Late-Breaking Bulletin

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 32 of HIT & RUN HOLIDAY, while fugitive screenwriter Friday Foster continues to hold the movie executives hostage at gunpoint, TV reporter Rebecca Diaz and her news crew arrive on the scene, but when her sound man suddenly collapses, homicide dick Carrie Love takes his place ...


INT. WHITE LINE PICTURES - ELEVATORS - MORNING
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.
(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 a 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
Come on kids, join the party.
Gotta late breakin’ bulletin for ya --