McBride #9 Broadcast Transcription – “Semper Fi”
EXT. COURTHOUSE – DAY
(TILT DOWN AS MUSIC PLAYS.)
CUT TO:
INT. COURTHOUSE – DAY
(REPORTERS SNAP SHOTS AND THROW QUESTIONS AT MOORE AND PHIL
AS THEY ENTER.)
TITLE CARD: RHI ENTERTAINMENT PRESENTS
TITLE CARD: AN ALPINE MEDIEN PRODUCTION
PHIL:
I can’t believe cameras follow you around like this
all the time.
TITLE CARD: IN ASSOCIATION WITH LARRY LEVINSON PRODUCTIONS
MOORE:
Yeah believe it, last year I hit a street light and four
different photographers on a motorcycle.
MCBRIDE:
Excuse me folks, Mr. Moore has no comment at this
time, you’ll have your verdict soon, if you’ll forgive
us. We have to get in the court make a hole please,
thank you, thank you.
TITLE CARD: MCBRIDE SEMPER FI
TITLE CARD: JOHN LARROQUETTE
MCBRIDE:
I’ll see you in there. Mr. Gilmore?
GILMORE:
Last chance McBride. Two million and we drop the
case.
MCBRIDE:
Oh, you’re only asking the court for two million,
why wouldn’t I take my chances with Judge Ho.
GILMORE:
Because this way your client gets to keep his
reputation.
TITLE CARD: MARTA DUBOIS
MCBRIDE:
But I wouldn’t worry about tainting Moore’s
reputation. It seems to me it’s your client with the
dubious credibility.
GILMORE:
I take it that’s a no.
(THEY NOD IN TURN AND ENTER THE COURTROOM.)
CUT TO:
EXT. COURTHOUSE –DAY
CUT BACK TO:
INT. COURTHOUSE – DAY
TITLE CARD: MATT LUTZ
MCBRIDE:
Mr. Jameson do you remember with which hand
Mr. Moore allegedly struck you?
JAMESON:
Of course I do. It was his right hand.
MCBRIDE:
Pretty strong man to break your cheekbone with just
one punch.
JAMESON:
He is the NBA’s leading rebounder.
MCBRIDE:
So you clearly recall getting hit with Mr. Moore’s
right hand.
GILMORE:
Objection. Asked and answered.
JUDGE HO:
Mr. McBride!
MCBRIDE:
Your honor I’m just trying to make sure we’re all
on the same page.
JUDGE HO:
Overruled. But get to the point.
MCBRIDE:
Yes ma’am. Pretty nasty bruise, must have hurt.
JAMESON:
Yeah. It’s been a couple of months and it still
bothers me.
TITLE CARDS: LIAM WAITE, BARBARA NIVEN, NICHOLAS TURTURRO,
KATIE WALDER, BEN MURPHY
MCBRIDE:
You know I went to Rye’s bar. Just to talk to the
staff and see what they remembered about that
night. You know like a lot of places in L.A. they
just love to hang celebrity pictures behind the bar, I
came across this photo of Mr. Moore and the
bartender taken just about ten minutes before the
alleged assault. Do me a favor, tell the court what
do you see on Mr. Moore’s right hand?
JAMESON:
It’s the league championship ring.
TITLE CARDS: ESTHER SCOTT, MICHAEL WHALEY
MCBRIDE:
Um, now nowhere in your testimony is there
reference to Mr. Moore removing his ring.
JAMESON:
He must have had it on when he hit me.
MCBRIDE:
So Mr. Moore hit you hard enough to fracture your
cheekbone, but not hard enough to break the skin on
the surface of your face with a ring made of solid
platinum and a five-carat sapphire?
TITLE CARDS: JEFF HARLAN, MIRANDA GIBSON
JAMESON:
I don’t really understand the question.
TITLE CARDS DURING FOLLOWING SPEECH: MONNAE MICHAELL, DANICA
STEWART, MIKE BALDRIDGE, MARCUS BROWN, JULIANNA ROBINSON,
BROCK CUCHNA,
MCBRIDE:
Your honor, would you please take note of the size
of the ring on Mr. Moore’s hand. Also please take
note that Mr. Jameson does not have once laceration
on his face from that ring. Now the Bartender at
Rye’s is prepared to testify that Mr. Moore had only
one drink before leaving the bar to fetch his cell
phone from his car. That he was gone no more than
two or three minutes. Does that timeline seem
correct to you.
TITLE CARDS: CASTING BY PENNY PERRY, AMY REECE
JAMESON:
It all happened so fast. I’d say that’s about right.
TITLE CARD: MUSIC BY EWAN JOHNS
TITLE CARD: EDITED BY ANDREW VONA
TITLE CARD: PRODUCTION DESIGNER NIKO VILAIVONGS
TITLE CARD: DIRECTOR OF PHOTOGRAPHY BRIAN SHANLEY
MCBRIDE:
He’s also prepared to testify that you and your
brother were cut off and asked to leave the bar. I
also talked to the valet staff none of whom had any
recollection of you being injured or in any pain
when you were brought your car. They do
remember you being so inebriated they refused to
give you your keys to your car and called you a cab.
Now we will admit that Mr. Moore did refuse to
give you an autograph as it is a well-known fact that
he only signs autographs for children.
JAMESON:
We’re big fans, he can’t sign one autograph. It’s
not like we were gonna sell it on e-bay.
TITLE CARD: CONSULTING PRODUCER JEFF PETERS
MCBRIDE:
Isn’t it also true that you were so belligerent in
pursuit of an autograph that Mr. Moore had to push
you out of the way just to get to his car.
JAMESON:
He didn’t need to push me.
MCBRIDE:
You left the bar with no visible injury at 11:30 pm.
You didn’t seek medical attention until the
following morning. Isn’t it more likely that you and
your brother concocted a plan to punish Mr. Moore,
and line your own pockets at the same time.
(COURTROOM DOORS OPEN, AND THE PRESS MOVE IN. A DISGUSTED
LOOKING JAMESON AND HIS LAWYER STEP OUT, FOLLOWED BY PHIL AND
MOORE.)
REPORTER:
Mr. Moore, Mr. Moore! Kevin, How does it feel to
be vindicated?
MCBRIDE:
(to Phil) I’ll let you take this one. (to Moore) I’ll
catch you later. (He exits.)
TITLE CARD: EXECUTIVE PRODUCER DEAN HARGROVE
MOORE:
Thank you.
PHIL:
Thanks. One question at a time please.
REPORTER:
How are you feeling?
MOORE:
Good.
CUT TO:
EXT. MITCHELL HOUSE – NIGHT
SUE:
Are you sure you’re awake enough to drive? We
can make up the couch for you.
CLAIRE:
Sue I’ll be fine, really. I’ll be home before you can
find the extra blankets.
SUE:
Still, will you call me when you get there, just so I
don’t worry.
CLAIRE:
Already the mom.. Thanks honey. Good night.
SUE:
Good night.
(TOM WALKS HIS SISTER OUTSIDE TO HER CAR)
EXT. MITCHELL HOUSE – NIGHT
TITLE CARD: CO-EXECUTIVE PRODUCERS NICK LOMBARDO, MICHAEL
MORAN
CLAIRE:
Your wife worries too much.
MITCHELL:
She can’t help it, she’s a worrier. She’s good at it.
CLAIRE:
Um hm.
MITCHELL:
Now that I’m back from the gulf she’s gonna need
something new to worry about. Might as well be
you.
CLAIRE:
Gee thanks. Just make sure she takes it easy, huh?
Stress isn’t good for the baby.
MITCHELL:
I love ya.
CLAIRE:
Love ya back.
(TOM ENTERS THE HOUSE LOCKING THE DOOR BEHIND HIM, AND CLAIRE
GETS IN HER CAR.)
CUT TO:
EXT. L.A. SKYLINE – NIGHT
CUT TO:
INT. MITCHELL HOUSE – LATER – NIGHT
(SCENES PLAY ON THE TV IN THE LIVING ROOM WHERE A GASPING TOM
REACHES FOR THE CORDLESS PHONE JUST OUT OF REACH ON THE PHONE.
IN THE KITCHEN SUE LIES ON THE FLOOR, A POOL OF BLOOD UNDER HER
LIFELESS BODY. TOM, HIS ABDOMEN BLEEDING BADLY, TRIES TO CALL
TO HIS WIFE. HE HAS THE PHONE IN HIS HAND AND DIALS.)
MITCHELL:
Sue, sue, sue.
OPERATOR:
nine one one. What’s your emergency?
MITCHELL:
Tom Mitchell. Attacked. Sue Mitchell.
OPERATOR:
Sir, an ambulance is on the way. Sir. Sir I’m
having trouble understanding you.
(TOM SINKS DOWN DROPPING THE PHONE, UNABLE TO TALK, AS SIRENS
APPROACH IN THE BACKGROUND.)
CUT TO:
EXT. MITCHELL HOUSE – NIGHT
(POLICE CARS ARE GATHERED WITH RED LIGHTS FLASHING.)
TITLE CARD: PRODUCED BY BRIAN J. GORDON, ERIK OLSON
(SGT. ROBERTA HANSEN PULLS UP IN AN UNMARKED CAR WITH A RED
LIGHT ON TOP AND ENTERS THE MITCHELL HOUSE.)
TITLE CARD: CREATED BY DEAN HARGROVE
TITLE CARD: WRITTEN BY JAMIE LATTA & RACHEL STUHLER
INT. MITCHELL HOUSE – NIGHT
(ROBERTA ENTERS THE KITCHEN PULLING ON SURGICAL GLOVES AND
SEES THE POLICE PHOTOGRAPHER SNAPPING PICTURES OF SUE’S
BODY.SHE ADDRESSES A UNIFORMED OFFICER.)
ROBERTA:
Pierce, what have we got?
TITLE CARD: DIRECTED BY JOHN LARROQUETTE
PIERCE:
Tom and Sue Mitchell. A former marine medic and
his wife stabbed. The husband appears to have been
struck with a blunt object, the wife was here in the
kitchen, the husband out in the living room.
Neighbors are saying the husband’s seven months
home from Afghanistan.
ROBERTA:
Welcome home.
PIERCE:
Yeah
ROBERTA:
The status of the two?
PIERCE:
Critical condition. The husband’s serious. Both
were taken to L.A. Memorial.
ROBERTA:
Did you find the weapon yet?
PIERCE:
Ellen, can I have the knife?
( A TECH BRINGS IN THE WEAPON IN A PLASTIC EVIDENCE BAG AND
HANDS IT TO HIM.)
PIERCE:
Most likely from the kitchen. Matches the pattern
of the cutlery. Forensics will run the match just to
make sure. We’re not sure about the blunt object.
ROBERTA:
Where was the knife found?
PIERCE:
Next to the husband. We got a nice set of latents
off the handle.
ROBERTA:
Test for any trace of blood. Walls, carpet,
everything.
(ROBERTA CROSSES INTO THE LIVING ROOM AND ADDRESSES ANOTHER
TECH.)
ROBERTA:
Francis, any trace evidence?
FRANCIS:
Well there were no foreign fibers that we could
find. But the wife had several strands of brown hair
embedded under her fingernails. It looks like she
put up quite a fight. We should have a comparative
DNA profile with the family in a couple of days.
(ANOTHER UNIFORM APPROACHES.)
ROBERTA:
Bill, anything missing from the house?
BILL:
If the perp did take anything it’s nothing obvious.
ROBERTA:
Well we won’t know that for sure till we get a
family member to inventory the house. Get on that
ASAP.
BILL:
I’ll get on it.
FRANCIS:
There’s no sign of forced entry.
ROBERTA:
And I don’t suppose there’s any point in asking if
the Mitchell’s had a security system, right?
CUT TO:
EXT. DOWNTOWN L.A. – DAY
CUT TO:
INT. MCBRIDE’S OFFICE – DAY
(CLAIRE ENTERS THE OFFICE, AND LEANS AGAINST THE DOORWAY
WATCHING MCBRIDE PUT HIS JACKET AND BRIEFCASE AWAY. HE TURNS
AT THE SOUND OF HER VOICE.)
CLAIRE:
I saw the new truck. Boy, being a lawyer for the
little guy sure pays a lot more than it used to.
(THEY CROSS TO A COUCH AND SIT.)
MCBRIDE:
Well as much as I would love to think you came by
to reminisce about old times…
CLAIRE:
Mac, did you happen to see the news this morning?
MCBRIDE:
Uh, no.
CLAIRE:
My brother was attacked last night. His wife was
murdered. It’s all over the news.
MCBRIDE:
Claire I’m so sorry.
CLAIRE:
They’re trying to pin this on Tommy, Mac. They
just found out that they were expecting a baby.
MCBRIDE:
Claire, I’m sorry. Have the police charged him with
anything?
CLAIRE:
Not yet.
MCBRIDE:
Do they have any evidence against him?
CLAIRE:
No.
MCBRIDE:
What about uh motive?
CLAIRE:
None.
MCBRIDE:
Let’s go talk to your brother. Come on.
CUT TO:
EXT. HOSPITAL – DAY
CUT TO:
INT. HOSPITAL – DAY
(MCBRIDE AND CLAIRE ENTER THE HOSPITAL CORRIDOR.)
CLAIRE:
His room’s down here at the end of the hall.
MCBRIDE:
Hey you know what I want to talk to him alone.
CLAIRE:
Mac, you can’t get me out of the room, he’s my
brother.
MCBRIDE:
If you want me to be his attorney I have to talk to
him alone for a few minutes Claire.
CLAIRE:
All right. For a few minutes.
CUT TO:
INT. TOM’S HOTEL ROOM – DAY
(MCBRIDE ENTERS. TOM IS IN THE HOSPITAL BED HOOKED UP TO TUBES.)
MCBRIDE:
Hey Tom. I’m McBride. Do you um remember
me?
MITCHELL:
The cop, right?
MCBRIDE:
Hm. A long time ago, yeah. No I’m a lawyer now.
MITCHELL:
Are you my lawyer?
MCBRIDE:
I don’t know that yet. Why don’t we start by you
telling me what happened last night, we’ll go from
there.
MITCHELL:
I’ll try.
CUT TO: HOSPITAL CORRIDOR – DAY
(ROBERTA APPROACHES TOM’S ROOM AND CLAIRE RISES.)
