her on the bed and puts his arm around her. She presses closer, but to get closer Mark has to move the gun. She doesn't care. CELESTE (CONT'D) Thank God you came when you did. You saved my life. What is he supposed to do? Holding her tighter is the best answer. FADE OUT DVC POV We are close on the TV as Mark, seated in the motel room, continues narrating his story on video. MARK So how do you become a hero? A celebrity? In Roger's case timing was everything. Crime was at a new high. The season's fashionable crime was car-jacking. When Roger successfully fought off and killed an assailant, he became the celebrity of the moment. Mark holds up a couple of newspapers while he talks. The headlines read: "Vigilante Justice" and "Citizen Fights Back." MARK (CONT'D) There was a poorly run investigation and a brief trial. When he was found innocent, I started really watching him. I hesitate to use the word "stalking" but... He shrugs and pulls open the drapes and gestures out the window. MARK (CONT'D) Roger's production company. You see, he managed to parlay his fifteen minutes into a TV show, "Citizen's Arrest." CELESTE is seated in the club chair watching Mark's tape. She turns to the drapes and glances outside. Early morning light spills in. Sure enough, she sees Roger's studio. MARK (CONT'D) The show was a hit and Roger became a spokesperson for the new network, Crime TV. That was too much. His fame was based on a lie. Celeste looks to the bed where Mark is sleeping. MARK (CONT'D) I decided to get Roger to turn himself in. I figured the threat of exposure would do it. I demanded two million dollars. Celeste's attention is drawn back to the TV. MARK (CONT'D) And he paid it. Dammit, I don't need the money. I want justice. So every week since then, I mailed Roger a package. A little reminder. A simple note: "Confess." CELESTE is drawn closer to the TV. Confess? MARK (CONT'D) Oh, but confess what? I guess I'm getting way ahead of myself. You see, that night of the car-jacking, a crime was committed. Mark stirs on the bed. Damn. Just getting to the good part. MARK (CONT'D) Only it was by Roger. Celeste stops the tape. She puts the DV camcorder back on the table, next to the note that reads "This tape will explain my actions". Mark has slept well and takes his time coming to life. Maybe a splash of water on the face will help. He rolls out of bed and strolls to the bathroom. But something is amiss, something... He stops. Looks back into the room. Who is that? Celeste is seated at the table. Her hair is wet and she's wearing only his shirt. It never looked so good. He's confused. Tries to think, remember. It's not coming. MARK (CONT'D) Uh... Hi. CELESTE Good morning. This is awkward. MARK I've never done this before. Celeste doesn't know what he means? MARK (CONT'D) (embarrassed) Do I owe you money? Although, if that's so, when did he get dressed? CELESTE What? Then it occurs to her. CELESTE (CONT'D) You don't remember, do you? She crosses to him and touches his head. She knows more about him than he would like. He's still blank on her. Why does she know... MARK You watched the tape. She's embarrassed, but concedes. CELESTE Some of it. The note said... Of course. MARK You know about me. Who are you? CELESTE Celeste Carbajal. You saved my life last night. Still no memory. He looks around the room, maybe something will help. He realizes something's missing. The backpack. MARK What happened? CELESTE You blew up Roger's house. Okay, but he's is still alive. MARK And you...? CELESTE I was there because he wanted to go over the budget for his new show. Only we never talked about the show. He was more interested in some vest. MARK A vest? CELESTE I didn't know what he meant. At first I thought it was this bullet-proof vest the costume department lost. But, before I could ask, Roger went crazy. The next thing I knew, I was tied up in the closet. MARK And then? CELESTE You found me, untied me and we escaped. You saved my life. Mark likes the sound of being a hero. She looks into his eyes, deeply grateful, though something... She begins connecting the dots. CELESTE (CONT'D) (thinking) But...two million dollars... (she looks at the camcorder) you're the reason he wanted to kill me in the first place. Mark isn't following. CELESTE (CONT'D) You sent him a vest? MARK Yes. CELESTE You almost got me killed. She shoves him off the bed and he bumps his head. MARK (rubbing his head) Ouch. CELESTE (remembering his condition) Oh. I'm sorry. Mark continues rubbing his head and looks at her. EXT. ROGER'S HOUSE - MORNING James and Roger are surrounded by reporters and giving their statements. ROGER We'd be dead right now if it wasn't for Chip. James nods, Roger is doing fine. ROGER (CONT'D) He alerted us to the intruder. As I came downstairs I saw a man running toward the den. Chip thought he went outside and gave chase. I noticed the man's explosives and urged James to follow me outside. And not a moment too soon. REPORTER Can you identify the man? ROGER Yes. As incredible as it may seem, it was my accountant, Stan Igers. INT. MARK'S MOTEL ROOM - MORNING Celeste and Mark are watching this news coverage on television. CELESTE STAN! Stan didn't blow up the house. She spins on Mark. CELESTE (CONT'D) (pointing) You blew up the house. Why'd he say that? Mark sits down on the bed, good question. MARK Saw him with explosives. It makes no sense. He has to think. MARK (CONT'D) Maybe they thought I was Stan. CELESTE Stan weighs 300 pounds. Trust me they wouldn't mistake you for him. Then what could it be? MARK What if he was already dead? CELESTE Already dead? MARK You wouldn't blame Stan if he was staying for the night. Right? She shakes her head. MARK (CONT'D) But, if. Well, what if Roger thought... Mark thinks for a moment. CELESTE That Stan was the blackmailer. He shrugs. MARK Right. So how do you get rid of a 300 pound body? CELESTE He didn't have to. You did. MARK I can't believe I'm going to help him get away with another murder. Celeste sits down. CELESTE Another murder? That's what you want him to confess. Mark nods. MARK He murdered Luis Torrez. CELESTE Luis Torrez? He was a criminal. He was trying to take Roger's car from him. MARK He was a VALET. That was his job. CELESTE How do you know? What proof do you have? MARK Luis Torrez was murdered the night I learned I was dying of cancer. I spent that night just wandering. Everywhere I went I looked at people. I mean really looked at them. "How much time does he have?" I asked myself. Every person I saw; "How much time do you have." Mark is pacing around the room. He