ACT FOUR

FADE IN:

EXT. JAYCEE'S APARTMENT BUILDING - NIGHT

Sam screeches up to the stoop in her little green ride. As if
on cue, the front door opens and Jaycee comes bounding down
the stairs, wearing one of her barely-there outfits. She
pulls the passenger side door open and slides in next to Sam,
who has a similar outfit on.

JAYCEE
Rave on, Dude!

The two girls high-five, and the care zooms off.

PAN CUT TO:

INT. BROOKE'S BEDROOM - NIGHT

Brooke is pacing back and forth erratically, distracted and
lost in what seems to be troubled thoughts. After a few
moments, she stops and moves purposefully to her computer
desk. She sits down there and begins to shuffle papers.

DISSOLVE TO:

MONTAGE

A short montage (no more than half a minute) alternating
between Sam and Jaycee raving wildly, and Brook sitting at her
computer working away diligently.

DISSOLVE TO:

EST. L.A. SKYLINE - MORNING

Another brand-new day.

CUT TO:

EXT. KENNEDY HIGH - MORNING

Early morning, a nearly empty quad.

CUT TO:

INT. SOCIAL STUDIES CLASS

The door to the classroom opens and Mr. Osbourne trundles in,
carrying a heavy briefcase. He pulls up short when he sees
Brooke standing there waiting for him.

OSBOURNE
Miss McQueen...this is an
unexpected development.

Under Brooke's watchful eye, Osbourne resumes his course
towards his desk. He sets the briefcase down and sits before
giving Brooke an appraising look.

OSBOURNE (CONT'D)
And to what do I owe this early
morning visit?

Brooke approaches the desk gravely.

BROOKE
I need your help, if you're still
willing.

Osbourne raises a quizzical eyebrow.

BROOKE (CONT'D)
I've come to a decision.

She hands a thick folder to Osbourne. He opens it and flips
through a couple of pages, then nods knowingly.

OSBOURNE
I see.
(rising)
I'll send these to my friend. He
can begin the process today.

Brooke seems a bit taken aback.

BROOKE
That fast?

OSBOURNE
(droll)
Facsimile machines and e-mail,
Miss McQueen. The wonders of the
twenty-first century. Rest
assured, you are in capable hands.

Brooke looks relieved as Osbourne leads her out.

CUT TO:

INT. BANK LOBBY - DAY

Det. Candido is standing in the middle of the lobby with the
bank's branch manager.

MANAGER
I'm afraid I don't understand why
you need to look at our records
again, Detective.

DET. CANDIDO
(smoothly)
I'm just following up on a few
things.
(beat)
I HAD assumed that a warrant
wouldn't be necessary...

MANAGER
Oh, no, Detective, of course not!
We're happy to cooperate.

And he leads her away.

CUT TO:

INT. BANK RECORDS ROOM - MOMENTS LATER

Det. Candido and a records clerk are gathered at a table,
where the clerk is opening a standard file box.

RECORDS CLERK
You're lucky you came by when you
did, Detective. Another couple
weeks and these would have been
gone.

DET. CANDIDO
(sharply)
Why?

RECORDS CLERK
We only keep the paper originals
for thirty days. Then they get
incinerated.

DET. CANDIDO
Really?

RECORDS CLERK
(shrugs gamely)
What's the point of scanning
everything if you're going to keep
the paper, too?

DET. CANDIDO
Right...
(dismissing)
Thank you.

RECORDS CLERK
If you need anything, I'll be
right out there.

The clerk withdraws, and Candido rifles through the box. She
pulls out one thick file, lays it open on the table and starts
flipping papers over rapidly. It takes only a few moments for
her to pull one page from the file and hold it aloft, a grin
breaking out across her face.

DET. CANDIDO
Gotcha.

CUT TO:

INT. SCHOOL HALLWAY - DAY

Harrison is still in full monk-mode, walking pensively down
the hall, when, from out of nowhere, a hand reaches out and
yanks him sideways through a doorway.

CUT TO:

INT. EMPTY CLASSROOM - CONTINUOUS

The yanker turns out to be Natalie, who is standing before
Harrison, hands on hips. For a moment he seems startled; then
he smiles and puts his fingers to his lips.

NATALIE
You don't have to talk, Harrison.
You just have to listen. You can
do that, right?

Without waiting for a response, she leans in close.

NATALIE (CONT'D)
I know what you're doing. You're
giving up. All this is just...
giving up. You're giving up on
Brooke, you're giving up on Sam,
giving up on girls and love and...
and everything. You've decided
everyone's given up on you, so
you're going to give up on them
right back.

She darts in and pecks him on the mouth.

NATALIE (CONT'D)
(whispering)
I haven't given up on you.

And with that she is out the door, leaving a stunned Harrison
in her wake.

CUT TO:

JAYCEE'S APARTMENT - AFTERNOON

In the golden afternoon light streaming through the window, we
see Sam lying in a stupor on Jaycee's bed, half-covered by a
sheet. Finally she groans and stirs slightly. A moment
later, she tries for a bigger movement—enough to send her
cascading off the bed and onto the floor.

SAM
(woozy)
Ow...

Sam props herself up by clutching the bed, rubbing her head.
With great difficulty, she focuses on the Jaycee, who is lying
on the other side of the bed. Slowly, Sam manages to crawl
back onto the bed and over to Jaycee's side.

SAM (CONT'D)
Hey, Jaycee...we gotta...take a
break...these raves are killing
me...

She reaches out and shakes Jaycee's shoulder weakly, but
Jaycee doesn't respond. Sam tries a little harder, and
suddenly Jaycee flops over onto her back, utterly lifeless.

SAM (CONT'D)
Jaycee?

As Sam realizes what has happened, she panics, shrieking and
shaking Jaycee's body wildly.

SAM (CONT'D)
Jaycee? JAYCEE!

And at that moment, the apartment door crashes open, and two
uniformed police officers burst in, guns drawn.

OFFICER #2
POLICE! FREEZE!

Sam's head snaps up to stare at them in shock, and—

BLACK OUT.

END OF ACT FOUR

THE END