CLAIRE:
You’re not welcome here Roberta.
ROBERTA:
Welcome or not, I’m doing my job.
CLAIRE:
Yeah, well, Tom’s talking to McBride right now.
You’re gonna have to come back later.
ROBERTA:
I’ll get to Tom in a minute. In the meantime, I need
to ask you for a DNA sample.
CLAIRE:
Excuse me.
ROBERTA:
It’s standard in a case like this. We need to be able
to exclude DNA at the crime scene. And suspects.
You know that Claire.
CLAIRE:
Now I’m a suspect.
ROBERTA:
Tom places you at the house last night, so yes you
are a suspect. Now the sooner you give us a DNA
sample the sooner I can rule you out. Alright?
CLAIRE:
Alright.
CUT BACK TO:
INT. TOM’S HOSPITAL ROOM – DAY
MITCHELL:
I remember walking Claire out to her car. After I
said goodnight to Sue. I wasn’t tired. So I went out
to the living room, had a beer, watched Letterman.
I must have fallen asleep cause I don’t remember
anything past his monologue.
MCBRIDE:
What happened next?
CUT TO:
INT. MITCHELL LIVING ROOM – FLASHBACK – NIGHT
(TOM IS ASLEEP IN A CHAIR, REMOTE ON LAP, BEER ON THE TABLE.
THERE IS A KNOCK ON THE DOOR. HE RISES AND CROSSES TO THE DOOR,
PASSING A WATCHING MCBRIDE.)
MITCHELL:
(VO) There was a knock at the door.
MCBRIDE:
(VO) Who was it?
MITCHELL:
(VO) Kaia Rourke.
(TOM OPENS THE DOOR AND USHERS KAIA OUTSIDE.)
EXT. MITCHELL HOUSE – FLASHBACK – NIGHT
MITCHELL:
What are you doing here?
KAIA:
I need to talk to you Tommy.
MITCHELL:
Well you know better than to come to my house.
KAIA:
It’ll just take a minute.
MITCHELL:
What is it?
KAIA:
I can’t do this anymore. The arrangement isn’t
working.
MITCHELL:
Okay fine get off my property and don’t ever come
here again.
(SHE SLAPS HIM, HE GRABS HER BY THE ARM AND PULLS HER.)
CUT BACK TO:
INT. TOM’S HOSPITAL ROOM – PRESENT DAY
MCBRIDE:
She left?
MITCHELL:
I thought so. I went back inside. Turned on my
TV. Started going down towards my bedroom.
Where I think I was hit from behind. It’s the last
thing I can remember before making the nine one
one call.
MCBRIDE:
Who is Kaia Rourke?
MITCHELL:
Her father is General Rourke. One of my
commanding officers.
MCBRIDE:
That’s enough. But when I come back I want to
know why Kaia Rourke was at your house in the
middle of the night.
(TOM HAS FALLEN ASLEEP, AND MCBRIDE GETS UP AND EXITS THE
ROOM.)
CUT TO:
INT. HOSPITAL CORRIDOR – DAY
(MCBRIDE IS TALKING ON HIS CELL. INTERCUT WITH PHIL AT THE
OFFICE.)
MCBRIDE:
Hey Phil, it’s me.
PHIL:
Hey you disappeared. Where’d you go after court?
MCBRIDE:
Well I’ve been working on our next case.
PHIL:
I wasn’t aware we had one.
MCBRIDE:
You keep up with the news. Have you heard about
the Mitchell murder?
PHIL:
Yeah, the war hero suspected of killing his wife?
MCBRIDE:
That’s the one.
PHIL:
Please don’t tell me that’s our next case.
MCBRIDE:
All right fine, I won’t tell you that. What I will tell
you is I want you to go canvas the neighborhood.
See if you can find anybody who saw a woman
outside the Mitchell house last night. Also pull
their bank and credit card statements I want to get to
know these people. Also find me an address on one
Kaia Rourke. It’s K A I A R O U R K E.
CUT TO:
EXT. SUBURBAN STREET – DAY
(MCBRIDE PULLS UP IN HIS TRUCK AND GETS OUT.)
CUT TO:
INT. THE ROURKE LIVING ROOM – DAY
(ROURKE SITS ON HIS LEATHER FURNITURE IN JOGGING CLOTHES,
MCBRIDE SITS NEAR HIM.)
MCBRIDE:
Well I would like to first thank you for seeing me
General Rourke.
GENERAL ROURKE:
Ah please. Call me Dwight. One of the other men
in Tom’s regiment had already called me and
briefed me on what happened. I feel like Tom was
one of my own kids. A terrible tragedy. I’ll do
anything I can to help.
MCBRIDE:
Thank you. Actually I was hoping I might be able
to talk to your daughter Kaia.
GENERAL ROURKE:
What does Kaia have to do with this?
MCBRIDE:
Well sir, I have information that places your
daughter at the Mitchell house last night.
GENERAL ROURKE:
What would she be doing there in the middle of the
night? She barely knows Tom. I don’t think she’s
ever met Sue.
MCBRIDE:
Right. Is it possible I might speak with her?
GENERAL ROURKE:
I hate to say this to you Mr. McBride but I think
you’ve been lead on a wild goose chase. My
daughter has been a resident of the Oak Valley
Residence Center for the past two weeks. So I
assure you she wasn’t at the Mitchell house last
night.
(MCBRIDE LOOKS AT HER PHOTO ON THE END TABLE AND NODS.)
CUT TO:
EXT. MITCHELL HOUSE – DAY
(PHIL PULLS UP IN HIS CONVERTIBLE, PARKS, AND APPROACHES THE
HOUSE. CRIME SCENE TAPE AND A POLICE CAR FLANK THE DRIVE. AS
PHIL APPROACHES A FEMALE UNIFORM GETS OUT OF THE CRUISER.)
COP:
Can I help you sir?
PHIL:
Yeah I’m Phil Newberry, I’m council representing
Tom Mitchell.
COP:
Forensics is still combing through the crime scene.
The property hasn’t been released to the family yet,
and until it is I can’t let you in.
PHIL:
Right.
(THE COP GETS BACK IN HER CAR AND PHIL HEADS FOR HIS. AS HE
CROSSES THE STREET HE SEES A CURTAIN BEING MOVED BACK INTO
PLACE AT THE NEIGHBORS HOUSE. HE WALKS UP THE DRIVE AND
KNOCKS ON THE DOOR. NO ANSWER. HE RINGS THE DOORBELL. AN
OLDER WOMAN OPENS THE DOOR A CRACK AND PEEKS HER HEAD OUT.)
GLYNNIS:
The name is Glynnis Jackson. You didn’t have to
knock, I saw you across the street.
PHIL:
I was hoping to, to talk to you about the uh, the
Mitchell’s.
(SHE OPENS THE DOOR FOR HIM AND WALKS BACK INTO THE HOUSE.)
GLYNNIS:
So talk.
CUT TO:
INT. GLYNNIS JACKSON’S HOUSE – DAY
(PHIL IS SEATED ON THE COUCH, GLYNNIS IN A CHAIR.)
GLYNNIS:
Is there something you wanted to ask me I don’t
have all day.
PHIL:
I I noticed that you have a a a direct view of the
Mitchell’s house. Did you see anything last night?
GLYNNIS:
It was the middle of the night. Most respectable
folks aren’t up at that hour.
PHIL:
So I take it that’s a no.
GLYNNIS:
I don’t like to tell tales. I like to keep to myself.
But things haven’t been right at that house ever
since Tommy came back from the war.
PHIL:
How do you mean, not right?
GLYNNIS:
Well it just seems to me Susie’s been alone a lot
more than she used to be. And they must be doing
pretty well for themselves lately. Cause not a week
went by when the delivery man didn’t show up at
their house with something fancy. They had a
brand new washer and dryer, a great big old green
SVU and one of those flat screen TV’s that’s so big
I can watch Wheel of Fortune from right here in my
living room chair.
PHIL:
Did did Tom have another job that you were aware
of?
GLYNNIS:
Why don’t you ask him, you’re his lawyer aren’t
you?
PHIL:
Well I guess that’s it. Thank you. For your…I
guess there is one one more thing Mrs. Jackson.
Sue Mitchell died in surgery this morning.
GLYNNIS:
(teary) And Tommy? Is is he gonna be alright?
PHIL:
Looks that way. But he is a suspect.
GLYNNIS:
Tommy couldn’t have had anything to do with this.
The only husband I ever saw with more love for his
wife was my own dear departed Marvin.
PHIL:
Well if you think of anything else could you give
me a call please?
(HE RISES AND HANDS HER HIS CARD.)
CUT TO:
EXT. EXPENSIVE LOOKING REHAB CENTER - DAY
(MCBRIDE PULLS UP IN HIS TRUCK, GETS OUT, AND ENTERS A POSH ROOM
WHERE HE IS GREETED BY A BEAUTIFUL RECEPTIONIST MANNING AN
ANTIQUE DESK.)
RACHEL:
Checking in?
MCBRIDE:
No. Um I would like to speak to a Kaia Rourke.
RACHEL:
I’m sorry sir, our guests are not permitted to have
visitors in the first three weeks of their retreat.
They’re on a strict schedule of meditation and
treatment that doesn’t allow for outside stimuli.
MCBRIDE:
Retreat? I was under the impression that this was a
a rehab center.
RACHEL:
We’d prefer not to label our guests. If you’d like to
leave Miss Rourke a message I will be sure she gets
it.
MCBRIDE:
Oh no, no message. Could you tell me how much
longer she has on her sentence?
RACHEL:
(checking her computer) It looks as though Miss
Roarke will be accepting visitors again in about a
week. I hope to see you then!
MCBRIDE:
Ooh. I can’t wait.
CUT TO:
EXT. POLICE STATION – DAY
CUT TO:
INT. POLICE STATION – DAY
(ROBERTA SITS AT HER DESK WORKING, MCBRIDE APPEARS AND KNOCKS
ON HER DOOR FRAME.)
ROBERTA:
(not looking up) What do you want McBride?
MCBRIDE:
I need you to issue a material issue warrant for Kaia
Rourke.
ROBERTA:
Why would I do that?
MCBRIDE:
She was at the house Roberta. If she didn’t do it
she knows who did.
ROBERTA:
I know who did it and he’s already in police
custody.
MCBRIDE:
All right did I miss the trial?
ROBERTA:
Have you even talked to your client Mac? His
account of the night of the murder makes absolutely
no sense.
MCBRIDE:
Look Roberta Kaia was there, all right?
ROBERTA:
I already spoke with the people at the Oak Valley
Rehab Center, she checked in two weeks ago.
MCBRIDE:
So what do you think Tom Mitchell just pulled
some name out of a hat?
ROBERTA:
No. I’m saying he’s using any means necessary to
draw attention away from himself. Smart move
blaming a drug addict. Too bad she has an alibi.
MCBRIDE:
Alibi’s can be broken.
ROBERTA:
All right. Explain to me why there’s a blood trail
between the two victims and nowhere else.
MCBRIDE:
Blood trail follows the murder weapon.
ROBERTA:
What about motive? Robbery? There was nothing
missing from the house. Take a look Mac. All of
this evidence points squarely at your client. I just
want you to consider the possibility that your
judgement is impaired by the person who asked you
to take this case.
MCBRIDE:
I could say the same thing about you.
(OFF HER HOSTILE LOOK.)
CUT TO:
EXT. MITCHELL HOUSE - DAY
(CLAIRE IS ARGUING WITH THE COP OUTSIDE HER BROTHERS HOUSE.)
CLAIRE:
I’m his sister, I just need to get in there and get a
few pairs of pyjamas for the hospital.
Cop
I’m sorry, ma’am, until the police release the scene
everything in that house is evidence.
CLAIRE:
I’ve been with the LAPD for nineteen years officer,
I’m well aware of the procedure.
Cop
Well then you know I can’t let you in.
(PHIL WALKS UP TO THEM.)
PHIL:
Excuse me.
CLAIRE:
yes.
PHIL:
I heard you say you were Tom Mitchell’s sister, I’m
Phil Newberry I work with…
CLAIRE:
Mac. All right? (they shake hands.) I’m sorry I’m
just not having a whole lot of luck here today. (Cop
rolls her eyes.)
PHIL:
Sounds like you’re doing about as well as I am.
Listen I could have Mac give Roberta Hanson a call
at the precinct, I’m sure she could help you out.
CLAIRE:
Good luck. Roberta’s not gonna bend any rules for
me.
PHIL:
Are we talking about the same Roberta Hanson?
CLAIRE:
You must be on her good side.
(SHE WALKS AWAY. HE FOLLOWS AFTER.)
CUT TO:
EXT. OFFICE BUILDING - DAY
CUT TO:
INT. MCBRIDE’S OFFICE – DAY
(MCBRIDE SITS ON HIS COUCH, FEET UP ON THE COFFEE TABLE. SCOTCH
IN HAND. PHIL ENTERS.)
PHIL:
Met your friend Claire outside the Mitchell house.
What’s up with her and Roberta?
MCBRIDE:
You got wind of that did ya? Well, I’ll tell you a
tale. Long time ago I was still on the force. We
had this informant, a real low-life. And he accused
Roberta of taking a bribe. Claire as the IAB shrink
had to make a determination if Roberta was capable
of such a thing.
PHIL:
Claire rule against her?
MCBRIDE:
(winks) Almost caused Roberta her badge. It
worked out in the end, I mean the informant
confessed that he was lying, the department issued a
formal apology to Roberta, but she never forgave
Claire. It was over ten years ago. So do we have
any eyewitnesses?
PHIL:
Thirty neighbors, no one saw a thing. How’d you
make out?
MCBRIDE:
Kaia Rourke, our only suspect, seems to have been
in a rehab facility for the past two weeks.
PHIL:
All the evidence points to our client.
CUT TO:
EXT. HOSPITAL – DAY
CUT TO:
INT. TOM’S HOSPITAL ROOM – DAY
(MCBRIDE SITS NEXT TO A SLEEPING TOM. HE SLOWLY AWAKENS AND
OPENS HIS EYES.)
MCBRIDE:
Exactly how many mistakes have you made Tom?