walks over to the table and shuffles through some newspaper clippings. MARK (CONT'D) The night wore on and the crowds thinned. I passed a valet stand. The guy had one set of keys left and I could see he was not happy about waiting. I looked at him and asked myself the question. Mark picks up one of the news articles. MARK (CONT'D) "How much time does he have?" Mark jabs his finger at the picture accompanying the article. Luis Torrez. The newspaper photograph comes to life and we pull out of it to reveal... EXT. RESTAURANT - NIGHT Torrez in a red vest at a valet stand. He looks up. TORREZ It's about time. We closed like two hours ago, man. INT. MARK'S MOTEL ROOM - MORNING Mark moves the article closer to Celeste. MARK For him, minutes. He was about to encounter this guy. He slides his finger over to the other photo accompanying the article: Roger White. This photo comes to life. EXT. RESTAURANT - NIGHT ROGER (slurring slightly) Well we're here now. So give me my keys. TORREZ I'm just saying, man, that I had to sit around and... ROGER My keys. Roger stands at the driver's side door and holds out is hand expectantly. James moves very close to Torrez and speaks in his ear as if it's a secret. But he's not whispering. JAMES Better give him his keys quick, he's a mean drunk. Luis Torrez bends down to take the car keys from the peg board. He mutters profanities under his breath. In the background, Mark walks away. ROGER Come on. Give me the fucking keys. Torrez is pissed. He stands and throws them at Roger, but misses. They bounce off the roof of the car, leaving a scratch in the paint. Roger is incensed. He rounds the car and grabs the valet. ROGER (CONT'D) You stupid little fucker. Roger pulls him around to the driver's side and pushes his head down on the roof of the car. ROGER (CONT'D) You see that? This car... this paint job, is worth more than you make in a year. JAMES Roger, take it easy. Roger looks at James, giving Torrez the chance to scramble out of his grasp. He pushes Roger, who falls back on his ass. James starts to chuckle. Enraged, Roger reaches into his jacket and pulls out a gun. JAMES (CONT'D) Wait! But it's too late. Roger fires and Luis falls to the ground. James approaches the body and checks for a pulse. JAMES (CONT'D) Jesus Roger, I gave you that gun for your protection. THIS (gesturing at the body) is not for your protection. Who the fuck shoots somebody over a scratch in their car? James looks away in disgust. His gaze falls on the restaurant door. He looks over to the valet case, which doesn't contain any keys. He looks up and down the empty street. No witnesses. Finally he looks back at the body. JAMES (CONT'D) Gimme a hand He begins to pull the valet vest from the body. INT. MARK'S MOTEL ROOM - MORNING CELESTE Torrez was a valet? That never came out. He was supposed to be some illegal immigrant. Did you go to the police? Mark looks down at his hands. MARK No. CELESTE Why not! It would have changed the case against Roger. Mark's folds his arms uncomfortably. MARK I know. I wanted to. This all happened just before I was going to take AdventureTec public. CELESTE AdventureTec? MARK My company. Computer Games. My lawyer thought that just being involved in a crime investigation could hurt the stock. CELESTE Why? MARK (shrugs) Guilt by association? I made games that were pretty intense. Congress was raging about violence in entertainment. It would look bad. CELESTE But you were just a witness. Surely you could have talked to the police. MARK (shaking his head) The underwriter didn't "say" they'd drop our IPO if I did. But I knew they would. I guess greed won out. I made a ton of money and a murderer got away. Celeste thinks this over. CELESTE And you think that by killing Roger it'll somehow make things right? MARK Roger can't be tried for that murder again. He won't confess to it. There is justice in me killing him. CELESTE (incredulous) Justice? MARK Yeah justice. I've led a reasonably good life and I've got this to show for it. (he points to his head) Roger has prospered by being... a murderer. She shakes her head. MARK (CONT'D) Roger has made innocent people into monsters, criminals. Luis Torrez, hapless valet or vicious carjacker? Stan, accountant or mad bomber? CELESTE Mark Fletcher, murderer. That stops him. INT. WILL'S CAR - DAY Parked in front of a One Hour Photo. Over the police radio: DISPATCH (V.O.) Eldridge, this is dispatch. Will is in the store, but heading out. He opens the envelope before he hears. DISPATCH (V.O.) (CONT'D) Eldridge, this is dispatch. Will rushes to the car and grabs his radio, spilling the photos across his seat. WILL This is Eldridge, go ahead. DISPATCH (V.O.) I got your info. The car's registered to a one Mike "Crusher" Carter. He's got a sheet, small arms and grand auto, but nothing outstanding. Will sifts through the photos and finds the one he wants, Mark at the wheel of his truck. DISPATCH (V.O.) (CONT'D) His address is twelve-seventeen, twenty third street, Santa Monica. Over. WILL Got that. Thank you Elise, I owe you. Over. DISPATCH (V.O.) You know it. Out. WILL Crusher? He looks over the photo. WILL (CONT'D) You don't look like a "Crusher". He starts up his car and drives off. INT. STUDIO - DRESSING ROOM - DAY Roger is pacing, glancing down at a script on his desk as he practices his lines. James is on the phone, but keeps getting distracted as Roger passes back and forth. Chip, wearing headphones, is engrossed in his game boy. JAMES (jotting down an address) Thanks. James hangs up the phone. As he stands, Roger issues an exasperated sigh. ROGER I can't even concentrate. What am I going to do? JAMES (pointing to a script page) Don't say this. Makes you look stupid. ROGER No, about the house. What should I do? JAMES Roger, I can't make this any clearer. I don't want you to get involved in any way. ROGER But someone tried to kill me. James sees where this is going and holds up his hand to silence Roger. JAMES Just a sec.. (he nudges Chip) Chip. Chip pulls off his headphones. CHIP Dude. James hands him the scrap of paper. JAMES Go to this address. Sit in your car and watch the house. DO NOT GO IN. If you see anyone go in, call me. CHIP Don't go in, call if someone goes in. Got it. Chip heads out the door. ROGER What's that going to get us? JAMES Obviously this guy wants more than just money. Maybe he's trying to cover his tracks. Maybe Torrez was related. We'll find him, and we'll find out. James picks up the script from the desk. He flips through it. ROGER And "our" bomber? JAMES (distracted) Haven't found a trace of him