King and Maxwell: Summer Adventures Page #8

MICHELLE:

You think he killed those men?

LARRY:

I think anything’s possible.

(beat)

We done?

MICHELLE:

Soon as you give me the address forthe data center.

LARRY:

Absolutely not.

Michelle toys with her phone.

Off Larry’s resignation...

INT. SEAN’S HOUSE - NIGHT

Ted Bergin’s files are spread across the floor. Megan is atthe desktop, Sean standing over her as they trawl forinformation about Peter Bunting. The coded page is on thedesk beside them.

SEAN:

...Okay, try a news search.

MEGAN:

His name or Bunting Industries?

SEAN:

Both. Not for the last week - make it

the last month.

King & Maxwell Revised Network 01-10-12

MEGAN:

Nothing.

SEAN:

Probably using a privacy protocol -

any time his name appears on theinternet, it’s flagged. He gets toallow the reference or delete it.

MEGAN:

So we’re not going to find out

anything more about him?

SEAN:

(to himself)

Not him. But maybe her...

(beat)

Shut your eyes.

Megan shuts her eyes. Sean lens over, types in a web address.

MEGAN:

What don’t you want me to see?

SEAN:

Something from the old days I canstill access. Work roster. Let’s see

where twinkle-toes Taylor is workingtomorrow.

MEGAN:

Who?

SEAN:

Eyes shut! Member of Ellen Foster’s

protective detail...

(reacts)

Well would you look at that...

Megan opens her eyes.

SEAN (CONT’D)

Senate Intelligence Committee hearingtomorrow involving Bunting Industries.

Madame Foster is due to give evidence.

At stake is a multi-billion dollar

defense contract. Bunting’s main rivalfor the contract is ... Mason

Quantrell.

MEGAN:

Never heard of him. You want coffee?

SEAN:

Sure.

Megan heads for the kitchen. Sean types.

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SEAN (CONT’D)

Mason...Quantrell...

On the screen, a photo of MASON QUANTRELL appears alongside aprofile. It’s the guy from the limo.

SEAN (CONT'D)

Gotcha.

CRASH! From the kitchen. Sean looks up.

SEAN (CONT’D)

You okay?

(no answer)

Megan?

Silence. Sean opens the desk drawer, takes out his SIG.

Crosses to the kitchen door.

INT. SEAN’S HOUSE - KITCHEN - NIGHT

Megan is laying motionless on the floor. The back door isajar. Sean quarters the room. Nothing. He pauses by Megan,

checks her pulse, then moves cautiously towards the backdoor.

Suddenly he senses a movement behind him, begins to turn -

too late - WHACK! as a heavy object cracks across his head.

Sean is out to it before he hits the floor.

And off Sean, unconscious...

END ACT THREE:

King & Maxwell Revised Network 01-10-12

ACT FOUR:

FADE IN:

INT. SEAN’S HOUSE - NIGHT

Michelle is seeing out two PARAMEDICS.

MICHELLE:

I’ll make sure they do. Goodnight.

She closes the door after them, turns back into the livingroom. Sean and Megan are sitting on the sofa, nursing theirinjuries. Megan has a small butterfly clip high on herforehead.

MICHELLE (CONT’D)

Get a look at him?

MEGAN:

He was big... that’s all I saw.

SEAN:

That’s more than I saw.

MICHELLE:

Entry?

SEAN:

Back door.

MEGAN:

My fault. I got wood for the fire,

didn’t lock it.

Sean crosses to the fire.

MICHELLE:

Anything missing?

SEAN:

The page I copied from Ted’swhiteboard. It was on the desk.

MEGAN:

You think it could have been him?

Edgar Roy?

MICHELLE:

Maybe.

SEAN:

Maybe not.

(indicates the computer)

Guy in the limo was Mason Quantrell.

Michelle crosses to the computer.

King & Maxwell Revised Network 01-10-12

SEAN (CONT’D)

He and Bunting are competing for thesame government defense contract.

MICHELLE:

Might explain why Bunting didn’t wantto get in the limo with him.

Sean gazes at the fire for a long moment, then looks acrossat his SIG on the table, pensive. Not lost on Michelle.

MICHELLE (CONT’D)

You okay?

SEAN:

Yeah.

Michelle isn’t so sure, lets it slide.

SEAN (CONT’D)

Your guy know anything?

MICHELLE:

Bunting spent a fortune building ahigh tech data center. Edgar Roy wouldsit in front of banks of LCD screens,

floor to ceiling, all streaming livedata. And he’d interpret it. Soundslike he took intel analysis to atotally new level.

(beat)

The guys who designed it called it The

Wall.

Sean looks up.

SEAN:

The wall?

MICHELLE:

Hundreds of feeds. Spy satellites,

cable news, social networks. You nameit.

SEAN:

Spy satellites...

(looks at Michelle)

Satellite data can be reduced to

strings of numbers and letters.

Position, trajectory, angle, time,

date - and god knows what else.

MICHELLE:

You think that’s what was on the

whiteboard?

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SEAN:

I think Edgar Roy saw something heshouldn’t have seen.

(looks to Michelle)

And I think I just figured out wherewe can find him.

MEGAN:

You’re not going to leave me here, areyou?

MICHELLE SEAN *

**

We’ll get the cops back -You should come with us -*

**

They exchange a look. Michelle surprised, Sean inscrutable.

Off Megan, looking from one to the other...

EXT. DATA CENTER - NIGHT

The Landcruiser rolls to a stop outside an ugly three storeybuilding. A SECURITY GUARD snoozes behind the desk in thefoyer.

SEAN:

Really? You sure this is the rightaddress?

MICHELLE:

What? You think they’d advertise?

Megan leans forward between the two front seats. Sean won.

MEGAN:

It looks deserted.

MICHELLE:

Hasn’t operated since Edgar Roy wasarrested. He’s the only one who knowshow to access The Wall.

MEGAN:

You’re going to try to break-in?

SEAN:

Not break-in. Walk-in. Edgar Royleft my business card where it couldbe found. He knew the FBI would show

me because of the number on the back.

(beat)

He wanted me to see it.

MEGAN:

So what is it?

SEAN:

Our key in.

King & Maxwell Revised Network 01-10-12

EXT. DATA CENTER - BACK OF BUILDING - NIGHT

CLOSE on Sean entering a seven digit number into a KEYPAD ata side entrance. He hesitates as he gets to the last digit.

SEAN:

Was the last number a one or a seven?

MICHELLE:

A seven...?

Sean’s finger hovers over the seven, then he hits the one. A

red light on the keypad flicks to green and the door buzzes.

SEAN:

I win.

Michelle rolls her eyes, pulls the door open.

MICHELLE:

(to Megan)

Stay behind us.

Megan nods and they enter the building.

INT. DATA CENTER - CORRIDOR - NIGHT

The interior is in stark contrast to the exterior. It’s ultramodern,

all white walls, stainless steel and glass. And it’sempty. They walk cautiously down one corridor, turn into asecond. Sean suddenly holds up his hand. They all stop.

SEAN:

Motion sensors.

He and Michelle stare at the sensors on the ceiling.

MICHELLE:

No diode. They’re turned off.

They continue on down the corridor to a plate glass door withanother numeric pad entry. Sean begins punching in thenumber.

MICHELLE (CONT’D)

Why turn them off?

A menacing growl from behind them. They all freeze.

SEAN:

That could be a reason...

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