MITCHELL:
Oh God, good morning to you too Mr. Mcbride.
Are you officially on the clock?
MCBRIDE:
That would depend on you. Why was Kaia Rourke
at your house in the middle of the night?
MITCHELL:
I know what you’re thinking. And yes. I had an
affair with her. I’d never done anything like that
before.
MCBRIDE:
Were you going to leave your wife?
MITCHELL:
Never. I love Sue more than I loved anyone in my
entire life.
MCBRIDE:
Then why was she at your house?
MITCHELL:
She said she was in trouble. That we were in
trouble. She kept trying to talk to me about it for
days. And I just kept putting her off.
(THE DOOR OPENS AND ROBERTA ENTERS WITH A UNIFORM.)
MCBRIDE:
We’ll have a statement in the morning.
ROBERTA:
That’s fine (to cop) go ahead Larry.
(THE COP CROSSES TO TOM’S BEDSIDE AND CUFFS HIM TO THE RAIL.)
ROBERTA:
Tom Mitchell you’re under arrest for the murder of
Sue Mitchell. You have the right to remain silent.
Anything you say can and will be used against you
in a court of law. You have the right to an attorney.
If you cannot afford an attorney one will be
appointed to you.
FADE OUT
FADE IN TO EXT. POLICE STATION – DAY
CUT TO:
INT. CLAIRE’S OUTER OFFICE – DAY
(MCBRIDE SITS IN THE WAITING ROOM WHILE CLAIRE LEADS A
UNIFORMED COP OUT OF HER OFFICE.)
CLAIRE:
Another few weeks and I’ll be able to send you
back into active duty.
Cop:
I really appreciate it thanks. I’m ready to go back to
work.
CLAIRE:
Tell Sergeant Koch I said hello.
Cop
I will, thanks Claire.
CLAIRE:
Hello Mac. You ready to come in?
MCBRIDE:
Yeah.
CLAIRE:
Come on.
(THEY ENTER HER OFFICE. SHE CLOSES THE DOOR BEHIND THEM.)
MCBRIDE:
You still chasing dirty cops, huh?
CLAIRE:
Um hm (taking off her jacket.)
MCBRIDE:
I thought by now you’d have gone into private
practice.
CLAIRE:
What can I say, being the disciplinarian must fill
some deep seated need. So what brings you here
Mac?
MCBRIDE:
Tom’s been arrested. He asked me to come over
cause he didn’t want to tell you on the phone. How
well do you know your brother Claire?
CLAIRE:
Tom didn’t do this Mac.
MCBRIDE:
I’m not…I just need to have all the information I
can, the DA is gonna turn his life inside out. Did
you know Tom was having an affair?
CLAIRE:
I swear to you I didn’t know.
MCBRIDE:
Do you know a girl named Kaia Rourke?
CLAIRE:
No. Why? Did she have something to do with
Sue’s murder?
MCBRIDE:
I don’t know. But I intend on finding out.
CUT TO:
EXT. POLICE STATION – DAY
CUT TO:
INT. POLICE STATION – DAY
(ROBERTA IS ON THE PHONE IN HER OFFICE.)
ROBERTA:
Listen I appreciate your help, I’ll call you back
when I have more details. Yeah.
(SHE HANGS UP AND MOTIONS FRANCIS, THE FORENSICS TECH, INTO HER
OFFICE.)
ROBERTA:
Thanks for stopping by Francis, I take it the DNA
results are in?
FRANCIS:
I compared the hair under the wife’s fingernails
with the entire family, I have yet to find a match. I
also tested most of the extended family and the
neighbors, there’s no indication that the hair came
from any person in the family circle.
ROBERTA:
Is it possible that the hair came from casual contact
with a stranger?
FRANCIS:
(sitting) In this case, no. Those strands were
embedded under Susan Mitchell’s nails. I stand by
what I said at the crime scene. That woman put up
a fight.
ROBERTA:
But there were no defensive wounds on the
husband?
FRANCIS:
Not a single one.
ROBERTA:
Doesn’t it strike you as odd that the wife fought
back but the husband didn’t?
FRANCIS:
If you believe that he was knocked unconscious
then no.
ROBERTA:
That’s a question isn’t it. Did we ever find what he
was supposedly hit with?
FRANCIS:
Nothing we found in the Mitchell house was a
match.
ROBERTA:
Do you have any good news for me?
FRANCIS:
The prints we found on the knife were Tom and Sue
Mitchell’s. And aside from the immediate family
there were no unexplained fingerprints in the house.
ROBERTA:
Which leaves us where?
FRANCIS:
Foreign DNA at the crime scene.
ROBERTA:
Oh. McBride’s gonna love this. Thanks again
Francis.
FRANCIS:
Sure.
(HE GETS UP AND EXITS HER OFFICE. SHE CLOSES THE FILE.)
CUT TO:
EXT. HOSPITAL – DAY
CUT TO:
INT. TOM’S HOSPITAL ROOM – DAY
(CLAIRE ANGRILY ENTERS TOM’S ROOM.)
MITCHELL:
What? It can’t possibly getting any worse than it
already is. (motions with handcuff.)
CLAIRE:
Why didn’t you tell me about your affair.
MITCHELL:
Oh is that something that you really want to know
about? Huh?
CLAIRE:
That’s not the point we all make mistakes. You
don’t hide from them.
MITCHELL:
You think I don’t know that? Don’t you think if I
could go back and undo it all that I would?
CLAIRE:
So do you love her?
MITCHELL:
No. There was never anybody but Sue.
CLAIRE:
Okay. (she sits on the bed and takes his hand.) No
more secrets okay?
MITCHELL:
um hm.
CUT TO:
EXT. ROAD – DAY
(MCBRIDE STANDS BESIDE HIS TRUCK WITH HIS CELL PHONE. HE CALLS
PHIL IN THE OFFICE. INTERCUT BETWEEN THE TWO.)
PHIL:
Hey Mac.
MCBRIDE:
Hey Phil. Any updates?
PHIL:
Actually there is something kind of interesting. I
didn’t really think much about it at the time. One of
the neighbors mentioned the Mitchell’s had been
buying a lot of expensive stuff the last couple of
months and that Tom wasn’t home very much so I
get the credit card statements this morning and it
definitely seems to corroborate what the neighbor
said. A lot of purchases well beyond the family’s
means. Not just any kind of purchases like
expensive flowers, fancy dinners.
MCBRIDE:
Huh. Sounds like guilt gifts.
PHIL:
I think the most important question now is where is
this money coming from?
MCBRIDE:
Well we’ve got to find that out, listen you keep
digging, I’ll talk to you in a bit.
(MCBRIDE HANGS UP AND GETS IN HIS TRUCK.)
CUT TO:
EXT. OFFICE BUILDING – NIGHT
CUT TO:
INT. MCBRIDE’S OFFICE – NIGHT
(MCBRIDE IS SITTING ON HIS COUCH, NOTEPAD IN LAP. CLAIRE ENTERS.)
CLAIRE:
I thought I might find you here.
MCBRIDE:
Well, hi. Come join me.
CLAIRE:
Well I just happened to pass by Chen’s on my way
home and I wondered if it’s still your favorite
restaurant? (holding up a bag of food.)
MCBRIDE:
I cannot believe you remembered that.
CLAIRE:
Of course.
MCBRIDE:
So what are you doing? Prowling around this time
of the night.
CLAIRE:
I didn’t feel like going home yet. (sitting and
unpacking carryout containers.) Actually in my
profession it is what we shrinks like to call classic
avoidance. The longer I stay out the longer I can
avoid dealing with what’s really bothering me.
MCBRIDE:
You know if there was any more I could do…
CLAIRE:
Thanks. I just still can’t believe this is happening
Mac. For nineteen years I’ve worked with men who
saw the most horrific crimes. I counseled them.
Through their anguish, guilt. And all that time I
never imagined what they were really going
through. I’m his older sister Mac. I spent my entire
life protecting him. Defending him. Right now I’m
having a hard time doing either one of those.
(HE TAKES HER HAND AND THEY KISS.)
MCBRIDE:
Claire, Claire. If I wasn’t defending your brother I
would have no problem.
MCBRIDE/CLAIRE:
(in unison) Bad timing.
(THE PHONE RINGS.)
MCBRIDE:
(unintelligible) Really bad timing. (answering)
Hello Roberta.
(INTERCUT PHONE CALL WITH ROBERTA IN HER OFFICE.)
ROBERTA:
McBride. Look I just wanted to call and let you
know that the DNA results came back, and the hair
under the victims fingernails does not match Claire
or Tom Mitchell.
MCBRIDE:
Right. Uh okay thanks.
ROBERTA:
We’ll talk later.
MCBRIDE:
Right. (hangs up)
CLAIRE:
You know Mac. I never did understand what you
saw in her.
CUT TO:
EXT. EMT CENTER – DAY
(MAC’S TRUCK PULLS IN NEAR THE AMBULANCE BAY. HE PARKS AND
ENTERS THE EMERGERNCY RESPONSE CENTER. TWO EMT’S SIT AT
SEPARATE DESKS. THE MAN AT THE SECOND DESK ADDRESSES
MCBRIDE.)
MCBRIDE:
Hi.
EMT:
Can I help you?
MCBRIDE:
My name is McBride. (they shake) I’m an attorney,
I’m representing Tom Mitchell.
EMT:
(shakes his hand and rises.) Oh.
MCBRIDE:
I was hoping I might be able to talk to a few of his
co-workers.
MCKAY:
I’m Pete McKay. Tom worked under me for eight
years. Why don’t we uh, why don’t we talk in the
other room.
MCBRIDE:
Sure.
CUT TO:
EXT. EMERGENCY RESPONSE CENTER – DAY
CUT TO:
INT. ERS BREAK ROOM – DAY
(MCBRIDE AND MCKAY ARE NOW SEATED AT A SMALL ROUND TABLE.)
MCKAY:
I’m not sure how much help I can be.
MCBRIDE:
Can you tell me something, uh, about Tom?
MCKAY:
Um he’s a really good guy. Fourth generation
paramedic. I uh started under his father and his
cousin Jeff works over at the Palisades. I um I
threw Tom his bachelor party when he married
Susie. No one here believes Tom killed his wife.
MCBRIDE:
Any enemies that you know of, anyone who might
want to do harm to him or his family?
MCKAY:
As I said you know he’s a he’s a good man who
loved his family. But uh he can’t seem to help
himself from getting into hot water.
MCBRIDE:
Any um trouble the last few months.
MCKAY:
Since uh, since Tommy came home from
Afghanistan he’s been a little out of sorts.
MCBRIDE:
How so out of sorts?
MCKAY:
His behavior more erratic, um uh I don’t know if it
was the war that changed him or the girl.
MCBRIDE:
You got a name for this girl?
MCKAY:
Of course I have a name for this girl. Kaia Rourke.
MCBRIDE:
Have you ever met this um Kaia Rourke.
MCKAY:
Met her! She came by the station every day
Tommy worked. Sometimes when he wasn’t even
here. Half the time Kaia showed up she was on
something.
MCBRIDE:
Any indication Tom might be using drugs? You
mentioned his erratic behavior.
MCKAY:
My men take a drug test once every sixty days.
Tom was clean.
MCBRIDE:
Do you remember the last time you saw this Kaia
Rourke here?
MCKAY:
Of course I do. A week ago.
CUT TO:
EXT. EMT CENTER – FLASHBACK – DAY
(A CAB PULLS UP, KAIA EXITS. MCKAY STANDS, ARMS CROSSED,
BLOCKING THE ENTRANCE. )
MCKAY:
What do you want Kaia?
KAIA:
I need to talk to Tom.
MCKAY:
He’s busy right now. I’ll tell him that you came by.
KAIA:
Tell him I’m here and he’ll want to talk to me.
(MCBRIDE WATCHES OVER MCKAY’S SHOULDER.)
MCBRIDE:
Was she always so insistent on seeing him?
MCKAY:
Nah she was different that day.
KAIA:
I’m not leaving until I see him.
(TOM BURSTS THROUGH THE DOOR, GRABS KAIA BY THE ARM AND PULLS
HER AWAY.)
MITCHELL:
Come on. I told you not to come here anymore.
(A SILVER CADILLAC SPEEDS UP. TOM RELEASES KAIA’S ARM, AND
RETREATS TO WHERE MCKAY IS STANDING. KAIA ROLLS HER EYES AS
THE GENERAL, HER FATHER EXITS THE CAR.)
GENERAL ROURKE:
Kaia. Get in the car.
KAIA:
I just need a minute Daddy.
GENERAL ROURKE:
(pulling her roughly) I said get in the car.
KAIA:
(to Tom) I need to talk to you, it can’t wait.
MITCHELL:
This is not the time or the place Kaia.
KAIA:
I can’t do this by myself Tom.
MITCHELL:
We can talk about it later.
(THE GENERAL MANAGES TO DEPOSIT KAIA IN THE CAR AND SLAMS THE
DOOR. THEN HE CROSSES TO TOM.)
GENERAL ROURKE:
I’m not going to say this again Mitchell. Stay the
hell away from my daughter! You caused enough
problems already.
CUT BACK TO:
INT. EMT BREAK ROOM – PRESENT DAY
MCBRIDE:
What do you think she meant by it? Can’t do this
alone.
MCKAY:
What does it usually mean?
MCBRIDE:
You sure you saw her here a week ago.
MCKAY:
Absolutely certain. It was the last day Tom worked
before the murder.
FADE OUT
FADE IN TO
EXT. EMT CENTER – DAY
(MCBRIDE EXITS, SMILES AT SOME ENTERING PARAMEDICS AND DIALS
HIS CELL. INTERCUT PHONE CALL WITH PHIL IN MCBRIDE’S OFFICE.)
PHIL:
(answering) Hey Mac.
MCBRIDE:
Hi Phil. Listen. I need you to do something for me.
The DA has decided to do a bedside arraignment,
instead of waiting for Tom to be discharged.
PHIL:
Okay what do you need from me?
MCBRIDE:
I want you to go to the rehab center and do
whatever it takes to talk to Kaia Rourke. I think she
might be pregnant. Plus LT. McKay places her here
at the Paramedic Center five days ago. Which
means she could have been at the house that night.
Break her alibi Phil. We could just have our
motive.