yet. ROGER So he could be vaporized, right? I mean gone. The firemen, reporters, they said they doubted finding anything. JAMES It was a big explosion. ROGER They might never find a trace of anyone, right? What's the big deal? JAMES It doesn't matter either way. We're covered. Don't worry. EXT. TRAILER PARK - DAY It's everything you could want in a trailer park. Cars on blocks, dogs barking, windows covered in cardboard. Crusher moves bags of manure from a pile into his shed. Will pulls up in his car. Crusher sees him, but doesn't stop unloading. Will gets out. WILL I'm looking for someone called "Crusher". Heard of him? CRUSHER And you are? Will shows his badge. Crusher stops and takes a look. CRUSHER (CONT'D) You found him. Will is a little surprised, but tries not to show it. WILL Your truck was seen leaving a house last night that gives new meaning to the word sunroof. CRUSHER Ya. Well, my truck was stolen. WILL No police report. CRUSHER Just found out about it this morning. WILL And last night? CRUSHER Home. All night. WILL Someone to corroborate? CRUSHER (stares at Will) Someone gonna charge me? WILL Just curious. CRUSHER I was home all night playing connect the body parts with my girlfriend. Will doesn't need more details, doesn't want them either. WILL That's a lot of shit. Crusher looks down at the bags of manure. CRUSHER Lawn needs help. WILL A football field uses less help. CRUSHER You here for gardening tips? WILL No. But the firemen were grumbling that the house went up from C-4. CRUSHER So? WILL So, your sheet has small arms. Maybe explosives is your new direction. CRUSHER Maybe you're grasping. WILL Maybe I don't care where you got it. Just where it went. Crusher looks at the detective. CRUSHER Even if I was inclined, I don't think I can help. I'm not a get personal kind of guy. Will looks around the yard. One thing stands out; Mark's vette. Will strolls over to it. WILL Nice ride. He notices a Beverly Hills parking sticker. Odd. WILL (CONT'D) Beverly Hills, huh? Then this must be your summer home. He gets in the passenger side. CRUSHER Hey, what are you doin'? He opens the glove box and removes the registration. WILL Thanks for nothing. CRUSHER My pleasure. Will gets back in his car. WILL By the way, the ATF will figure it out shortly, you may want to make sure your "lawn" is looking pretty by then. Crusher watches him drive off. INT. WILL'S CAR - DAY Will looks at the address on the registration, then checks the addresses on the houses he's passing. EXT. STREET - DAY Will drives right past Chip, seated in his Buick Skylark. Chip pulls his straw cowboy hat down low. EXT. MARK'S HOUSE - DAY Will finds the address and parks in front of the house. He strides up and rings the doorbell. Chip watches Will from his vantage. No one answers the door, Will tries again. With no one home, Will looks in through the window. Thwarted, Will heads back to his car and drives off. He never notices the straw hat floating in Chip's drivers seat. INT. MARK'S MOTEL ROOM - DAY Mark and Celeste are still seated on the bed. MARK I couldn't believe how much the prosecution blew the case against Roger. Did you know the one witness to the shooting is now a permanent house guest of Roger's? CELESTE You mean Chip? MARK Yup. And guess who managed the restaurant Torrez was valeting for? (he doesn't wait) James. Celeste touches Mark. It works. He slows down. CELESTE But Mark. Murder? There must be some other way. Why don't you take what you know to the newspapers, or TV. MARK I thought about that. Let me ask you, why didn't you go to the police last night? CELESTE I was afraid they wouldn't believe me. MARK Exactly. It's almost too much. CELESTE But we could both go. We could tell them the truth about Stan. Mark shakes his head. MARK We don't know what really happened to Stan. Celeste isn't going to let that stop her. CELESTE And we don't know what he was going to do with me either. We need to find out more and take it to the police. (thinks) We arrange a meeting. He doesn't know you. You could record him. She grabs the video camera as proof. MARK He's going to confess? CELESTE No. But, what if you are a... I dunno, an insurance investigator? And before you can issue a check, he needs to answer a few questions. He's listening. CELESTE (CONT'D) Like, how is it that he saw Stan in the house and Chip saw him outside? MARK What's going to make him bring up what he knows about you? CELESTE This. She removes her necklace. She flips it over, it's engraved, "Happy Birthday, Celeste - '95" CELESTE (CONT'D) You found this in the rubble of his house. Everyone knows I wear this all the time. MARK Maybe... CELESTE What's he going to say about me? I was there, I wasn't there. Is he going to deny kidnapping me, knocking me out? Do James or Chip know I was there? She's on a roll. CELESTE (CONT'D) Then I'll go to the DA, tell them Stan couldn't have blown up the house. You go wherever you want knowing that we got him. He's going to jail. MARK It might work. (beat) I'll need a... Celeste waits. MARK (CONT'D) A... it's a thing that you wear. That could be a million things. MARK (CONT'D) Well, guys wear them. Narrows it down, but not enough. MARK (CONT'D) It's uh... (excited, he's got a clue) there's three pieces! CELESTE A suit? MARK Yes! CELESTE Why? MARK An insurance agent would dress up for this kind of meeting. EXT. STREET - DAY James joins Chip in front of Mark's house. CHIP Hey dude. JAMES Are they still in there? CHIP Yup. INT. MARK'S HOUSE - DAY It's not what James expected, the house is vacant. James cautiously looks through the house. He rounds a corner and nearly bumps into... JENNIFER Oh. I'm sorry. The open house isn't until Sunday. JAMES Open house? JENNIFER SEVERANCE extends her hand. JENNIFER I'm Jennifer Severance. The owner's realtor. James shakes her hand. A balding older man walks up, rolling in his tape measure. JENNIFER (CONT'D) This is my assistant, Steve. Steve grunts and keeps measuring the rooms. JENNIFER (CONT'D) What size home are you looking for? The owner has several properties on the market now. I'm sure... JAMES Actually, I'm looking for Mark. JENNIFER Oh. Well, he's not here. JAMES Do you know where he moved? JENNIFER No. He isn't in the market for a new house. JAMES He's travelling? JENNIFER When is the last time you saw him? James isn't sure, he gambles. JAMES It's been years. We were inseparable in college. I just got into town and thought we could hook up. You know, relive old times. JENNIFER (hesitant) Then you don't know. James doesn't. JENNIFER (CONT'D) There is no good way to