Goodbye, Ruby Tuesday ... will they hang a noose on you? Alright, alright ... I've used that one before. YOU try writing something cute and clever here every day. So enough fooling around, and get your asses IN HERE ... and belly up for your daily crime fix at That Killing Feeling. Onto today's joint from HIT & RUN HOLIDAY, and this one's a corker. You see, everyone is closing on in wanted fugutive/screenwriter Friday Foster, who is holding the executives of White Line Pictures hostage at gun point in the conference room ...
There's white slave trafficker Bland Loosener, who is climbing up the elevator shaft ...
And Rebecca Diaz, anchor-babe form Crime Time News, who is there to get the story ...
And last but not least, Friday's spurned lover/rogue cop Carrie Love, who, along with reporter Kelly Klavan, are about to go into the belly of the beast ...
INT. ELEVATOR - AT THAT MOMENT
Bland stands in a corner. Jumps up on the handrails.
Feet at forty-five degree angles. Ass up against the wall.
He PUNCHES the trap door in the ceiling. Nothing happens.
BLAND
Ow.
(rubs his hand)
I will not ABORT.
Bland inspects it. Reaches up. Clicks the latch. Opens it.
BLAND (CONT’D)
Good job, soldier.
INT. STAIRWELL - AT THAT MOMENT
Rebecca and Lighting Guy charge up the stairs.
Bald Cameraman follows, half a flight down. Huffing and puffing.
BALD CAMERAMAN
I’m gonna burst a blood vessel!
REBECCA
(over her shoulder)
Good! Great B-roll footage!
Make sure you leave the camera on!
Her phone RINGS. She stops. Answers it.
REBECCA (CONT’D)
This better be good --
(listens)
What? The cops JUST GOT HERE?
(to the crew)
We beat the fucking cops AGAIN.
(into the phone)
No -- I’m almost inside.
Get another crew down here,
they can shoot the piggies coming to market.
(hangs up, to the crew)
Alright, let’s get moving --
we’re going into the belly of the beast.
Bald Camerman’s stomach GROWLS.
EXT. ROBERTSON BOULEVARD - DAY
A squad car SCREECHES to a stop at the curb. Then two more.
COPS pour out. RUN toward the building.
EXT. WHITE LINE PICTURES - FRONT ENTRANCE - CONTINUOUS
Barricades have been set up. A line of cops in riot gear,
shields, assault rifles, stand in formation.
INT. ELEVATOR SHAFT - AT THAT MOMENT
Bland climbs up the cable.
Sees the other car coming down from above.
Just as it passes by, he SWINGS toward it,
LETS GO of the cable, and LANDS on top of it with a THUD.
BLAND
We’re going in, CAPTAIN.
INT. SIXTH FLOOR ELEVATORS - AT THAT MOMENT
Carrie and Kelly creep up toward the lobby entrance.
She pulls a gun out of her boot. Leans against the wall. Listens.
FRIDAY (O.C.)
And, you -- ex-boss from hell.
You made me read your piece-of-shit screenplay.
AND give you notes on it.
Right, like I could really be honest with my BOSS?
It was painful, the WORST PIECE OF SHIT I ever READ.
'The Whimsy.'
(low)
How DARE you.
CARRIE
(whispers)
She’s really mad.
KELLY
About reading a script?
CARRIE
Well, look where we are.
REBECCA (O.C.)
Come on, this way. Shhh. Be careful.
REBECCA DIAZ
and Lighting Guy approach.
REBECCA (CONT’D)
Who are you? What channel are you with?
You look familiar --
(sees the gun)
Oh, shit.
CARRIE
(sharp whisper)
Quiet. I’m a fucking cop --
REBECCA
(flashes press ID)
And I’m a reporter.
LIGHTING GUY
I do the lights.
(to Kelly)
Hi, there.
KELLY
Hi. I’m Kelly. I’m a print journalist.
(beat)
Nice -- instrument.
BALD CAMERAMAN
appears in the stairwell doorway. Sweating. Red-faced.
REBECCA
There you are. Get your fat ass over here.
BALD CAMERAMAN
I don’t feel -- so good --
He HITS the flood with a THUD.
REBECCA
Shit.
LIGHTING GUY
Low blood sugar.
I told Scott to have a snack, but no --
he said he’s on a diet.
CARRIE
Shhhhh. She’ll hear us.
(beat)
I gotta think --
REBECCA
(to Lighting)
Great. Who’s gonna operate the camera?
CARRIE
I am.
She goes to the lying figure. Picks up the Sony digital.
KELLY
But she’ll recognize you.
CARRIE
Not if I’m in disguise.
(to Lighting)
Gimmee your hat.
LIGHTING GUY
Sorry, doll. It’s Prada.
REBECCA
(to Lighting Guy)
Howard.
He takes it off. Hands it over. Carrie slides it on.
CARRIE
Kelly, you’re gonna operate the lights.
HOWARD
I can’t let him --
CARRIE
Oh, yes you can --
do you want to be charged with obstructing justice?
HOWARD
Okay. But be careful. It’s not a toy.
He takes off his shoulder harness and kit.
Hands them to Kelly. Who slides them on.
Carefully passes over his light.
KELLY
Wow. It’s heavy. I bet it’s a --
HOWARD
Good workout.
CARRIE
(to Rebecca)
Okay, anchor-babe, here’s the plan.
We go in, nice and slow --
REBECCA
I’m not going in there. I could get shot.
CARRIE
She’s not going to hurt us.
She ASKED for a news crew --
she wants to deliver a statement.
KELLY
I thought you were the big, investigative reporter?
REBECCA
I am.
(beat)
From a distance.
FRIDAY (O.C.)
Holy shit. It’s the media.
I thought I heard something out here.
Friday appears. Magnum in one hand. Uzi in the other.
FRIDAY (CONT’D)
Come on kids, join the party.
Gotta late breakin’ bulletin for ya --
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