PHIL:
I’m on it.
MCBRIDE:
All right. Talk to you later.
(MCBRIDE HANGS UP THE CELL, REMOVES HIS KEYS FROM HIS POCKET
AND ENTERS HIS TRUCK.)
CUT TO:
EXT. POSH REHAB CENTER – DAY
(PHIL’S CONVERTIBLE PULLS UP IN FRONT AND HE GETS OUT.)
PHIL:
(to man walking by) Hey.
CUT TO:
INT. REHAB CENTER – DAY
(RACHEL IS SEATED AT HER DESK WHEN PHIL ENTERS.)
RACHEL:
Hi! Checking in?
PHIL:
No. Uh actually, I’m I’m looking for one of your
patients.
RACHEL:
Here at Oak Valley we like to refer to our residents
as guests.
PHIL:
All right well I’m looking for one of your guests
then. Her name is Kaia Rourke.
MCBRIDE:
It seems Miss Rourke is very popular these days.
Unfortunately she’ll be unable to receive visitors for
another week.
PHIL:
(sitting) Look. Kaia is my little sister and I know
she’s gotten into a lot of trouble lately but I just
want to check on her and make sure she’s okay.
RACHEL:
I can assure you, all of our guests are well taken
care of.
(PHIL TAKES A TWENTY OUT OF HIS WALLET AND PLACES IT ON A FILE
FOLDER ON THE DESK.)
PHIL:
I just need five minutes.
RACHEL:
Sir. I am dedicated to the health and well-being of
our guests.
(HE PUTS UP ANOTHER TWENTY.)
RACHEL:
Oak Valley caters to an elite clientele who are
accustomed to a certain level of discretion.
(AND ANOTHER)
RACHEL:
And I am very well compensated for that discretion.
(AND ONE MORE DOES IT. RACHEL COVERS THE BILLS WITH A SECOND
FILE FOLDER, AND LOOKS AT HER WATCH.)
RACHEL:
Hmm. It’s just about time for my coffee break. I’ll
be back in fifteen minutes should you require
further assistance.
(SHE RISES, PICKS UP THE FILE FOLDERS WITH THE MONEY AND TURNS
THE COMPUTER SCREEN SLIGHTLY TOWARD PHIL. HE PEEKS AT THE
SCREEN, THEN IN HIS EMPTY WALLET, THEN EXITS FURTHER INTO THE
BUILDING.)
CUT TO:
INT. HOSPITAL CORRIDOR – DAY
(CLAIRE SITS OUTSIDE TOM’S ROOM. MCBRIDE JOINS HER, HANDING HER
A CUP OF COFFEE AS HE SITS.)
CLAIRE:
Thank you.
MCBRIDE:
You’re welcome.
CLAIRE:
I’ll be glad when this arraignment is over.
MCBRIDE:
Right. Well bedside arraignments aren’t that usual,
but I really don’t expect any…
(HIS VOICE TRAILS AWAY AS HE SPOTS ROBERTA APPROACHING.)
MCBRIDE:
…curveballs.
CLAIRE:
(looks to her) Really. No curveballs, huh? (rising)
Detective Hanson. To the best of my knowledge
there is no police procedure that requires you to be
here today.
ROBERTA:
I am here as the representative of the LAPD. I need
to issue a statement to reporters after the
arraignment.
CLAIRE:
The arraignment hasn’t started yet. To me that says
you don’t need to be here.
ROBERTA:
I need to view the proceedings to give an accurate
statement.
CUT TO:
INT. REHAB CENTER COURTYARD – DAY
(PHIL WALKS THROUGH THE COMPOUND LOOKING AT ROOM NUMBERS
AND IN WINDOWS, UNTIL THE SPOTS KAIA, SEATED AT A DESK, EYES
CLOSED. HE KNOCKS ON THE OPEN DOOR FRAME, SHE DOESN’T RESPOND.
HE POKES HIS HEAD IN.)
PHIL:
Miss Rourke?
(NO ANSWER. HE ENTERS THE ROOM AND WALKS UP TO HER. IPOD
EARPHONES TRAIL FROM HER EARS.)
PHIL:
(louder) Miss Rourke!
(SHE OPENS HER EYES AND REMOVES THE EARPHONES. SHE SPEAKS
WITHOUT LOOKING AT HIM.)
KAIA:
I told you people I’m not going to group therapy.
I’m not leaving this room today.
PHIL:
I don’t work for the center Kaia. My name is Phil
Newberry. I’m an attorney I’m with the legal team
representing Tom Mitchell.
KAIA:
What do you want from me?
PHIL:
We have a lot of unanswered questions that seem to
lead back to you.
CUT TO:
EXT. REHAB CENTER – DAY
(PHIL AND KAIA ARE SEATED AT A PATIO TABLE AMID GARDENS AND A
LARGE GAZEBO. KAIA IS SMOKING A CIGARETTE)
PHIL:
When did the affair with Tom start?
KAIA:
I met him through my Dad. It was only supposed to
be a one night stand, but, we kept in touch. It didn’t
get out of control until he came home seven months
ago.
PHIL:
Tom’s wife know about the affair?
KAIA:
How would I know? A better question is, why
would I care?
PHIL:
Huh. Uh here’s why. An innocent woman is dead.
And the prosecution is going to use you as Tom’s
motive for killing his wife. Were you at Tom’s
house the night of the murder?
KAIA:
Yeah. I was there. I went to break it off. The affair
had gone on long enough, and the relationship
obviously wasn’t going anywhere. He was never
going to end it with Sue.
PHIL:
What time was that?
KAIA:
Around midnight. I waited until after I thought she
had gone to bed.
PHIL:
See Tom says that you hit him, knocked him out.
He claims it was the last thing he remembers before
calling nine one one.
KAIA:
I hit him all right. I slapped him right across the
face. I was only there five minutes. When I left he
looked just fine to me.
PHIL:
Why would your father say that you were here the
night of the murder.
KAIA:
Bad enough his daughter’s a junkie. He wasn’t
about to add murder suspect to that list.
PHIL:
You pregnant Kaia?
KAIA:
That’d be perfect wouldn’t it? One more life for me
to screw up.
PHIL:
I’m done answering your questions just leave me
alone.
(PHIL RISES, PUTS ON HIS SUNGLASSES, AND LEAVES. KAIA PICKS UP HER
CIGARETTE AND PUFFS.)
CUT TO:
EXT. REHAB CENTER – DAY
(PHIL HEADS TOWARD HIS CAR, DIALING HIS CELL. MCBRIDE CHECKS THE
CALLER ID, THEN ANSWERS THE PHONE IN HIS OFFICE. INTERCUT THE
PHONE CALL BETWEEN THE TWO.)
MCBRIDE:
Hi Phil.
PHIL:
Hey Mac. Uh I just got in to see Kaia.
MCBRIDE:
Very good. What did you find out?
PHIL:
Well, it turns out Tom wasn’t lying. Kaia was
there, um only she claims she went there to break
things off and he was perfectly fine when she left.
MCBRIDE:
Right. So she says.
PHIL:
We should give Roberta a call and have her pay our
suspect a little visit.
MCBRIDE:
Yeah, um, tell you what, why don’t you call
Roberta and ask her to do that for us.
PHIL:
All right.
MCBRIDE:
Great. Thanks. (hangs up and mutters under his
breath.)
CUT TO:
INT. ROBERTA’S OFFICE – DAY
(SHE ANSWERS HER RINGING PHONE. INTERCUT BETWEEN HER AND PHIL
AT THE REHAB CENTER.)
ROBERTA:
Detective Hanson.
PHIL:
Hey. Roberta, it’s Phil.
ROBERTA:
Hey Phil. What can I do you for?
PHIL:
Um. I just had a very interesting conversation with
Kaia Rourke.
ROBERTA:
Not you too Phil.
PHIL:
Yeah, Listen Roberta. Kaia was at the Mitchell
house the night of the murder.
ROBERTA:
And how do you know this?
PHIL:
Because she just told me.
FADE OUT
FADE IN TO
EXT. REHAB CENTER – DAY
CUT TO:
INT. REHAB CENTER – DAY
(ROBERTA ENTERS RACHEL’S RECEPTION ROOM. RACHEL SITS UP AND
CLOSES THE BOOK SHE WAS READING.)
RACHEL:
Hi! Checking in?
(ROBERTA PULLS HER JACKET ASIDE TO FLASH THE BADGE CLIPPED TO
HER BELT.)
RACHEL:
Let me guess. Kaia Rourke?
ROBERTA:
How’d you know?
RACHEL:
Just a hunch.
(RACHEL TURNS AND TAPS ON HER COMPUTER.)
CUT TO:
INT. KAI’S ROOM – DAY
(KAIA SITS CURLED UP ON THE COUCH, A PILLOW IN HER LAP. ROBERTA
SITS IN A MATCHING OVERSTUFFED CHAIR.)
KAIA:
I already told your little friend everything I know.
Why don’t you go talk to him.
PHIL:
I’m not asking Mr. Newberry. I’m asking you.
KAIA:
Like I told Mr. Newberry, he was fine when I left.
Unless you’re arresting me, I’ve said all I’m gonna.
ROBERTA:
All right. You might want to look into hiring an
attorney.
(ROBERTA RISES AND EXITS THE SPACIOUS DIGS.)
CUT TO:
EXT. MCBRIDE’S OFFICE BUILDING – DAY
CUT TO:
INT. MCBRIDE’S OFFICE.
(A MESSENGER ENTERS AND HANDS PHIL A PACKAGE.)
MESSENGER:
What’s up bro? Can I get your autograph?
PHIL:
Thanks.
(HE SIGNS THE CLIPBOARD AND HANDS IT BACK TO THE MESSENGER,
WHO TURNS AND LEAVES.)
MESSENGER:
Thanks a lot dude. Later.
(PHIL SITS AT HIS DESK AND EXAMINES THE MANILA ENVELOPE. HE
OPENS IT AND REMOVES THE CONTENTS.)
INSERT: SHEETS OF PAPERS LABELED BANK STATEMENTS OF TOM
MITCHELL AND SUSAN MITCHELL.
PHIL:
(reading them) Where does a paramedic get this
kind of money?
CUT TO:
EXT. GENERAL ROURKE’S HOUSE – DAY
(MCBRIDE APPROACHES AND KNOCKS ON THE DOOR. ROURKE ANSWERS
IT.)
GENERAL ROURKE:
I have nothing more to say to you.
MCBRIDE:
I know you lied to me about where your daughter
was the night of the murder.
GENERAL ROURKE:
My daughter had nothing to do with that murder.
(HE SLAMS THE DOOR. MCBRIDE LEANS AGAINST THE DOOR JAMB.)
CUT TO:
EXT. MCBRIDE’S OFFICE BUILDING – DAY
CUT TO:
INT. MCBRIDE’S OFFICE – DAY
(GLYNNIS IS SEATED ON THE COUCH, PHIL OPPOSITE HER ON A SWIVEL
DESK CHAIR.)
GLYNNIS:
I didn’t exactly lie to you Mr. Newberry but I didn’t
want people to think I was a gossip. I really do just
try to keep my nose out of other people’s business.
I’m not one to meddle.
(MCBRIDE BURSTS IN THE ROOM.)
PHIL:
Oh, oh, you’re just in time! Uh McBride this is uh
Mrs. Glynnis Jackson she’s one of the neighbors of
the Mitchell’s, she lives right across the street.
(MCBRIDE PULLS UP A CHAIR, SHAKES HER HAND, AND SITS.)
MCBRIDE:
How do you do? How are ya?
GLYNNIS:
Very well you can call me Glynnis.
MCBRIDE:
Okay.
PHIL:
Before we get started can I get you a cup of coffee
or…
GLYNNIS:
Oh honey, my stomach is jittery enough as it is.
The last thing I need is coffee. Angry’s up the
blood.
(THE TWO MEN SMILE INDULGENTLY.)
GLYNNIS:
I’m sorry I wasn’t forthcoming the other day. But
you never know who you can trust these days. I
lived on that street for thirty-eight years Mr.
McBride. And in all that time we’ve never had a
break in. First the tragedy with Tom and Susie and
then last night someone came looking for me. I
can’t prove it but I know what I know. There was
someone outside of my house last night.
MCBRIDE:
Did you call the police?
GLYNNIS:
Of course I did. But not before I gave that intruder
a good what for. I know they were coming around
trying to shut me up to keep me from telling what I
saw the night of the murder.
MCBRIDE:
Not an easy task I would think, huh? Phil tells me
that he talked to all the neighbors and nobody saw
anything.
GLYNNIS:
Have you been listening to me? I’m here to make
amends.
MCBRIDE:
yes Ma’am sorry go ahead.
GLYNNIS:
You know Mr. McBride I’m not one to tell tales.
MCBRIDE:
Oh…
CUT TO:
INT. GLYNNIS LIVING ROOM – FLASHBACK – NIGHT
(GLYNNIS SITS IN A ROBE AND SLIPPERS IN THE DARKENED ROOM.)
GLYNNIS:
(VO) But I heard a pretty nasty argument going on
at the Mitchell’s. I’ve known Susie and Tom since
they got married. And I’ve never seen them fight
about anything.
(SHE GETS OUT OF THE CHAIR AND CROSSES TO THE WINDOW. PULLING
ASIDE THE CURTAIN SHE SEES TOM USHERING KAIA AWAY FROM THE
FRONT DOOR. MCBRIDE STANDS BEHIND HER WATCHING.)
GLYNNIS:
It was dark. I was always telling Tom to leave his
porch light on. He never listens. I recognize
Tommy’s voice, but I never seen the woman before.
MCBRIDE:
What did she look like?
GLYNNIS:
Blonde. Even in the dark I could see that hair.
CUT BACK TO:
INT. MCBRIDE’S OFFICE – PRESENT DAY
GLYNNIS:
I tried to go back to my program. But I I heard a
car screeching down the street.
MCBRIDE:
Did you see someone drive away?
GLYNNIS:
No by the time I turned around the street was
empty. But I saw the strangest thing happen next.
CUT BACK TO:
INT. GLYNNIS’ LIVING ROOM – FLASHBACK – NIGHT
(GLYNNIS LEAPS UP OUT OF THE CHAIR, AND CROSSES AGAIN TO THE
WINDOW, PULLS BACK THE CURTAINS AND LOOKS.)