put this. She tries to soften the blow by putting her hand on his shoulder. JENNIFER (CONT'D) Mark is dying. James is surprised. He tries to act like someone who should care. JAMES Oh my God. JENNIFER I know. It's terrible. Cancer, in his brain. JAMES How long...? JENNIFER Soon. JAMES I've got to see him. She reaches into her purse and pulls out some paper and a pen. JENNIFER Typically, I would pass your number on to him, but these are extraordinary circumstances. She writes on the paper and hands it to James. JAMES Thank you. You are so kind. Jennifer looks weepy. She's so glad she could help. EXT. STREET - DAY James comes out and joins Chip. JAMES There's no reason to stay out here anymore. CHIP So they told you about the other guy? JAMES (incredulously) Someone else was in the house. I told you to call me if anyone came by. CHIP You said if they went in. He didn't. He looked and left. Explicit directions are needed if you want an idiot to do your dirty work. JAMES (exasperated) What did he look like? CHIP Like that cop, that Eldridge dude. Now that's news. James gives pause to what that could possibly mean. INT. MARK'S MOTEL ROOM - DUSK Celeste listens nervously as Mark continues his phone conversation. A new suit hangs on the bathroom door. MARK I'm glad you understand, this is a large claim. (beat) It'll take only a few minutes. Mark's cell phone rings. Celeste looks at it. She gestures, "Do you want me to answer it?" MARK (CONT'D) Yes. No, not "Yes" to Celeste. MARK (CONT'D) That would be fine. Too late, Celeste answers. CELESTE Hello. (beat) Yes, he's right here. Who is this? (beat) Oh. Celeste covers the mouth piece, for no purpose since she mouthes "It's your Mom". MARK (flustered) Then to mom, tomorrow around one thirty at your office it is. Thank you. CELESTE Me? I'm Celeste. Mark hangs up the phone. CELESTE (CONT'D) No, we just met. Celeste grins at Mark. He wants the phone... now. CELESTE (CONT'D) Oh yeah, he's cute. He REALLY wants the phone. CELESTE (CONT'D) Yeah, Yeah. Oh, thank you. Well, here he is. Okay, bye now. She hands the phone to an embarrassed Mark. MARK Hi mom. He'd love for some privacy about now, but the room doesn't offer it. MARK (CONT'D) Yeah... No. Mom, we just met. (beat) Yes, she's nice, but... Celeste flashes a big smile. She's not helping, Mark turns away even redder. MARK (CONT'D) Mom, mom, you know my... (beat) I know you'd like them, but... Celeste circles around onto the bed to see his face, she's enjoying this. Mark's getting it from both ends and can't take it much longer. MARK (CONT'D) No... Mom... I understand a legacy. It's Celeste's turn to be embarrassed. Mark, feeling he has the upper hand, looks right at her. MARK (CONT'D) Oh yeah, and it would be a pretty baby too. Mark was never as red as Celeste is now. MARK (CONT'D) Mom, nothing like that is going to happen. No, it's okay, I can talk. (beat) Okay, then. I love you too. He flips the phone closed and collapses on the bed with an exasperated sigh. He looks to Celeste. MARK (CONT'D) My mom. Celeste smiles. CELESTE Was she asking what I think? Mark nods. CELESTE (CONT'D) She has awful high hopes for you over the next few days. That would be true except... MARK I don't believe I'd go to hell for killing Roger, but, I might for not telling my mom... (beat) everything. CELESTE She doesn't know when. It's uncomfortable for him, but... MARK If she did, she would, you know. (beat) She would be here right now. Don't get me wrong, I love my mom. I just couldn't... CELESTE I know. MARK I just hope the hell reserved for those who lie to their moms isn't as bad as the one for murderous TV hosts. The cell phone rings again. MARK (CONT'D) (emphatically) I'll get it. He flips open the phone. MARK (CONT'D) Hey mom. (beat) Oh, I'm sorry. (beat) This is Mark. After quite an earful. MARK (CONT'D) I told my doctor... He sits down. MARK (CONT'D) I hear you, but it's pretty late in the ninth. If you know what I mean. He and Celeste exchange looks. She really is pretty. MARK (CONT'D) Fine. Tomorrow, let's say around four. Okay, the UCLA Med Center. Yeah, I know where it is. He hangs up the phone. CELESTE What was that about? MARK (rolling his eyes) Another specialist thinks he has a way to reduce my tumor. CELESTE But that's great Mark shakes his head. MARK It's a waste of time. EXT. POLICE STATION - NIGHT Will walks out of the station with several fax sheets. WILL Spending like there's no tomorrow now aren't you? INT. MARK'S MOTEL ROOM - NIGHT An open pizza box with a half finished pizza sits on the nightstand. Mark and Celeste relax on the bed. MARK So, in high school I tried out for football. You can't tell it now, but back then I had this huge head. Celeste looks him over. CELESTE Fortunately, you grew into it. MARK Fortunately yes, but back then I had to pay two hundred dollars for a pro football helmet. It made me so top heavy that when I tilted my head I had to run to keep from falling over. Celeste pictures him and smiles. MARK (CONT'D) Anyway, coach decided I wasn't football material. CELESTE The tilting head thing probably helped. MARK But that wouldn't stop me. In the first practice, he lines me up against Sal Grillo. Now, I still had to grow to catch up to my head, but Sal was finished. I mean completely. Side burns, a motorcycle and his girlfriend was a senior... in college! CELESTE I guess he liked older women. MARK So I'm looking across at Sal and coach blows his whistle. I don't even know how long I was out. They told me I was screaming before he even hit me. He shakes his head with that memory. CELESTE Why'd he line you up like that? MARK To prove a point. He knew football wasn't my game. And I needed to find out what was. As it turns out, programming. I like programming games. I do it well. And if Sal Grillo hadn't creamed me, I might not have figured it out. CELESTE (raises a slice of pizza) To Sal Grillo. Mark raises his pizza too. MARK So what about you? TV, that's your game? CELESTE Mysteries actually. When I was little, I loved Sherlock Holmes and I wanted to be Nancy Drew. I loved how she could piece together clues and solve a crime. She reflects. CELESTE (CONT'D) When I was thirteen my mom gave me the best birthday gift ever. She had the neighbor kids act out a crime. And I had to solve it. MARK Nancy Drew for a day? CELESTE Exactly. I had to figure out who killed Billy. I examined the body, interviewed suspects, even dusted for fingerprints. MARK Did you solve it? CELESTE Yup, Jessica killed him for his bike. MARK You grew up in a rough neighborhood! CELESTE Well it was a nice