King and Maxwell: Summer Adventures Page #4

SEAN (CONT'D)

When you feel like talking. I’m a goodlistener.

He puts the business card into Edgar Roy’s hand.

King & Maxwell Revised Network 01-10-12

SEAN (CONT’D)

Something I learned from Ted.

He picks up his briefcase, heads for the door. He pauses tolook back at Edgar Roy, framed for a moment in the doorway.

A beat then the PRISON GUARD closes the door with a heavyTHUMP

IN BERGIN’S DEN

Michelle snaps her head towards the window. A car door. Just

enough time to frown as the sound registers, then

BAM! BAM! BAM! BAM! as the window explodes under a hail ofgunfire. Michelle dives for cover as rounds punch into thewall and the white board behind her.

She rolls onto her back, drawing her SIG in one smoothmovement, takes aim and fires - shooting out the light bulb,

plunging the room into darkness.

She comes back up, returns fire through the shattered window,

then scrambles for the door.

IN BERGIN’S HALLWAY

She sprints down the hallway as more shots rip into the wallsand windows behind her. Without breaking stride, she scoopsup a seat cushion from the sofa and launches herself at awindow, using the cushion to shield herself from theshattering glass

EXT. BERGIN’S HOUSE - CONTINUOUS

Michelle crashes through the window, hits the ground, rollsclear of the sofa cushion and comes up in a crouched position

-as a car engine roars into life.

She sprints towards the street in time to see a SEDANspeeding away. She unloads the rest of her clip, hits the

release. The clip drops clear and she slams home areplacement.

The car speeds into the night.

Michelle releases a steady, calming breath, turns backtowards the house - and stops in her tracks as she sees aBODY slumped in the driveway.

She pulls out her flashlight, flicks it on to reveal...

...the lifeless body of Hilary Cunningham.

And off Michelle’s stunned reaction...

END ACT ONE:

King & Maxwell Revised Network 01-10-12

ACT TWO:

FADE IN:

EXT. BERGIN’S HOUSE - NIGHT

Now a brightly lit crime scene. Sean drives up, surveys thescene. Police tape, squad cars, a forensic van and a dozenCops and Forensic Technicians. And Hilary’s body, a Copholding back the shroud for a FORENSIC PHOTOGRAPHER to takephotos.

With a heavy heart, Sean turns away, crosses to theLandcruiser, where Agent Murdock is talking to Michelle.

MURDOCK:

You entered a house sealed by the FBIas part of an ongoing murderinvestigation.

MICHELLE:

Only the door was sealed. And it

still is...

Murdock glances across at the house - smashed windows, bulletriddled walls - and miraculously intact, the front door stillcriss-crossed with FBI crime scene tape.

Sean joins them, looks the question at Michelle, who answerswith a discreet nod - she’s fine. She turns back to Murdock.

MICHELLE (CONT’D)

I got in through an open window.

MURDOCK:

Illegal entry.

MICHELLE:

(holds up a key)

Not if you’ve got one of these. I justchose to go in through the window.

Murdock pulls out a latex glove, takes the key.

MURDOCK:

Where did you get it?

MICHELLE:

Hilary gave it to me.

MURDOCK:

Before or after you shot her?

Michelle fixes him with a cool look.

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MICHELLE:

If I’d shot her, she’d be lying in apool of blood. She’s not. She was

shot earlier, her body dumped here.

MURDOCK:

By you?

MICHELLE:

Why would I do that?

Murdock holds her gaze.

MICHELLE (CONT’D)

Ballistics will clear my gun as themurder weapon.

She opens the back door of her Landcruiser.

MICHELLE (CONT’D)

You want to test for blood, be myguest.

Murdock peers in the back of the Landcruiser - it’s a pigsty -

empty water bottles, fast food wrappers, running shoes, anoverflowing gym bag and assorted empty coffee cups.

MURDOCK:

This your boyfriend’s car?

Michelle’s eyes narrow.

MURDOCK (CONT’D)

My mistake.

(beat)

Why would someone take a shot at youand dump a body?

MICHELLE:

Warning me off the case maybe.

MURDOCK:

Which is what I’m doing right now.

He looks from her to Sean.

MURDOCK (CONT'D)

I don’t like private investigators.

They’re usually cashed-out cops orenthusiastic amateurs

MICHELLE:

We’re neither.

MURDOCK:

No - you both worked together for theSecret Service

King & Maxwell Revised Network 01-10-12

MICHELLE:

(correcting him)

Sean had already left when I joined.

MURDOCK:

-and now you’re both washed up bulletcatchers who got ‘retired’ because youscrewed up.

Michelle fumes, Sean takes it a little better. But not much.

MURDOCK (CONT’D)

(to Michelle)

At least the guy you were supposed to beprotecting didn’t get killed.

And he looks pointedly at Sean who stares back unflinching.

MURDOCK (CONT’D)

Stick to lost dogs and jealoushusbands. Leave this one to us.

He turns away.

MICHELLE:

Aren’t you going to ask me if I foundanything in the house?

Murdock looks back at her, shakes his head - as if she couldpossibly have found something that the FBI’s finest hadmissed. He keeps walking. Sean steps up alongside Michelle.

SEAN:

Did you?

MICHELLE:

Yeah. I just don’t know what it means.

(beat)

What the hell have we stumbled into?

And off their shared concern...

EXT. POTOMAC RIVER - WASHINGTON DC - DAY

Dawn. Oars break the glassy water. A two oared skulling-boatpunches into frame, Michelle skillfully working the oars. Sheangles the boat towards a HOUSEBOAT moored on the river bank.

EXT. HOUSEBOAT/OFFICE - DAY

As Michelle glides alongside, Sean comes out, coffee in hand.

SEAN:

How was the commute?

MICHELLE:

Better than yours.

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SEAN:

Ever had a river-rage incident? Been

cut off by a tug boat captain? Had

words with a passenger ferry guy?

Sprayed by a speeding jet-ski jock?

MICHELLE:

Sean, I hate you in the mornings.

She ships the oars, climbs from the boat with a day pack.

SEAN:

You do know normal people don’t row towork, don’t you?

MICHELLE:

You should try it.

SEAN:

I don’t have an apartment near theriver, like you do.

MICHELLE:

You could ride a bicycle.

SEAN:

You mean the whole funny helmet skintight lycra thing? Where would I putmy gun? And my morning cup of joe? Dobicycles have cup-holders?

She ties off the skulling-boat, takes his coffee as she

passes.

SEAN (CONT’D)

You’re welcome.

As she heads into the houseboat, he sneaks a peek into theskulling-boat. Week old orange peels, half a banana, emptywater bottles, assorted food wrappers, socks and a sweat-top.

SEAN (CONT’D)

(with a wry smile)

Right there. That’s why we could neverget married.

He follows her into the houseboat, calling after her...

SEAN (CONT’D)

Hey, if I lived on the river we couldboat-pool. You could row and I couldsit in the back and read the Times all

the way here to the office.

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INT. HOUSEBOAT/OFFICE - CONTINUOUS

The houseboat has been converted into Sean and Michelle’s

office. A couple of work areas with desktops, printers anda photocopier. Towards the back, a pair of sofas beside akitchenette. A central corridor leads to the forward area of

the houseboat.

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