MCBRIDE:
And you saw a second person go into the house.
GLYNNIS:
I thought about calling the police but it wasn’t like
the man broke down the door. He just walked right
in.
CUT BACK TO:
INT. MCBRIDE’S OFFICE – PRESENT DAY
MCBRIDE:
Now you’re positive you saw two people besides
Tom outside the house.
GLYNNIS:
I may be old but I’m not blind.
MCBRIDE:
Can you describe the other person?
GLYNNIS:
I told you it was dark. All I saw was that blonde
hair.
PHIL:
Mrs. Jackson why didn’t you tell the police what
you saw?
GLYNNIS:
You have to be careful Mr. Newberry. It’s
dangerous getting involved in these kinds of affairs.
Well, I’d love to stay around and chat, but I’ve got
water aerobics at the Y at 10:00.
CUT TO:
EXT. POLICE STATION – DAY
CUT TO:
INT. POLICE STATION – DAY
(ROBERTA WALKS FROM HER OFFICE WITH ADA SULLIVAN, MCBRIDE
HEADS TOWARD HER.)
ROBERTA:
McBride! Looking for me?
MCBRIDE:
Actually, no. I was looking for uh Colin Pierce. Hi
Sully.
SULLIVAN:
Hi.
MCBRIDE:
I understand you’re trying the Mitchell case.
SULLIVAN:
That’s right, in fact I was just going to have the
autopsy reports messengered to your office.
MCBRIDE:
Thank you.
SULLIVAN:
Roberta I’ll speak with you later. Mr. McBride I
trust we’ll be speaking again soon.
MCBRIDE:
Don’t you know it. (sully exits, to Roberta). Have
you read this?
ROBERTA:
No I just got it. No one besides the coroner has
seen them yet. May I ask why you’re looking for
Officer Pierce?
MCBRIDE:
Oh I was down in records, Santiago said he was the
uh cop who canvassed the neighborhood, I just had
a couple of questions for him.
ROBERTA:
Why don’t you wait in the conference room, I’ll call
down to his Sergeant and have him meet you there.
MCBRIDE:
Why don’t you join us.
ROBERTA:
Sure.
MCBRIDE:
good.
(HE HEADS THERE.)
CUT TO:
EXT. REHAB CENTER – DAY
(PHIL EXITS, HIS CELL TO HIS EAR.)
CUT TO:
INT. POLICE CONFERENCE ROOM – DAY
(MCBRIDE SITS WITH A CUP OF COFFEE. HIS CELL RINGS AND HE
ANSWERS IT. INTERCUT PHONE CALL WITH PHIL.)
MCBRIDE:
Phil, make it quick will you?
PHIL:
Oh, well we’ve got a problem. Kaia checked out
earlier in the morning.
MCBRIDE:
Great. All right when I’m done here I’ll run over to
the General, see if he knows anything. I want you
to go back to the office and continue digging
through the family’s finances, allright? We’ve
really got to fin…I’ve got to go I’ll call you back.
(PIERCE AND ROBERTA ENTER THE ROOM AND SIT.)
PIERCE:
You wanted to see me?
MCBRIDE:
Yes thank you very much. My name’s McBride,
and I’m representing Tom Mitchell, I was hoping I
might ask you a few questions.
PIERCE:
I hope I can answer your questions Mr. McBride.
MCBRIDE:
Thank you Officer Pierce. Do you recall a woman
named Glynnis Jackson?
PIERCE:
Glynnis Jackson.
MCBRIDE:
She lives in the house that’s directly across the
street from the Mitchell’s.
PIERCE:
Oh the older woman, yeah. She talks a lot.
MCBRIDE:
Yes, she does that. Well she was in my office this
morning. She was saying she saw two people
outside of the house the night of the murder.
PIERCE:
I interviewed anyone within a four block radius.
Not a single person reported seeing anything
suspicious. There was a domestic disturbance call
reported a few minutes before the attack but that
was resolved before the units arrived.
MCBRIDE:
Right. And trust me I’m not in any way questioning
your report I guess I just really want to know your
opinion of Ms. Jackson.
PIERCE:
She did talk a lot but there was no mention of
possible intruders. In fact I think I asked her that
very question.
MCBRIDE:
Well good. Well thanks a lot. (shakes)
PIERCE:
Sure. Pleasure (shakes and rises, turns to go.)
MCBRIDE:
And if you think of anything else could you give me
a call?
PIERCE:
Uh to tell you the truth uh, part of me wishes that
Mrs. Jackson was right about the two people. Then
I wouldn’t be left with the image of a husband
killing that poor pregnant woman.
MCBRIDE:
Right. (they watch Pierce go.) Well we know Kaia
was there, and I believe Glynnis about the second
person. (she looks dubious) Well don’t, Roberta
come on. You are too good not to know that there’s
something missing.
ROBERTA:
I build my case on the evidence I have.
MCBRIDE:
You talked to Kaia, you know she was there, you
think she went there in the middle of the night just
to break it off with Tom.
ROBERTA:
Have you seen this girl Mac? Do you honestly
think she can inflict that much damage on two
people, let alone a man twice her size.
MCBRIDE:
We’re not talking about one person now, we’re
talking about two.
ROBERTA:
You know me well enough to know Mac, that I’m
never satisfied with the easy answer.
FADE OUT
FADE IN TO EXT. MCBRIDE’S OFFICE BUILDING
CUT TO:
INT. MCBRIDE’S OFFICE.
(PHIL STANDS AT A BULLETIN BOARD LOOKING AT EVIDENCE PHOTOS. HE
ADDRESSES THE DOG.)
PHIL:
Okay Jessie. Here it is. Tom came home from
Afghanistan the first week of December. For the
months of November and December the Mitchell’s
average monthly balance was around thirty-two
hundred dollars.
INSERT WHITE BOARD ATTACHED TO THE BULLETIN BOARD. SAYS NOVDEC = $3200/MO. JAN = $3640.12
PHIL:
Most of that was spent on bills leaving less than two
hundred dollars in the account by the end of the
month. Makes sense for a paramedic. By June, the
balance has increased by nearly ten thousand
dollars. Ten thousand (writing it on the board.) So
the question is, how is it that in December there was
barely enough left over for dinner and a movie and
by June he spent three thousand dollars on a flat
screen TV.
JESSIE:
Ruff!
PHIL:
Say that again.
CUT TO:
EXT. GENERAL ROURKE’S HOUSE – DAY
(THE DOOR OPENS REVEALING TO ROURKE MCBRIDE ONCE AGAIN ON HIS
DOORSTEP.)
GENERAL ROURKE:
I’m not gonna tell you again. Get off my property.
MCBRIDE:
General I need to speak to your daughter and I think
you know where she is.
GENERAL ROURKE:
Well I don’t. And if I did I wouldn’t tell you.
MCBRIDE:
I am not leaving until you talk to me.
(ROURKE LETS HIM PASS.)
CUT TO:
INT. ROURKE’S LIVING ROOM – DAY
(MCBRIDE IS SEATED ON THE LEATHER SOFA. THE GENERAL STANDS AT
THE COUNTER AND POURS HIMSELF A DRINK.)
GENERAL ROURKE:
Kaia wasn’t here that night. She was supposed to
be in rehab like I said.
MCBRIDE:
Both you and I know she wasn’t.
GENERAL ROURKE:
The center called me about 11:30, informed me that
Kaia had missed her bed check.
MCBRIDE:
And you knew just where to find her.
GENERAL ROURKE:
Of course I did.
CUT TO:
EXT. MITCHELL HOUSE – FLASHBACK – NIGHT
(KAIA WALKS DOWN THE SIDEWALK, A CAR COMES FLYING DOWN THE
STREET.)
GENERAL ROURKE:
(VO) Well it wasn’t too difficult to track her down.
She stood around in that ambulance driver’s
neighborhood most of the time. Like a bad penny.
But what are you going to do. It’s your kid.
GENERAL ROURKE:
(from the car) Kaia! ( she stops walking, he gets
out and approaches her.) Kaia get in the car. I have
had it with you, come here. This guy’s a married
man you can’t just show up at his house.
KAIA:
You can’t stop me.
GENERAL ROURKE:
I can’t watch you anymore Kaia.
KAIA:
You can’t live without me.
(MCBRIDE STANDS ON THE STREET WATCHING ROURKE PUT HIS
DAUGHTER IN THE CAR.)
MCBRIDE:
Did she tell you what happened, at Tom’s house?
GENERAL ROURKE:
No, no.
CUT BACK TO:
INT. GENERAL ROURKE’S LIVING ROOM – PRESENT DAY
(ROURKE IS NOW SEATED ACROSS FROM MCBRIDE, DRINK IN HAND.)
GENERAL ROURKE:
I took her back to the Rehab center and the whole
time I don’t think she said one word to me. It
wasn’t till later that I heard about the murder.
MCBRIDE:
You do realize sir that places you at the scene of the
crime.
GENERAL ROURKE:
My anger’s at Tom Mitchell. Not Sue. I had no
reason to hurt her.
MCBRIDE:
We have an eyewitness that says they saw a man go
into the Mitchell house.
GENERAL ROURKE:
I don’t know anything about that. I just know it
wasn’t me.
MCBRIDE:
Your daughter was the last person to see Tom
before the attacks, now if she did not stab him and
his wife I believe she knows who did and she’s
protecting that person.
GENERAL ROURKE:
I have no idea who that could be.
CUT TO:
INT. TOM’S HOSPITAL ROOM – DAY
(TOM IS NOW SITTING UP, RIGHT HAND STILL CUFFED TO THE BEDRAIL.
CLAIRE IS MOVING A CHESS PIECE ON THE BEDSIDE TABLE.)
CLAIRE:
Take that.
(MCBRIDE ENTERS THE ROOM.)
CLAIRE:
Any news?
MCBRIDE:
I would rather you not be in here for this.
MITCHELL:
Would you mind running down to the cafeteria? I
got no more room for jello anyway.
CLAIRE:
Of course. (standing and grabbing her purse.) What
would you like?
MITCHELL:
A sandwich would be great.
CLAIRE:
All right.
(CLAIRE LEAVES. MCBRIDE TAKES A SHEET OF PAPER OUT OF A FOLDER
AND PLACES IT IN FRONT OF TOM.)
MCBRIDE:
You want to tell me how you started dealing drugs?
MITCHELL:
Living in Los Angeles isn’t cheap. By the time I
went to the Gulf we were already having financial
problems. And my reserve unit called up, and we
were forced to live on a marines salary. By the time
I got back we were twenty grand in debt. Sue knew
we were having trouble. She never knew how close
we came to losing the house. Then I met Kaia. She
was supposed to be there visiting her father. But
really what she was doing was using military planes
to bypass customs. In Afghanistan she had cheap
access to opiates. And an easy way to smuggle it
back into the country. Nobody suspected a thing.
And we were having an affair. I never got involved.
I knew what was going on. But not until my family
and my home were at stake. It was only supposed
to be a one time thing. It was more money than I’d
ever seen in my life.
MCBRIDE:
Then you got greedy. What was Kaia really doing
there?
MITCHELL:
I don’t know. It was almost like she was there to
check up on me.
CUT TO:
EXT. MITCHELL HOUSE – FLASHBACK – NIGHT
KAIA:
I can’t do this anymore. The arrangement isn’t
working.
MITCHELL:
Okay fine get off my property and don’t ever come
back here again.
(SHE SLAPS HIM. MCBRIDE, STANDING NEXT TO TOM, SPEAKS.)
MCBRIDE:
She wasn’t talking about the affair though was she.
MITCHELL:
I don’t know. All I know is that I wanted her gone.
(TOM GRABS HER BY THE ARM AND LEADS HER AWAY.)
CUT BACK TO:
INT. TOM’S HOSPITAL ROOM – PRESENT DAY
MCBRIDE:
Alright alright alright look if it was about the drugs,
um do you have any business problems lately.
MITCHELL:
No. Business was great. In a manner of speaking.
The longer I did it the better I got. I was making
more money faster than I could spend it.
MCBRIDE:
Look an eyewitness said that that they saw two
people on your front porch, not one but two. Do
you have any idea who the other person was?
MITCHELL:
Who else was involved with the drugs. Nobody
that’s not how it worked. It was a system of blinds.
You had your contact and you had your clients.
The fewer people that knew each other the better. I
never dealt with anybody but Kaia.
MCBRIDE:
you should have told me about the drugs from the
outset.
MITCHELL:
I’m already a cheater and a liar Mr. McBride. If I
had told you about my involvement in a drug ring,
that might have gotten my wife killed, would you
still have taken the case?
MCBRIDE:
I’m not representing you on a drug charge. I took
your case because I believe that you didn’t kill your
wife. Now you withheld critical information from
me. Your attorney. We’ve wasted precious time
that could have been better spent trying to save your
life.
MITCHELL:
I’m sorry.
MCBRIDE:
All right look. You’ve obviously made somebody
very angry. We have to find who that somebody is.
MITCHELL:
Kaia’s the one with all the answers.
(MCBRIDE EXITS.)
CUT TO:
EXT. MCBRIDE’S OFFICE BUILDING – NIGHT
(PHIL AND MCBRIDE SIT BRAINSTORMING.)
PHIL:
I’ve got a question. I wonder what the chances are
that Glynnis could ID the General as the person
outside Tom’s house.
MCBRIDE:
What makes you think it was the General? We’ve
got a bigger problem. I pulled Glynnis’s police
report on her intruder, the responding officer said
her back gate was locked from the inside.
PHIL:
So she’s not being stalked, she’s paranoid.
MCBRIDE:
Just because your paranoid doesn’t mean they’re
not after you. Kaia Rourke is the only one who can
tell us what happened.
PHIL:
How do you suppose we find her/
MCBRIDE:
You a praying man?
PHIL:
I am now.
CUT TO:
EXT. COURTHOUSE - DAY
CUT TO:
INT. COURTROOM – DAY
(THE TRIAL IS IN PROGRESS. PIERCE IS ON THE WITNESS STAND, BEING
QUESTIONED BY SULLIVAN.)
SULLIVAN:
Officer Pierce, were you the first to respond to the
crime scene?