bike. (laughs) Anyway it made me think I'd somehow like to be involved in solving crimes. MARK Did you consider being a cop? CELESTE (shakes her head) People shoot at you. MARK Lawyer? CELESTE It's not about solving crimes, it's about manipulating the truth. MARK (nodding) But TV is a long way from solving crimes. CELESTE Well, "Citizen's Arrest" seemed like a good start. We let people know how to protect themselves. Get the word out on fugitives, stuff like that. MARK That's a good thing. CELESTE Yeah... but it starts to affect you. Within a few weeks of getting hired, everyone buys a gun. MARK Everyone? CELESTE Most everyone. The whole camera crew are a bunch of gun nuts. Roger even keeps one in his desk. MARK You? CELESTE Okay, not everyone. But I think James and I are the only two people that don't carry. And I've certainly considered it. MARK I'm glad you decided against it. I've seen you handle a weapon before. It's not pretty. Mark stands up and pantomimes Celeste's erratic pointing from the night they met. Celeste laughs and pulls him back down. CELESTE Okay. I guess I'm not quite in your league. MARK Well my life of crime has been pretty ineffective so far. Celeste shakes her head. CELESTE It doesn't take any special skill to be a criminal. The ones I see wouldn't even measure up to a "Nancy Drew" villain. They're brutal thugs, with simple-minded motives. MARK And Roger is... CELESTE ...was. Somebody I rooted for. I followed the trial like everyone else. He protected himself and I wanted to see him get off. Mark eyes her incredulously. CELESTE (CONT'D) I know, somebody got killed. But I was sick of seeing criminals walk and victims get punished. MARK Except this time the criminal walked and the victim got seriously punished. CELESTE I didn't know that then. MARK No. Of course not. Celeste stops. She takes Mark's hand in hers. CELESTE Mark, have you ever stopped to think that maybe your attempts to destroy Roger have failed for a reason? Maybe you don't just have bad luck. Is he ready for this? CELESTE (CONT'D) What about the moral consequences of taking a life? Music, TV, video games make it seem so easy. Violence has gotten trivialized. MARK I played video games, hell I made 'em. Doesn't mean I want to go around killing people. Celeste eyes him. MARK (CONT'D) (realizes) Well, he's different. Celeste just smiles. He's not going to get out of this that easy. MARK (CONT'D) I don't find this trivial. He's not innocent, and no TV show or video game lead me down this path. Injustice did. He holds his hands out as a scale. On one side... MARK (CONT'D) (raising his right hand) Roger White gets fame, fortune and a TV show. (he lowers his left hand) Mark Fletcher gets a... He searching for the word, the noun that describes... MARK (CONT'D) (he looks into his left hand) Get's a... It's not coming. CELESTE I know the word you're looking for. She gets up from the bed, and rounds it to be nearer to Mark. CELESTE (CONT'D) I'm not going to help you with it. She pulls his head to her bosom and caresses him. He looks up at her and as their eyes lock, she bends her neck to kiss him. INT. MARK'S MOTEL ROOM - DAY Mark, wearing his new suit, holds his DV Camcorder and listens to playback as Celeste watches. CELESTE (ON TAPE) How about if I stand over here? Mark stops the playback and rewinds the tape. MARK That works fine. He puts the camcorder back in his coat pocket and readies himself to leave. CELESTE I didn't think it would pick me up from so far away. Mark stops at the table. He looks at the gun. Celeste watches. He picks up the gun and drops it into his briefcase. CELESTE (CONT'D) What are you doing? MARK You said he keeps a gun in his desk. CELESTE So, self defense? MARK And... I need to be prepared if he doesn't say anything useful. CELESTE So you're going to shoot him? We had a plan. MARK I just can't help thinking, no matter what we do, Roger's going to get away. Celeste grabs the phone and dials 411. MARK (CONT'D) Who are you calling? CELESTE Los Angeles (beat) Any taxi company. MARK Where are you going? CELESTE (to Mark) I'm not sticking around to help you kill someone. (into phone) Fine, just connect me. (to Mark) I can still make my flight to Tahoe. MARK Celeste, I... CELESTE (into phone) I need a ride to the airport from the Vista Motel at 6th and Fairfax. (beat) Reno Air. (beat) Plenty of time, my flight's not until three. She hangs up. She glares at Mark. CELESTE (CONT'D) Well, Mark Fletcher, it was nice meeting you. She offers her hand. Mark is dumbfounded. She doesn't wait, she can't. She spins around and exits. INT. MOTEL LOBBY - DAY Celeste waits for her taxi. Outside, a plain looking sedan parks. Will steps out of the car and confirms the address from his note pad. Celeste's taxi pulls up. As she walks out, Will gets the door and holds it open for her. CELESTE Thank you. Behind him, in the parking lot, Mark gets into his truck. She drives off in the taxi. Mark drives off in the opposite direction. Will steps up to the counter and waits, no one mans the front desk. Will has patience, but not that much, he rings the bell. No one. He tries again. Finally the attendant comes from the back room. Will removes his badge. WILL I'm looking for Mark Fletcher. INT. STUDIO - ROGER'S OFFICE - DAY Roger is comfortably seated behind his desk. Mark is seated before him with his briefcase beside him. MARK There's always a mountain of paperwork in a claim like this. I apologize. We have a few loose ends we are investigating. ROGER When do I get a check? Mark puts his briefcase on the desk and opens it. Inside rests Celeste's charred locket in a plastic bag, and the gun. He looks at both and removes the locket. MARK We found this at your house... or what's left of your house. He hands the locket over to Roger. Roger looks it over. MARK (CONT'D) Do you know a "Celeste?" Is this all they found of... ROGER My production coordinator. Her name is Celeste. MARK Could she have been at your house that night? Roger leans back and considers his answer carefully. Mark looks at the gun. ROGER I think I would remember if she was there. MARK So, she wasn't? Roger snaps his fingers. ROGER Yeah. She was there earlier that day. Mark picks the gun up. He aims it through the briefcase lid. He could shoot right through it. MARK But not when the house was destroyed? Mark tightens on the trigger. ROGER No. MARK Are you sure? Maybe I should ask James Reynolds or Chip... ROGER (interrupting) They didn't see her. She was gone before they got to the house. No need to waste time talking to them. The gun is aimed, cocked