Gene Baird writes

A Father's Love - Part 5

INT. OUTSIDE THE HOUSE - NIGHT

SGT Foster is crouching low and moving behind the house. He peeks in 2-3 windows but sees nothing until his fourth window reveals his daughter with a puzzle.

FOSTER

He gently taps on the window and gestures to his daughter with a finger in front of his mouth.

              “Shhhhh”

He waves for her to come closer, then twirls his hand the same way that one must to in order to open that specific window. Sarah opens the window, and he grabs her.

             Now you be quiet. I’m gonna take you away from these bad people.

SARAH

         What bad people? They sold mommy a car and now give me food. They came in and got me from my room to help me.

Foster then pauses and listens at the window. He faintly hears the two talking inside, revealing  their intentions to sell abductees to sex offenders once they’ve reached the age of 6-7 years old. Then, the man’s voice reveals that he enjoyed killing Foster’s wife.

BONNER

        Sometimes it’s just business, but that bitch looked too hot to not have paid me more notice at the dealership. She was stuck up, killing her felt good.

Foster’s eyes squint and tears fall. He holds his daughter closer before moving slowly towards the front of the house. He keeps a low profile and remains somewhat in the shadows while moving.

Just as the two are seemingly in the clear, police cars flood the scene: loudly and quickly. Officers get out of their cars and holler freeze, pointing their weapons towards SGT FOSTER. But before he can do so – and reveal who the real perpetrator is -- an officer shoots SGT Foster. Foster collapses and drops the gun, instinctively cradling his daughter to cushion her blow. The gun is positioned under Foster and did not strike anything that enabled the cops to hear it strike. Its existence is not noticed.

BURNSIDE

         Hold your fire! The perpetrator is still in the house. That was her father. Call an ambulance now and secure the little girl. I want her in a squad car now. I need four officers in back, two on each side and a door rammer in front. They might have more kids in there so be careful. And I want this fucker alive if possible.

MALONE

            You heard him, break the damn door down. Break it down now!

The officers close in on the house but none of them actually move to Foster. He remains on the ground and quiet while officers run by him to get to the house.

BURNSIDE

On broadcast horn

             This is the police breaking into your home. Drop any weapons you have and kneel on the floor with your hands behind your head. Any attempt to move towards the officers or away will be considered hostile and you will be fired upon. This is your only warning. There is no escape.

The sound of automatic rifles can be heard as they rattle off in the living room, and bright flashes of light appear as “flash bangs” are thrown in, smoking the living out, forcing Bonner and his wife to passively walk out on all fours. The police secure them and bring them toward the cars. Just then, Foster stands up, draws his weapon, and puts two shots in Larry’s chest. Without hesitation, he turns the gun towards Roxxy and fires twice more. He quickly walks towards the bodies while the police are in awe. At the bodies, Foster rips open Bonner’s body with every bullet left in his clip, deafening anybody around with his rage. The cops instinctively duck due to the closeness of the weapon being fired. Reggie drops the gun and stands there staring at their bodies as if killing them with his eyes. He then drops to his knees and begins crying. The police then rush over to him and the screen fades to the police lights and Sarah crying “daddy”.

EXT. POLICE STATION - DAY

Scott arrives at the request of Detective Burnside.

BURNSIDE

         Hi. I want you to know that we checked into the flow of information on SGT Foster’s phone and it indicates that he called you, and only you, several times. I’m positive you used your position to give insight to information regarding this case. Once I prove it, your ass will be in jail.

SCOTT

      
        I’m not saying anything here Detective, but weren’t you a Marine? Didn’t you once know the combat tradition of “never leaving a man on the battlefield”?

The two stare at each other for a minute

         Well, Reggie’s daughter is my niece, and I’m her only family now. Whatever happened, happened to get her back. Nothing was to avenge Regina. Leaving Sarah with that fucker would be like “leaving a man in battle,” only she is only four.

Burnside looks down, hands on hips, and then looks off to the right, shaking his head slightly and blinking in an attempt to shut something out. Then he looks down again with closed eyes.

BURNSIDE

            Get out of my office.

Burnside opens his eyes towards Scott.

            And hey, I never want to see you again in here. Am I making myself clear?

SCOTT

            
            Were you talking to me? I don’t even know you, was just walking by.

EXT. OUTSIDE ON THE STREET - DAY

Music comes on as Scott walks out of the station and Sarah rushes to him. He kneels, hugs her, whispers something into her ear, she shakes her head yes, he picks her up, and they walk away together. The music gets louder as they fade out of sight and others walk into visually obstructive positions. The music continues as all visual of the two is lost and only other pedestrians can be seen.