PIERCE:
Yes. I was about ten blocks away from the crime
scene when I got the call from dispatch. I
responded immediately.
SULLIVAN:
And what did you find when you entered the
residence?
PIERCE:
I found the front door unlocked. I found no sign of
forced entry. I found Sue Mitchell in the kitchen
and Tom Mitchell in the living room.
SULLIVAN:
What was the families condition upon your arrival?
PIERCE:
Mrs. Mitchell had a faint pulse. Mr. Mitchell was
unconscious but breathing.
SULLIVAN:
What did you do next?
PIERCE:
Oh while I waited for backup and the paramedics I
attempted to uh rescesitate Mrs. Mitchell.
SULLIVAN:
Just to clarify, you found no evidence of forced
entry at the Mitchell residence.
PIERCE:
No I did not.
SULLIVAN:
No further questions for this witness.
JUDGE DALY:
Your witness Mr. McBride.
MCBRIDE:
Thank you your honor. (rising) So there was no
evidence of forced entry.
SULLIVAN:
Objection! Officer Pierce has just testified to that
effect.
JUDGE DALY:
Sustained.
MCBRIDE:
Would you expect to find evidence of forced entry
with an unlocked front door?
PIERCE:
Not necessarily.
MCBRIDE:
It’s possible the perpetrator entered through that
door?
PIERCE:
It’s possible. I suppose so.
MCBRIDE:
Thank you. No more questions of this witness at
this time your honor.
JUDGE DALY:
The witness may step down.
CUT TO:
(MCKAY ON THE WITNESS STAND, SULLIVAN QUESTIONING HIM.)
SULLIVAN:
How long did you work with Tom?
MCKAY:
About eight years. Minus the eighteen months he
was over in Afghanistan he’s been working with me
pretty much since he graduated from college.
SULLIVAN:
Would you describe your relationship as close?
MCKAY:
Very close. I uh, I look at Tommy as he’s one of
my own kids.
SULLIVAN:
Did you notice any change in his behavior after his
return from the war in Afghanistan?
MCKAY:
Tom is not the first of my men to go off to war.
SULLIVAN:
Specifically what changes were you were aware of?
MCKAY:
Well for one before the war he had always been a
faithful husband.
SULLIVAN:
So are you saying Lieutenant McKay that the
defendant was having an affair?
(MITCHELL WHISPERS TO MCBRIDE.)
MITCHELL:
I thought you said he couldn’t bring up the affair.
MCBRIDE:
The prosecution can’t but once it’s out there it’s fair
game.
MCKAY:
I I don’t know many of the specifics. I do know
that he was having an extramarital relationship.
SULLIVAN:
Lieutenant, how much medical training are you
required to complete?
MCKAY:
Quite a bit. Paramedics attend a fifteen week
training course, and then a hospital rotation that’s
roughly equivalent to that of a medical student.
SULLIVAN:
And isn’t it true that Tom’s service with you
prompted the US Marines to recruit him as a reserve
medic.
MCKAY:
Yes it is, Tom’s work is exemplary.
SULLIVAN:
Would someone with this level of medical
knowledge be able to inflict a wound that was
serious in nature yet not fatal?
MCKAY:
Well I suppose so but I mean you know Tom…
SULLIVAN:
You’ve already testified that he was capable of
infidelity and you’ve also just testified that he was
capable of inflicting a non-mortal wound. Isn’t it
likely Lieutenant McKay that Tom Mitchell is
capable of murdering his wife in cold blood.
MCBRIDE:
Objection! Slandering the defendant, the
prosecution is putting words in the witnesses
mouth!
JUDGE DALY:
Sustained.
SULLIVAN:
No more questions.
JUDGE DALY:
Your witness.
MCBRIDE:
Lieutenant McKay you said that you were aware of
Tom’s affair, are you aware of with whom he was
having the affair?
MCKAY:
Yeah her name is Kaia Rourke.
MCBRIDE:
How do you know her?
MCKAY:
Kaia would make her presence known at the station
even when she wasn’t welcome.
MCBRIDE:
Her prescence caused friction, huh?
MCKAY:
More than a little. And towards the end her father
got involved.
MCBRIDE:
That wasn’t a usual occurrence?
MCKAY:
No. Uh huh. No. I mean she’d show up by herself
but the last couple of times General Rourke showed
up and threatened Tom.
MCBRIDE:
Threatened Tom, how?
MCKAY:
He said that Tom had caused enough trouble and he
needed to stay away from his daughter.
MCBRIDE:
So there were a number of people who had motive
to hurt Tom Mitchell and his wife!
SULLIVAN:
Objection! Asking the witness to draw a
conclusion.
JUDGE DALY:
Sustained.
MCBRIDE:
One last question Lieutenant, what does Kaia
Rourke look like?
MCKAY:
Shapely, long blonde hair. She’d be beautiful if she
took care of herself.
MCBRIDE:
No more questions.
JUDGE DALY:
You may step down.
CUT TO:
EXT. MCBRIDE’S OFFICE BUILDING – NIGHT
CUT TO;
INT. MCBRIDE’S OFFICE – NIGHT
(PHIL SITS ON THE COUCH WITH CARRYOUT COFFEE IN HIS HANDS.
MCBRIDE STANDS ACROSS THE ROOM.)
PHIL:
Oy, that was a bad day.
MCBRIDE:
Too bad we couldn’t suppress the infidelity.
PHIL:
It’s too bad Sullivan got the witness to bring it up
himself.
MCBRIDE:
You know what he also established that Tom has
the medical know-how to stab himself nearly to
death. The only good news is that we may have
planted a seed in the jury’s mind that Tom had a lot
of enemies.
PHIL:
So we’re hoping for a hung jury?
MCBRIDE:
I’m gonna go for acquittal. But right now Tom
Mitchell needs a miracle.
(GENERAL ROURKE IS STANDING IN THE DOORWAY HOLDING HIS
DAUGHTER BY HIS SIDE.)
GENERAL ROURKE:
McBride!
PHIL:
Oh you are good!
(PHIL AND MCBRIDE EXCHANGE AMAZED LOOKS.)
CUT TO:
EXT. COURTHOUSE – DAY
CUT TO:
INT. COURTHOUSE – DAY
(SULLIVAN IS QUESTIONING ROBERTA.)
SULLIVAN:
Detective Hanson, can you detail for us the nature
and severity of Tom Mitchell’s wounds?
ROBERTA:
Tom Mitchell suffered a single stab wound which
resulted in a collapse lung and internal bleeding.
He also sustained a serious blow on the head.
SULLIVAN:
In comparison can you describe Susan Mitchell’s
wounds?
ROBERTA:
Mrs. Mitchell suffered two stab wounds, either of
which would have been fatal.
SULLIVAN:
So the most helpless victim suffered the most
serious injuries.
MCBRIDE:
Objections! The prosecution is characterizing the
victim.
SULLIVAN:
I apologize your honor.
JUDGE DALY:
Sustained.
SULLIVAN:
Did you locate the knife used to stab Tom and
Susan Mitchell?
ROBERTA:
Yes. We recovered it from the floor next to the
defendant. And we found several matching knives
in the kitchen.
SULLIVAN:
We’re you able to recover any fingerprints from the
knife?
ROBERTA:
The only prints belong to the victim and the
defendant.
SULLIVAN:
No further questions.
JUDGE DALY:
Mr. McBride. Your witness.
MCBRIDE:
Thank you your honor. Detective Hanson you said
that Tom Mitchell suffered a head wound, did you
ever recover the object with which he was hit?
ROBERTA:
No. We did not.
MCBRIDE:
In all your years as a homicide detective have you
ever seen anyone who was able to self-inflict
serious stab wounds and then a blow so hard that it
would cause unconsciousness.
ROBERTA:
In my experience, no.
MCBRIDE:
If Tom Mitchell had not regained consciousness and
called nine one one is it possible that his wound
would have been fatal as well?
ROBERTA:
As he was bleeding internally a difference of ten
minutes could have been fatal.
MCBRIDE:
And as far as fingerprints found on the knife it’s not
unusual that the only prints found on common
household objects would be one of the owners is it?
ROBERTA:
No, it is not.
MCBRIDE:
No further questions your honor.
JUDGE DALY:
Mr. Sullivan?
SULLIVAN:
The prosecution rests your honor.
JUDGE DALY:
The witness is excused. Mr. McBride, your first
witness.
MCBRIDE:
The defense calls Glynnis Jackson.
CUT TO:
(A VERY DOLLED UP GLYNNIS HEAD TO TOE IN SCARLET SEATED IN THE
WITNESS STAND. PHIL RISES TO QUESTION HER.)
PIERCE:
Hello Mrs. Jackson.
GLYNNIS:
Hello.
PIERCE:
Uh Mrs. Jackson. Can you tell us where your house
is located in relation to the Mitchell home?
GLYNNIS:
You’ve been there. It’s right across the street. Our
living rooms look right in on each other.
PIERCE:
Were you at home the night of the murder?
GLYNNIS:
I certainly was. I was just finishing up an episode
of Touched By An Angel and I dozed off. I seen
that one a couple of times before. I was sitting in
my barcolounger at the window.
PIERCE:
Did something wake you up?
GLYNNIS:
As a matter of fact something woke me right up. I
heard some hollering across the street at Tommy’s
house.
PIERCE:
And by Tommy do you mean the defendant Tom
Mitchell?
GLYNNIS:
Yes sir I do.
PIERCE:
Miss Jackson can you tell the court in detail what it
is that you saw when you looked out your living
room window.
GLYNNIS:
I saw two people standing in front of Tommy’s
house. First there was a skinny young blonde girl
with a whole mess of hair. She was fighting with
Tommy, and then she ran off. A few minutes later I
saw a man walk right into the house dressed in dark
clothes.
PIERCE:
Had you ever seen the woman before?
GLYNNIS:
No. I tried to give a description to Mr. McBride but
I never saw her from the front. All I really saw was
the hair, and the man walking into the house.
PIERCE:
Hm. Did you call the police when you saw these
two people in front of their house?
GLYNNIS:
It didn’t seem like there was any need for that. It
appeared that Tommy knew the woman and the man
walked into the house like he belonged there. Uh I
try not to get in other people’s business. Besides,
after that, there wasn’t any more yelling. Next
thing I remember there was sirens and cop cars
everywhere.
PIERCE:
Thank you Mrs. Jackson.
GLYNNIS:
You’re very welcome young man.
PIERCE:
No more questions.
JUDGE DALY:
Your witness Mr. Sullivan.
SULLIVAN:
Mrs. Jackson, how can you be so sure that you saw
two people.
GLYNNIS:
I know what I saw.
SULLIVAN:
Wasn’t it dark across the street.
GLYNNIS:
Of course it was dark, it was after midnight.
SULLIVAN:
So you expect us to believe that you were woken
from a sound sleep and instantly you were able to
look across a darkened street, and see two people in
front of the Mitchell home.
GLYNNIS:
That’s what I said, isn’t it? Are you calling me a
liar?
SULLIVAN:
No ma’am I’m merely suggesting that I myself
would find it very difficult to make such an
identification let alone someone of your age.
GLYNNIS:
I may be old Mr. Sullivan but I’m not blind. Even
at my age I don’t even need reading glasses.
SULLIVAN:
So you are absolutely positive that you saw two
people outside the house the night of the murders.
GLYNNIS:
As certain as I am that right now I’m staring down
one pompous blowfish of a lawyer.
SULLIVAN:
No further questions.
JUDGE DALY:
The witness may step down. (she does).
MCBRIDE:
The defense calls Kaia Rourke to the stand.
CUT TO:
EXT. COURTHOUSE – DAY
CUT TO:
INT. COURTROOM – DAY
MCBRIDE:
Miss Rourke what is your relationship with Tom
Mitchell?
KAIA:
I don’t know that I would call it a relationship
exactly but we did have an affair.
MCBRIDE:
How long did this affair last?
KAIA:
I didn’t mark the dates off on any calendar but I’d
say about a year.
MCBRIDE:
I see how did you two first meet?
KAIA:
In Afghanistan while I was visiting my father.
MCBRIDE:
Was that your only reason for visiting the middle
east?
KAIA:
Yes. It’s not exactly Club Med.
MCBRIDE:
Hm. Isn’t it true you were actually there to smuggle
drugs back into the United States to sell them.
KAIA:
I don’t know where you get your information Mr.
McBride.
JUDGE DALY:
Answer the question Miss Rourke.
KAIA:
No. I do not sell drugs.
MCBRIDE:
Weren’t you recently a resident at the Oak Valley
Rehabilitation Center?
KAIA:
I use drugs that doesn’t mean I sell them. Do I look
like I need the money?
MCBRIDE:
Do you recall an incident that took place
approximately five days before the murder at Tom
Mitchell’s place of employment. Your father
threatened Tom Mitchell and then had to cart you
off.
KAIA:
Vaguely.
MCBRIDE:
I have an affidavit from Lieutenant McKay Tom’s
boss and he states that he heard you say to Tom,
we’ve gotta talk, it can’t wait, I can’t do this alone.
Do you recall that conversation?
KAIA:
I may have said that. I say a lot of things.
MCBRIDE:
What couldn’t you do by yourself Kaia?
KAIA:
The events of that afternoon are pretty hazy. I can
barely remember what I said let alone what I meant.
MCBRIDE:
Were you at the Mitchell house the night of the
murder?
KAIA:
Yes.
MCBRIDE:
Now you told my associate Mr. Newberry that you
went there to break it off.
KAIA:
Yes. I’d had about enough of Tom.
MCBRIDE:
Did you go there alone?
KAIA:
Of course I did.
MCBRIDE:
We heard testimony earlier from a neighbor across
the street. She said she saw you and then a few
minutes later a man, dark clothes, enter the house.
Would you like to consider revising your
testimony? Miss Rourke. May I remind you that
you are under oath. And believe me a federal
prison is not nearly as cushy as a five star rehab
center.
JUDGE DALY:
Miss Rourke?
MCBRIDE:
Who was with you at the house that night Kaia?
JUDGE DALY:
You need to answer the question Miss Rourke.
JUDGE DALY:
Answer the question or I’ll be forced to hold you in
contempt of court.
JUDGE DALY:
This is your last chance.