and ready... INT. LAX - DAY Celeste is at the check-in desk at the gate. The attendant hands her a boarding pass. ATTENDANT Okay Miss Carbajal, you're all checked in. CELESTE Thanks. She turns and walks away in search of a seat. She rounds a column and there's... Mark. MARK Hi. She's confused, mad and surprised. Did he? CELESTE What are you doing here? MARK I couldn't do it. She's relieved. She embraces him. MARK (CONT'D) I've made peace with dying. Not with murder. CELESTE It's over? MARK (shaking his head) I have a new plan. Mark looks around at the passengers gathering to board. They're in the way, Mark leads Celeste toward the window. MARK (CONT'D) We get Roger, and don't kill anyone. Mark waits for Celeste's approval. But something else comes over him, he collapses. CELESTE Are you okay? MARK Jesus. My legs just disappeared. Celeste helps Mark back to his feet. CELESTE Maybe you should see that specialist. That's really not high on his list, but... MARK I'll make you a deal. I'll see the specialist, if you help me with my plan. Celeste tosses her boarding pass into a nearby trash can. INT. MED CENTER - HALLWAY - DAY Mark and Celeste step off the elevator. She notices the restroom. CELESTE Excuse me for a moment. MARK Sure. It's suite 512. I'll check in. INT. DOCTOR'S OFFICE - DAY Mark enters the large, drab, office. Patients are waiting reading old magazines. One patient is at the counter waiting for the receptionist to finish her phone call. Mark steps up behind the patient. The receptionist slams the phone down. And turns toward the patient. RECEPTIONIST You have an appointment? PATIENT Steve Rosenblatt I have a four thirty... RECEPTIONIST Yeah, you're on the list. (she hands him a clipboard) Fill these out. The patient dutifully takes the clipboard and finds a seat next to one of the waiting patients, James. RECEPTIONIST (CONT'D) Name please. Mark can't speak, his mind is racing. MARK Hi. How are you? RECEPTIONIST Fine. Do you have an appointment? MARK No. I'm... I'm not a patient. I'm... The receptionist waits. MARK (CONT'D) I'm with Merck. The pharmaceutical company. RECEPTIONIST Yeah, I know who they are. We only take reps on Tuesdays. MARK Tuesdays. Right, I'll come back then. Mark turns and walks out of the room. He carefully looks back at James, who doesn't seem to care. INT. MED CENTER - HALLWAY - DAY Celeste reaches for the doorknob just as Mark opens it from the other side. CELESTE Leaving so soon? Mark closes the door behind him. MARK James is inside. Celeste's eyes widen. MARK (CONT'D) This isn't about finding me a cure, it's about finding me. INT. DINER - DAY Weathered and wrinkled bodies sit in red naugahide booths. One of the booths is filled with Will, comfortably seated before an enormous plate of food. Outside the window he can see the motel Mark is staying at. WAITRESS You want ketchup with that, hon'? Will nods. Speaking would be impossible with all the food in his mouth. Behind him Mark and Celeste park and walk toward their room. INT. MARK'S MOTEL ROOM - DAY Mark is on his cell phone pacing. Celeste is combing through the yellow pages for medical supply stores. MARK Yeah, two million. I know it's shy of the asking, but I took it. How quick can you get out the grant deed... Mark opens up his laptop and navigates to his address book. MARK (CONT'D) Make it out to James Reynolds. Celeste stops looking and watches Mark, what's he up too? MARK (CONT'D) I'll fax over the particulars. If you can get it notarized and a copy sent to him I'd appreciate it. Okay. Thanks, bye. He hangs up his cell phone and connects his computer to fax out the info. CELESTE James? MARK Well, my parents are well taken care of. I even have something in mind for you. I guess I'm feeling generous. CELESTE But James is Roger's go-to-guy. You know he's as guilty as... Celeste trails off. Mark is smiling broadly and nodding. MARK It'll make sense. Soon. CELESTE Alright. Though puzzled, she turns back to the phone book. CELESTE (CONT'D) This one has a wide selection. Mark looks over the wheelchair ad. MARK One with wheels is all I ask. Mark hands Celeste a wad of bills. INT. DINER - DAY Will lifts his head from his freshly cleaned plate. He surveys the motel parking lot and spots Mark's truck. WILL Oh, you're back. (to the waitress) I'll need my check. EXT. MOTEL PARKING LOT - DAY Will ambles toward Mark's room. INT. MARK'S MOTEL ROOM - DAY Mark is on the phone. MARK So, beside your game console, was there anything else of value lost? Mark listens though doesn't seem to care about the answer. MARK (CONT'D) Right, well, I'm pretty sure we can cover that, but I'll need to look into it. There's a knock at the door. MARK (CONT'D) Well, thanks, Chip. If I have any more questions, I'll give you a call. Mark hangs up and opens the door to Will. Behind him, Mark can see Celeste driving away. Will raises his badge. WILL Mark Fletcher, I'm Detective Will Eldridge. May I have a word? MARK Come in. Will looks around and takes note of Mark's news clippings spread out on the table. WILL Didn't realize this was the Roger White fan club. MARK As much a fan as you, I'm sure. Will eyes Mark before taking a seat. He removes an envelope from his coat and begins laying down photos. There are several shots of Roger's house going up in flames, more of the pick-up truck and even one of Mark behind the wheel. MARK (CONT'D) Doesn't look too good does it? Will slowly shakes his head. MARK (CONT'D) I was running out of options. WILL Better if you hadn't woke them on the way out then, huh? Mark shrugs. WILL (CONT'D) You're after Roger? MARK Yup. Just like you. WILL Oh? MARK Lawyers left you twisting. The whole evidence mishandling. Will cringes. MARK (CONT'D) Crime scene wasn't cordoned off. Will didn't come here to relive this. MARK (CONT'D) And no one wants to hear about their drinking problem on TV. WILL Are you trying to get on my good side? MARK Why didn't it come out that Torrez was a valet? WILL A valet? (it hits him) The red fibers. MARK Red vest. (he lets it sink in) Roger killed that kid and I'm pretty sure he killed his accountant. WILL Me too. Will paces around the room. WILL (CONT'D) I really wish I didn't have to arrest you. MARK Me too. Though Roger will be very grateful. Will doesn't like that thought. MARK (CONT'D) Unless you can give me another couple of days. WILL What are you going to give me? MARK I'll give you Roger and James. And this time, you'll have all the answers. Will considers this and begins to collect his photographs. WILL Lucky for you, my boss doesn't want me to have anything to