JUDGE DALY:
I have no chance but to hold you in contempt.
Bailiff?
(THE BAILIFF COMES AND TAKES HER ARM. MCBRIDE FIRST LOOKS
PLEASED, AND THEN HIS FACE DARKENS.)
FADE OUT
FADE IN TO
INT. JAIL – DAY
(KAIA SITS IN A CELL FACING THE WALL, THE OPEN DOOR IS GUARDED BY
A LARGE GUARD, HER FATHER SITS NEXT TO HER. MCBRIDE STANDS IN
THE DOORWAY.)
KAIA:
Why can’t you people just leave me alone?
GENERAL ROURKE:
I’m going to ask you to do something for me Kaia. I
want you to tell Mr. McBride here the truth.
MCBRIDE:
Why did you really go to Tom’s that night?
KAIA:
Because I wanted to make sure he was all right. I
started selling drugs to pay for my habit. But I got
out of control and I couldn’t make money fast
enough.
MCBRIDE:
So, you started skimming off the top.
KAIA:
At first it was just a few dollars here or there. Then
a few hundred, and then a few thousand. My
contact started to notice. He thought Tom was
stealing and I didn’t correct him. He asked me
where he lived he said he just wanted to talk.
MCBRIDE:
But you didn’t believe him so you went to make
sure Tom was all right.
KAIA:
I swear to you I was only worried that he might
rough him up. It wasn’t that much money I didn’t
think he’d kill for it.
MCBRIDE:
Kaia I need a name.
KAIA:
You can have me Mr. McBride, but jail is nothing
compared to what he’ll do to me if I give you his
name.
CUT TO:
INT. COURTROOM – DAY
(THE SPECTATORS HAVE BEEN CLEARED OUT, AND PIERCE SITS AT THE
DEFENSE TABLE NEXT TO TOM, CLAIRE STANDS BEHIND HER BROTHER
HANDS ON HIS SHOULDER. MCBRIDE ENTERS. TOM ATTEMPTS TO RISE
USING HIS CANE.)
MITCHELL:
Can I talk to you for a minute?
MCBRIDE:
Of course.
MITCHELL:
I appreciate you bringing Kaia in, but there’s no
way she’s going to tell you who she was with that
night.
PHIL:
You sure you don’t know who it is?
MITCHELL:
No. I tried to find out for months. And whoever it
is she’s more afraid of them than she is of jail. Why
don’t you guys let me testify?
CLAIRE:
No, Tom. You can’t.
MCBRIDE:
No Tom, unless you can tell us who Kaia brought
with her to your house that night no good can come
from testifying in open court.
MITCHELL:
I need everyone to know how much I loved Susan.
MCBRIDE:
All they need to know is that you didn’t kill her.
(MCBRIDE’S CELL PHONE RINGS, HE TAKES IT OUT OF HIS POCKET AND
CHECKS THE CALLER I.D.)
MCBRIDE:
No, no way. Sorry I’ve got to get this. I’ll see you
guys later.
(INTERCUT PHONE CALL WITH ROBERTA IN HER OFFICE.)
ROBERTA:
Hey, are you finished for the day?
MCBRIDE:
Yeah I was just finishing up I was heading back to
the office.
ROBERTA:
Forget the office Mac, you need to come to the
station.
MCBRIDE:
Okay, I’ll be right there.
(HE HANGS UP AND HEADS OUT OF THE COURTROOM. BEHIND HIM
CLAIRE HELPS TOM WALK.)
CUT TO:
EXT. COURTHOUSE - DAY
CUT TO:
INT. COURTHOUSE – NEW DAY
JUDGE DALY:
Your first witness Mr. McBride.
MCBRIDE:
Yes the defense recalls Officer Warren Pierce to the
stand.
(PIERCE GETS UP FROM THE BACK ROW WHERE HE IS SEATED, WALKS BY
THE DEFENSE TABLE AND TAKES THE STAND.)
JUDGE DALY:
Remember you are still under oath Officer Pierce.
MCBRIDE:
Officer Pierce, when you responded to the call from
dispatch did you enter the residence alone.
PIERCE:
Yes I did.
MCBRIDE:
Why didn’t you wait for backup?
PIERCE:
I didn’t feel I was in any immediate danger. I knew
that lives were at stake and time was of the essence.
MCBRIDE:
Is it usual protocol to enter a possible crime scene
unaccompanied by backup?
PIERCE:
No. We generally wait for a backup unit and enter
together.
MCBRIDE:
Uh huh. I have here the dispatch log from the night
of June 12th, it states that prior to Tom’s nine one
one call. Two units were already en route. Their
response to a domestic disturbance call, and by the
time Tom had made his nine one one call the two
units would have been only a couple of minutes
away.
PIERCE:
I’m aware that I broke my protocol by not waiting
for backup unit but like I said, lives were at stake.
MCBRIDE:
You testified that you attempted to resuscitate
Susan Mitchell, why not Tom Mitchell?
SULLIVAN:
Objection! Officer Pierces job performance is not
on trial here.
MCBRIDE:
Your honor, the competence of the first responding
officer is absolutely central to this case.
JUDGE DALY:
Overruled, you may proceed.
MCBRIDE:
So why didn’t you try to resuscitate Tom Mitchell?
PIERCE:
I didn’t have a chance. I’m only one person, I saw
two victims and from what I could see the
defendant was still breathing. By the time I uh gave
Mrs. Mitchell CPR the backup unit had arrived.
MCBRIDE:
In our first conversation you said that you were left
with the image of this poor pregnant woman, is that
an accurate recollection of your comments?
PIERCE:
That is.
MCBRIDE:
I’m curious though to know how you became aware
that Susan Mitchell was pregnant. At the time of
our discussion the autopsy report had not been
released and at three months she wouldn’t have
been showing.
PIERCE:
Tom told me.
MCBRIDE:
Did he? When did Tom tell you that?
FLASH CUT TO:
INT. MITCHELL HOUSE – FLASHBACK – NIGHT
(SUSAN IS LYING STILL ON THE KITCHEN FLOOR. TOM IS LYING ON THE
LIVING ROOM FLOOR NEAR THE KITCHEN DOORWAY, THE CORDLESS
PHONE ON THE FLOOR NEXT TO HIM. PIERCE ENTERS IN UNIFORM. HE
KNEELS DOWN NEXT TO TOM.)
MITCHELL:
My wife. She’s pregnant. Help her.
PIERCE:
Okay, all right then.
(PIERCE HEADS INTO THE KITCHEN. MCBRIDE STANDS WATCHING THIS.)
PIERCE:
(VO) He was asking for my help.
CUT BACK TO:
INT. COURTROOM – PRESENT DAY
(MCBRIDE LOOKS PERPLEXED.)
MCBRIDE:
Earlier you testified that you thought he was still
breathing and now you’re saying that Tom talked to
you?
PIERCE:
It was a terrific scene Mr. McBride and I forgot to
tell you Tom spoke to me.
MCBRIDE:
Forgot. And why do you think he would ask for
help to save his unborn child if he wanted his wife
dead?
SULLIVAN:
Objection, the witness is in no way qualified to
answer that question.
JUDGE DALY:
Sustained.
MCBRIDE:
None of this information was in your original report
Officer Pierce, why?
PIERCE:
I didn’t think in any way it was related to the crime.
MCBRIDE:
Isn’t everything that happens at a crime scene
related to the crime? No need to answer that. No
further questions your honor.
JUDGE DALY:
Mr. Sullivan?
SULLIVAN:
No, the people have thoroughly exhausted their
questions for this witness.
JUDGE DALY:
Officer Pierce you may step down.
MCBRIDE:
Defense would request that Officer Pierce stay in
the courtroom your honor.
JUDGE DALY:
I will grant your request. Officer Pierce you may
step down but do not leave the courtroom.
MCBRIDE:
The defense recalls Detective Roberta Hanson to
the stand.
CUT TO:
EXT. COURTHOUSE – DAY
CUT TO:
INT. COURTHOUSE – DAY
(ROBERTA IS NOW ON THE STAND.)
MCBRIDE:
Detective Hanson isn’t it a fact that you recovered
hair from underneath Susan Mitchell’s fingernails?
ROBERTA:
Yes there were several intact strands of hair caught
under her nails.
MCBRIDE:
Did DNA testing prove positive for somebody in
the immediate family circle.
ROBERTA:
No none. We tested not only the extended family
but everyone who had day to day interaction with
the Mitchell’s.
MCBRIDE:
Did you subsequently find a DNA match.
ROBERTA:
Yes we did.
MCBRIDE:
Officer Colin Pierce.
SULLIVAN:
Objection. This cannot be entered into evidence
without a hearing your honor.
MCBRIDE:
Your honor I only became aware of this information
yesterday. And if you’ll allow me I will prove it is
admissible in court.
JUDGE DALY:
Overruled. Make it quick, Mr. McBride.
MCBRIDE:
So how did you come by Officer Pierce’s DNA?
CUT TO:
INT. ROBERTA’S OFFICE - DAY
(ROBERTA WALKS INTO HER OFFICE HOLDING AN EVIDENCE BAG. USING
A PENCIL SHE LIFTS THE COKE CAN PIERCE HAD BEEN DRINKING FROM
FROM HER OFFICE WASTEBASKET. MCBRIDE STANDS WATCHING HER.)
MCBRIDE:
(VO) Did you first secure a warrant or Officer
Pierces’ consent?
ROBERTA:
(VO) I didn’t need to. Legally it’s called prior
abandonment.
CUT BACK TO:
INT. COURTROOM – PRESENT DAY
MCBRIDE:
Officer Hanson would you explain prior
abandonment to the court?
ROBERTA:
Essentially it means that when you discard anything
an assumption is made that you abandoned your
rights to that object. Legally, law enforcement can
use that object for whatever purpose they deem fit.
MCBRIDE:
In other words once Officer Pierce through the can
away any DNA or other evidence that you might
retrieve from the can is admissible in court.
ROBERTA:
That’s correct.
MCBRIDE:
What prompted you to run a DNA test on Officer
Pierce?
ROBERTA:
I was curious as to how Officer Pierce knew Susan
Mitchell was pregnant. I myself hadn’t yet opened
the autopsy report.
MCBRIDE:
Thank you no further questions.
JUDGE DALY:
Mr. Sullivan.
SULLIVAN:
Detective Hanson, Officer Pierce earlier testified
that he attempted to resuscitate Susan Mitchell. Is it
possible that in the process his hair became trapped
under her fingernails?
ROBERTA:
It’s possible yes.
SULLIVAN:
(turning away) Thank you.
ROBERTA:
But not very likely. Forensics determined that the
strands were embedded. Which almost always
indicates a struggle.
SULLIVAN:
No further questions.
JUDGE DALY:
The witness is excused.
MCBRIDE:
The defense calls Officer Pierce to the stand.
SULLIVAN:
Your honor where is this going? Officer Pierce is
not on trial here. And how many more questions
can Mr. McBride invent to distract the jury.
MCBRIDE:
Your honor I promise you, Officer Pierce relates
directly to proving Tom Mitchell’s innocence.
JUDGE DALY:
This had better be the last time Mr. McBride.
MCBRIDE:
I assure you there’ll be no need of a further line of
questioning after this witness testifies your honor.
JUDGE DALY:
You may proceed.
MCBRIDE:
Officer Pierce you know Kaia Rourke?
PIERCE:
I’ve never seen her before yesterday in this
courtroom.
MCBRIDE:
I think you have.
PIERCE:
I don’t know what you’re talking about.
MCBRIDE:
Sure you do. Isn’t it true that you, Kaia Rourke and
Tom Mitchell were all part of a drug ring that
operates here in Los Angeles?
PIERCE:
Absolutely not.
MCBRIDE:
And isn’t it also true that you were Kaia Rourke’s
liaison in the drug ring?
PIERCE:
I told you I don’t know who she is.
MCBRIDE:
So you never called her on your cell phone.
PIERCE:
You don’t have access to my cell phone records I
haven’t abandoned those.
MCBRIDE:
That’s true. But I do have access to Kaia Rourkes.
Now, the way I figure it is, you only meant to kill
Tom Mitchell. But then Sue Mitchell woke up.
FLASH CUT TO:
EXT. MITCHELL HOUSE – FLASHBACK – NIGHT
MCBRIDE:
(VO)
(POV FROM A DISTANCE, WATCHING TOM USHER KAIA AWAY FROM THE
HOUSE.)
KAIA:
I need to talk to you Tommy
MITCHELL:
You know better than to come to my house.
KAIA:
No it’ll just take a minute. I can’t do this any more.
The arrangement isn’t working.
MITCHELL:
Okay fine, don’t ever come back her again.
(PIERCE WATCHES FROM THE EDGE OF THE YARD AS KAIA SLAPS TOMMY.
TOMMY USHERS KAIA AWAY, AND REENTERS HIS HOUSE. PIERCE IS
QUICKLY ON HIS HEELS.)
CUT TO:
INT. MITCHELL LIVING ROOM – NIGHT – FLASHBACK
(MCBRIDE STANDS WATCHING AS TOMMY ENTERS, SHUTTING BUT NOT
LOCKING THE DOOR.)
MCBRIDE:
(VO) You didn’t anticipate the argument between
Kaia and Tommy would awaken Sue Mitchell.
(SUE SLEEPILY WALKS INTO THE KITCHEN AS PIERCE BURSTS THROUGH
THE DOOR AND WACKS TOMMY TWICE ON THE HEAD WITH HIS
BLACKJACK. SUE SEES THIS, GASPS AND TRIES TO RUN AWAY.
CORNERED IN THE KITCHEN, SHE GRAPS A KNIFE AND SLASHES WILDLY
AT PIERCE. THEY FIGHT FEROCIOUSLY.)
INSERT - PHOTO OF THE HAPPY COUPLE IN NATURE
INSERT – THE KNIFE IN SUES FIST WITH PIERCE HOLDING HER WRIST
SUE:
Please don’t do this I’m pregnant.
(SHE LOSES THE STRUGGLE AND PIERCE STABS HER.)
MCBRIDE:
(VO) Tom Mitchell didn’t tell you his wife was
pregnant, she did.
(SUE LIES ON THE FLOOR HOLDING HER WOUND. PIERCE LOOKS AT HER,
THEN BACKS AWAY WITH THE KNIFE. MCBRIDE STANDS BEHIND HIM.)