do with Roger. He doesn't notice that Mark is holding on to a chair to support himself. MARK One last thing. Next time you see me, don't be surprised at my condition. WILL What do you mean? MARK Suppose, you've never seen me before. Will gives Mark a sideways look. He's not interested in cryptic messages. He grunts an acknowledgment as he heads out the door. As the door shuts Mark collapses on the floor, grasping his legs. INT. STUDIO - DRESSING ROOM - DAY Roger reads over his script for the next show. Chip pokes his head around the door. Roger's not happy with the distraction, but it's Chip, his puppy. CHIP Roger. ROGER Hey, Chip. Come in. Chip enters and considers a chair but is too excited to sit. CHIP I want to ask you something. Roger waits for the question, but it's not coming. ROGER Okay. CHIP Okay. (he thinks over his words) I've been thinking about you, and your show. ROGER Um-hmm. CHIP Well... you probably never noticed this, but I'm pretty good at making stuff up. Where is he going, Roger hasn't a clue. CHIP (CONT'D) Like, well, that time you met my "sister". Or... or during the trial... Roger clues in to where this conversation might be headed and doesn't like it. ROGER What are you talking about? CHIP Well, I just think that... I want to... ROGER Chip! CHIP Huh? ROGER Is there a point here and are you coming to it? CHIP Well... Well... (exasperated) Oh, never mind. Defeated, Chip turns to leave. ROGER Hey, did an insurance adjuster call you? CHIP Yup. And good news they're gonna upgrade my game system. ROGER That's great. Anything about Stan? CHIP Stan? (thinks) Nope. ROGER He didn't ask you any questions about anyone in the house that night? CHIP (thinks even harder) Nope. (remembers) Oh, they're gonna replace my CDs too! INT. MARK'S MOTEL ROOM - DUSK Mark is lying in bed. His DVC camcorder is set up on a tripod facing him. Celeste comes through the door pushing a wheelchair that's loaded down with boxes of Chinese food. MARK Oh, hey. Celeste almost crosses between Mark and his camera, but stops short. MARK (CONT'D) Why don't you just turn that off. She does just that. CELESTE I hope you're hungry. Celeste starts unpacking the food. Mark struggles to extricate himself from bed. It's slow, but he succeeds and gingerly walks to the camera. He takes the tape out and puts it in its case. He slowly crosses the room and sits at the table. MARK (hands the tape to Celeste) I've got a present for you. He hands the tape to her. She takes it and softly shakes it near her ear. CELESTE What could it be? I can't guess. MARK Please don't watch it until... She stops him by stroking his cheek. He looks at her. It's going to be soon, very soon. INT. MARK'S MOTEL ROOM - DAY On video, Mark is seated on the bed. He smiles broadly. MARK What would happen if James got an early morning call from Roger? An urgent call to meet him at his office. INT. STUDIO - DRESSING ROOM - MORNING Roger is pacing. James opens the door and steps in. JAMES So what's the big...? Roger points to the dead body seated in the room; Mark's dead body. He's bloody, been shot through the heart. MARK (V.O.) And when he got there, found me shot to death. JAMES Jesus. James nears Mark's body shaking his head. JAMES (CONT'D) (sotto voce) Not another one. He needlessly checks Mark's pulse. ROGER Quite dead. That's how I found him. JAMES Found him? MARK (V.O.) It would look pretty bad. ROGER I didn't shoot him. MARK (V.O.) Of course he'd deny shooting me. James studies Roger, then surveys the room. Roger's pistol is on the desk. James eyes it. JAMES (incredulously) He came in, shot himself and put your gun on the desk? ROGER I didn't shoot him. JAMES Who is he? MARK (V.O.) To Roger, I'm just an insurance claims adjuster. James begins to go through Marks pockets. ROGER Don't bother. He's Steve Jenson, an insurance adjuster. INT. MARK'S MOTEL ROOM - DAY Still on video, Mark holds up the gun and holster from Roger's house. MARK Although he might be surprised to find out I'm armed. INT. STUDIO - DRESSING ROOM - MORNING James continues to search the body for ID. When he opens Mark's jacket he sees the gun in a shoulder holster. ROGER He was investigating the claim on the house. That slows James. JAMES What'd he find out? Now it's Roger's turn to give pause. MARK (V.O.) James will realize I turned up something... Something Roger would not want to admit. EXT. LAX - MORNING Celeste steps out of a taxi and heads into the terminal. INT. STUDIO - DRESSING ROOM - MORNING ROGER He was... investigating the claim. He... JAMES You said that. Why is he dead in your office? MARK (V.O.) Sooner or later he'd have no choice. ROGER (flustered and grasping) Do you know what I think? I think someone is trying to frame me? JAMES For what? What did he find out? MARK (V.O.) Roger'd have to tell James about the kidnapping. INT. LAX - MORNING Celeste is on a pay phone speaking quickly. INT. STUDIO - DRESSING ROOM - MORNING ROGER Celeste... Celeste was in the house that night. JAMES What!? ROGER (nodding) She's dead. (he gestures to Mark) This guy knew. MARK (V.O.) And that will lead to only one conclusion. JAMES So you shot him! ROGER NO! I swear to God. Someone must be trying to frame me. MARK (V.O.) And if Roger tries to twist it around, who's he going to blame? JAMES Who? ROGER He said he was going to talk to you and Chip. JAMES He never spoke to me. MARK (V.O.) Chip? ROGER Well, Chip then. Chip has been acting awfully strange. Think about it. Chip was the only one to see the guy who bombed the house. Maybe there was no bomber... JAMES Chip? Please. But who else? MARK (V.O.) James would never buy it. In fact, he'll probably start to see a pattern. JAMES Why didn't you tell me Celeste was in the house? ROGER She was talking about a vest. She was going to leave town. I thought she was the one who... JAMES Oh God. ROGER I made a mistake and I thought you'd turn on me. MARK (V.O.) He'll see Roger's trail of dead suspects lead to him. JAMES You and I, we had a trust. James shakes his head sadly. MARK (V.O.) And that trying to protect him is hopeless. ROGER People are going to start showing up real soon. We have to get rid of this body. JAMES We? ROGER We. Yes, you're in this just as much as I am. James walks to Mark's body. He leans over and appears to inspect the body. MARK (V.O.) So, James will be faced with a dilemma. Does he go to the police? James pulls the gun from the shoulder holster. He turns and aims from Mark's perspective. JAMES I've got a better idea. Roger realizes what is happening too late. He scrambles to pick up the gun on the desk. He