MCBRIDE:
(VO) At first I thought you left Tom Mitchell alive
on purpose so you could frame him for the crime.
(PIERCE GOES TO TOM’S UNCONSCIOUS BODY AND VICIOUSLY STABS HIM.
THEN HIS POLICE RADIO SQUALKS.)
RADIO DISPATCHER:
Any available unit, domestic violence disturbance
2100 block of maple street.
SQUAD:
1 Adam 6 we are on the way.
(PIERCE GRABS HIS BLACKJACK, DROPS THE KNIFE, AND RUNS FOR THE
DOOR PAST A WATCHING MCBRIDE.)
FLASH CUT BACK TO
INT. COURTROOM – PRESENT DAY
MCBRIDE:
And you felt safe entering the house as the first
responding officer because then any forensic
evidence that you might have accidentally left
behind could be easily explained away. One thing
you didn’t count on was the one person you wanted
dead would survive.
PIERCE:
I don’t like thieves Mr. McBride.
(MCBRIDE NODS AS PIERCE STARES HIM DOWN.)
CUT TO:
INT. COURTROOM – DAY – LATER
(THE ROOM IS EMPTY SAVE TOM AND CLAIRE MITCHELL SITTING AT THE
DEFENSE TABLE WITH PHIL, MCBRIDE STANDS IN FRONT OF THEM.
ROBERTA ENTERS FROM A THRONG OF BABBLING REPORTERS IN THE
HALLWAY.)
ROBERTA:
All right everybody there’ll be plenty of time for
questions later.
(CLAIRE RISES TO GREET HER AND THEY BOTH SMILE SLIGHTLY.)
CLAIRE:
Hey. I’m just sorry I was so hard on you.
ROBERTA:
Well I could say the same thing.
CLAIRE:
You’re a good cop Roberta. You always were.
Just, I was just afraid you’d be the reason Tom went
to jail.
ROBERTA:
I’m glad things worked out.
(CLAIRE HOLDS OUT HER HAND, AND ROBERTA SHAKES IT.)
CLAIRE:
So come on let’s go.
(CLAIRE TAKES HIS HAND AND PULLS IT. HE PULLS BACK AND LOOKS UP
AT HER.)
MITCHELL:
How can you look at me?
CLAIRE:
(sitting next to him) Tommy. We’re family. No
matter what mistakes we ever made that’s never
gonna change honey.
(HE TEARS UP AS SHE TOUCHES HIS CHEEK.)
CLAIRE:
I love you. Let’s go home.
(HE KISSES HER HAND. SHE RISES AND HE TURNS TO PHIL AND SHAKES
HIS HAND.)
MITCHELL:
Thank you.
PHIL:
Sure Tom.
(TOM RISES AND SHAKES MCBRIDES HAND.)
MITCHELL:
Thank you.
MCBRIDE:
You’re very welcome.
(CLAIRE MOTIONS TO MCBRIDE, THEN WALKS TO HIM.)
CLAIRE:
Come here. I couldn’t have done this without you.
Come here. (they hug and kiss.) Thank you.
(CLAIRE WALKS AWAY WITH TOM. MCBRIDE WIPES HIS LIPS WHILE
ROBERTA LOOKS AT HIM WRYLY.)
CLAIRE:
I love you but you give me grey hairs.
MITCHELL:
I love you too.
(CLAIRE WALKS AWAY WITH TOM, PHIL, ROBERTA AND MCBRIDE WATCH
THEM GO. ROBERTA AND MCBRIDE STARE AT PHIL.)
PHIL:
I’ll go help them with the reporters please.
CLAIRE:
No comments please.
MCBRIDE:
For all the favors, you’ve ever done…
ROBERTA:
Um hm
MCBRIDE:
…have I ever said thank you?
ROBERTA:
Um…no. Not that I can remember.
MCBRIDE:
I really have to work on that.
ROBERTA:
You do that.
MCBRIDE:
What would you say to dinner?
ROBERTA:
I would say that I’ve gotta get back to work.
MCBRIDE:
Ah.
ROBERTA:
You know something Mac?
MCBRIDE:
What?
ROBERTA:
I never did understand what you saw in her.
Raincheck.
MCBRIDE:
Sure.
(MCBRIDE POUTS AND WALKS AWAY WITH HIS BRIEFCASE. MUSIC UP)
END TITLES
EXECUTIVE PRODUCERS LARRY LEVINSON, ROBERT HALMI, JR.
Mike McBride
JOHN LARROQUETTE
Sgt. Roberta Hansen
MARTA DUBOIS
Phil Newberry
MATT LUTZ
Tom Mitchell
LIAM WAITE
Claire Whitman
BARBARA NIVEN
Officer Colin Pierce
NICHOLAS TURTURRO
Kaia Rourke
KATIE WALDER
General Dwight Rourke
BEN MURPHY
ADA Arnold Sullivan
JEFF HARLAN
Sue Mitchell
MIRANDA GIBSON
Judge Daly
MONNAE MICHAELL
Judge Fong
CATHLEEN CHIN
Glynnis Jackson
ESTHER SCOTT
Lt. Pete McCay
MICHAEL WHALEY
Receptionist Rachel
DANICA STEWART
Forensics Technician
MIKE BALDRIDGE
Tevin Moore
MARCUS BROWN
Officer
ALYSON CROFT
Reporter
JULIANNA ROBINSON
Dan Gilmore
JOE HOLT
Aaron Jameson
BROCK CUCHNA
Nurse
LYN ALICIA
HENDERSON
Officer Johnson
WILLIAM FLANNERY
Unit Production Manager
ERIK OLSON
Unit Production Manager
BRIAN GORDON
______________________________________________________________________________________
_______
First Assistant Director
SUSAN McGUIRE
Second Assistant Director
ATHENA PESANTE
______________________________________________________________________________________
_______
Executive in Charge of Production
KEVIN BOCARDE
Production Executive
MATT FITZSIMONS
Business Affairs
GREG KRUTILEK
PAUL BALELO
Business Affairs Associate
MARIE FRICK
Staff Production Supervisor
AMY CHANCE
Development Assistant
AMANDA PHILLIPS
Staff Assistant
MARISA La TOUR
Production Accountant
GAIL GOMEZ
Accounting Assistant
EMILY THORNE
Set Decorator
LAIRD PULVER
Art Coordinator
AMY GORDON
Assistant Art Coordinator
NANCY MARCHIONDA
Lead Man
GREGORY CASTLE
On Set Dresser
DON VARLEY
Set Dresser
P.J. AGUILERA
Swing
KRISTEN RIDGWAY
TAMARA AUERBACH
ERIC LABONTE
JUSTIN LAMB
SHAUNA McDOWELL
JORGE RODRIGUEZ
__________________________________________________________________________________________
_______
1st Assistant Camera
GAVIN ALCOTT
2nd Assistant Camera
DAWN NAKAMURA
SERGEI SOROKIN
B Camera Operators
TODD BARRON
MARK COYNE
st
B Camera 1 Assistant Camera
MARSHALL RAO
C Camera Operator
MICHAEL JOHNSON
__________________________________________________________________________________________
___
Additional Assistant Camera
RICHARD COLLINS
COLIN KELLY
KOJI KOJIMA
JOE SOLARI
Camera Loader
EMILY EGGAN
__________________________________________________________________________________________
_____
Sound Mixer
WILLIAM REINHARDT
Boom Operator
JOSH BISSETT
__________________________________________________________________________________________
_______
Gaffer
DIMITRIS BOGIANTZIS
Best Boy Electrics
DOMINICK KYPRAGORAS
DAVID THURLOW
ALEXANDER SZUCH
Electricians
JEAN-PAUL BONNEAU
COREY GIANN ANTONIO
ANTHONY IGNACIO
ANDY JAGERSON
SCOTT JAMES
GRAYSON MARTINEZ
CHRIS VINOPAL
AMANDA WEAVER
JARED WELLMAN
__________________________________________________________________________________________
_______
Key Grips
WILLIAM 'SKIP' HASWELL
BRANDON CHAMBERLAIN
Best Boy Grips
JASON SCHAFFNER
RANDY A. VEGA
Dolly Grip
BRIAN J. KRONENBERG
Grips
INHO KIM
ADAM LOZUK
KOSTA RIGOPOULOS
JOHNNY SEGAL
JONATHAN SHAFFER
______________________________________________________________________________________
_______
Prop Master
MELANIE HUBBARD
Prop Assistants
JASON MUELLER
VANESSA PRICE
__________________________________________________________________________________________
___
Stunt Coordinator
CLINT LILLEY
Stunt Utilities
TOBY HOLGUIN
GINA MARI' JENSEN
Animal Trainer
SARAH CLIFFORD
Costume Designer
TAMRA UNDERLAND
Wardrobe Supervisor
AMANDA MAE SCHOLL
Key Costumer
KATE BISHOP
Set Costumer
DEBRA BOX
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Key Make-Up
JANICE HEATON
Hair Stylist
AMBER MARIE GARCIA
Make-up
HELEN MARRAY-FINLAY
Make-up Assistants
LAURA GARRETT
STACI J. WITT
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Location Manager
RICHARD STREETER
Set Medic
BRETT BELL
Security
WIDE WORLD LOCATIONS
FELIX CERVANTES
Transportation Coordinator
JORGE GEMINIANO
Transportation Captain
NICK LINDHOLM
Drivers
LUIS MUNOZ
SERGIO MUNOZ SALINAS
MICHAEL “GORILLA” REYNOLDS
Additional Drivers
KIRK D. BARTON
MICHAEL "BIG MIKE" CALLAHAN
CHARLES "ROVER GREY" GARVIN
CARLOS ROBLES
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Caterer
A&M CATERING
Chef
TRINIDAD GONZALES
Chefs’ Assistants
HUGO CERVANTES
Craft Service
NELIDA St. GEORGE
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Production Coordinator
CHANG TSENG
Assistant Production Coordinators
GREG HAIRFIELD
BRYAN KOLUPSKI
Script Supervisor
RACHEL STUHLER
Additional Script Supervisors
HEATHER ASKEW
ELIZABETH MULTER
Key Production Assistant
BASHIR TAYLOR
Production Assistants
JOSHUA BLANKENSHIP
NICOLE C. GOODWIN
JOEL LUGAR
BASIA PALKA
KAIYOTI PESANTE
CHRISTIN RUBIN
DAVID THIENES
ANDREW WEAVER
Casting Associate
CHRISTINE BABAYANS
Casting Assistant
LAUREN FAIN
Extras Casting
PRIME CASTING
PETER ALWAZZAN
Casting Associate
ANDREW STUBBLEFIELD
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_
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Post Production Supervisor
RICHARD W. MORAIN, JR.
Post Production Coordinators
FRANK SHARP
KEVIN GIESEKING
Assistant Editor
MIKE FRENDEN
Manager Production Accounting
MICHAEL DONNER
Accountant
GAIL GOMEZ
Assistant Accountant
EMILY THORNE
Online Services
POST LOGIC
Scheduler
JESSICA GROSSI
Dailies Colorist
Colorist
Post Sound Services
MERCURY SOUND STUDIOS,
INC.
Sound Supervisor
OTIS VAN OSTEN
Re-recording Mixers
MARK ETTEL
JASON BRENNAN
Sound Effects Editors
OTIS VAN OSTEN
Music Editor
EWAN JOHNS
ADR Supervisor
MARY ANDREWS
ADR Mixer
TREVOR SPERRY
ADR Editor
MARY ANDREWS
Dialogue Editor
CONNIE KAZMER
Sound Effects Design
OTIS VAN OSTEN
Foley Artist
POST FORCE, INC.
Foley Mixer
POST FORCE, INC.
Sound Engineers
JASON BRENNAN
ANTHONY KRAJCHIR
CARLOS SANCHES
Studio Director
MICHAEL SABLE
Studio Coordinator
AMIT BARRETT
Loop Group
VOCAL YOKELS
Product Placement
ECLIPSE WORLWIDE
JOHN HOLTZMAN
TAMMY MOORE
FEATURE THIS!
HADLER P.R.
BOB HADLER
NORM MARSHALL AND
ASSOC.
BRETT SPAULDING
SET RESOURCES, INC.
PHILL BRANCH
UPP ENTERTAINMENT
MARKETING
BARBARA MAULTSBY
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Insurance
DeWITT STERN OF CALIFORNIA
WINNIE WONG
Script Clearance
MARSHALL/PLUMB RESEARCH
ASSOC.
CAROLYN PLUMB
Risk Assessment and Safety
MEDIA SERVICES/PLASSCHAERT
ASSOC.
ANGELA BAYNES
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Special Thanks To:
Film L.A., Inc.
County of Los Angeles
County of Ventura
City of Baldwin Hills
City of Los Angeles
City of Northridge
City of Simi Valley
U.S. Department of Veterans Affairs & Ralph D. Tillman
Christina Durboraw
Forum Medical Group & Lisa Bradley
Orcutt Ranch
Sepulveda Ambulatory Care Center and Nursing Home
Steve Lottman
Wendy & Allen Gibbs
California Game and Fish Magazine & Ken Dunwoody
DaimlerChrysler Motor Company L.L.C.
Dell Computer Corporation
Fly Fishing In Salt Waters Magazine & Gary Jennings
MAC Cosmetics & Monique Boyer
Smashbox Cosmetics & Nina Van Arsdale
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Cameras Provided by Otto Nemenz International (LOGO)
Lighting Equipment Provided by Cinelease, Inc. (LOGO)
Camera Dolly Provided by J.L. Fisher, Inc. (LOGO)
Generators Provided by Cinerep International, Inc. (LOGO)
© 2006 ALPINE COPYRIGHT LIMITED
The characters, names and events depicted in this motion picture are fictitious. Any
similarity to actual persons, living or dead, or to any actual events is purely coincidental and
unintentional, and no such similarity is intended or should be inferred.
This motion picture and all material contained in or related to this motion picture are
protected under the laws of the United States of America and other countries. All rights
reserved. Any unauthorized duplication, distribution or exhibition of this motion picture or
any portion thereof (including the sound track) is an infringement of the copyright and may
subject the infringer to civil and criminal prosecution.