grabs it, but too late. MARK (V.O.) Or, does he end it right there. James shoots Roger in the chest. Roger collapses to the floor. James walks over to Roger. He bends down and waits until Roger's eyes lock onto his. ROGER It WAS you. JAMES No, you dumb fuck. It's always been about you. He watches the life slowly seep out of Roger. MARK (V.O.) I predict the latter. There's going to be some evidence to take care of. James carefully, to avoid leaving fingerprints, takes Roger's gun from the desk and lays it near Roger's limp hand. MARK (V.O.) (CONT'D) If you're going to get away with murder, you need to cover your tracks. He moves back to Mark and wipes down the other gun then presses it into Mark's hand and lets it drop to the floor. James looks at the scene. Satisfied, he starts for the door. MARK (V.O.) (CONT'D) Hard to do, if Will's been informed. James opens the door to Will and two police officers guns drawn. JAMES I was just about to call you guys. WILL Someone already did. Said they thought they heard gunshots. Will lets himself into the room. WILL (CONT'D) They did. MARK (V.O.) So many variables. JAMES I just got here. Found them like this. Will walks between Mark and Roger. MARK (V.O.) Fingerprints... Will points across himself at each of the bodies. He looks to James. WILL So, what do you think, they shot each other? MARK (V.O.) fibers... JAMES (confused) I guess, I don't know. Will walks James away from the bodies. The other two officers put on latex gloves and start to examine the crime scene. WILL (indicating Mark) Who's that? MARK (V.O.) You know all that forensics stuff. JAMES Don't know. One officer searches Marks pockets, to no avail. OFFICER 1 No ID. MARK (V.O.) That should make for an interesting case. Will starts writing down everything in his note pad. WILL So why are you here so early? JAMES Roger called me. He was really agitated. He asked me to come right away. MARK (V.O.) Now, I know I'm asking a lot. WILL So, you came here and found them like this? JAMES Just like this. MARK (V.O.) But with my time running out, I don't have many options. It's a bizarre request, I know. WILL You didn't see anyone else? JAMES No one. MARK (V.O.) But no one's ever been tried for shooting a dead man. INT. STUDIO - DRESSING ROOM - NIGHT Celeste has been crying. Mark is slumped in Roger's chair. He wears his new suit and the shoulder holster. With shaky hands Celeste lifts the revolver she got from Roger's house and points it at Mark's body. MARK (V.O.) You just need to point, aim, and shoot. Celeste's finger tightens on the trigger. MARK (V.O.) (cont'd) Please. INT. STUDIO - DRESSING ROOM - MORNING OFFICER 2 (to Will) Sir, you want to look at this? Will steps over to the second officer who is holding Roger's nine millimeter with the clip removed. WILL Hasn't been fired? The officer shakes his head. Will walks over to the other officer who is now checking the number of bullets. OFFICER 1 This one has. MARK (V.O.) It won't take much time for Will to figure things out. Will nears him and notes the gun. WILL (confident) Yeah, twice. He starts writing the facts in his book as he walks over to James. MARK (V.O.) And it'll confuse the hell out of James. WILL So, they shot each other, but with the same gun. (to James) You have any idea how they could do that? MARK (V.O.) He won't know who to suspect. Certainly not you. James considers the possibilities. Will lifts up James' hand and smells it for gun powder. WILL (to the officers) Let's get a ballistics match on these guys and have Mr. Reynolds checked for powder burns. (to James) You fire a gun today Mr. Reynolds? JAMES (shaking his head) I think I need my lawyer. WILL Good idea. INT. LAX - MORNING Celeste is waiting for final boarding. MARK (V.O.) After all, you've been in Tahoe since last week. Celeste hears the call and boards the Reno Air flight. INT. INTERROGATION ROOM - DAY James is seated before investigators. He's sweating, he's been here a long time. Will watches, he's in fresh clothes and enjoying every minute. INVESTIGATOR So, how many times are you going to change your story? He looks over to Will. WILL (reviewing his notes) There's the found them that way story. There's the self defense story. Now all this about kidnapping... blackmail... MARK (V.O.) I've made sure that James is taken down for a long time. INVESTIGATOR Still none of these explain this. The investigator drops the grant deed on the table. MARK (V.O.) I don't need a vacation home where I'm going. INVESTIGATOR You wanna know what I think? MARK (V.O.) Sometimes the obvious story is the story. INVESTIGATOR I think you embezzled two million from Roger to buy this property. He brought Mark in and called you on it and you killed the both of them. WILL Simple. MARK (V.O.) So, I get Roger. INT. JAIL CELL - DAY James stirs restlessly behind bars. MARK (V.O.) James goes to jail. INT. STUDIO - STAGE - DAY Chip is talking to a star struck interviewer. MARK (V.O.) Chip might do the talk show circuit. EXT. JACUZZI - NIGHT Chip is surrounded by beauties in the bubbling water. MARK (V.O.) Maybe write a book. INT. RESTAURANT - NIGHT Chip brings plates of pasta to some guest who don't even recognize him. MARK (V.O.) Until the world realizes how clueless he really is. EXT. POLICE STATION - DAY The pomp and circumstance of the ceremony isn't lost on Will. MARK (V.O.) I figure Eldridge will make good in the eyes of the department. Will smiles as he's pinned with Lieutenant's bars. INT. UNION STATION - DAY There's a myriad of lockers. One of the locker doors is opened revealing a duffle bag. INT. MARK'S MOTEL ROOM - DAY Mark continues his video narration. MARK Oh and there is the matter of the ransom Roger paid. He lifts a key and sets it on the nightstand. MARK (CONT'D) It's still in a locker at Union Station. I want you to have it. EXT. UNION STATION - DAY Celeste leaves the station weighed down by the duffle. INT. MARK'S MOTEL ROOM - DAY MARK I can picture you right now, toes in the sand, enjoying an umbrella drink. If you take this case, you certainly deserve it. CLOSE ON AN UMBRELLA DRINK PULL BACK TO REVEAL: CELESTE is sipping from the drink. MARK (V.O.) Of course, this might all be the irrational rantings of a dying man. As we continue to pull out she's not in Tahiti, she's on the balcony of the Drew Cancer Research building. MARK (V.O.) (CONT'D) I choose to believe otherwise. INT. MARK'S MOTEL ROOM - DAY Mark has finished recording his tape. An off-screen door opens. Mark looks toward it. MARK Oh, hey. (beat) Why don't you just turn that off. The screen does just that. END