Caught in the Crossfire

Synopsis: Two detectives investigating a gang-related shooting find themselves targeted by both gang members and crooked cops.
Director(s): Brian A. Miller
Production: LionsGate Entertainment
85 min


(Suspenseful music


(Indistinct police radio)

(Police radio continues)

[Man over radio]: 5 lincoln 9

eastbound on 6th...

heading towards front in pursuit

of white oldsmobile cutlass.

Roger, 5 Lincoln. Charles Edward 12

is 3 minutes E.T.A.

Box in the suspect and

hold the perimeter.


Copy, Charles Edward 12.

- Listen, you heard what he said.

- And I'm not buying it.

- It's a retaliation shooting.

- Then let it happen.

Let 'em kill each other. Bang bang bang,

and we come in and clean up.

End of story.

That's exactly

what they expect you to do.

I can't believe you're listening

to his sh*t. He's a C.I.

- What difference does it make?

- He's a paid criminal informant.

- He'll say anything to cover his own ass.

- F*** you, man.

His handler was shot dead tonight.

How do we know he didn't set up the hit?

- That's bullshit, man.

- You saw the sheet.

This kid Michael Pips

had priors.

He found out

Jacobs was undercover,

picked up a 9mm and took

matters into his own hands.

- You're wrong! You're wrong!

- He didn't set up sh*t, man.

There was somebody else

in that park.

Somebody planned it on the other side...

One of your boys, man.

You witness this?

How am I gonna know

your boy was an undercover?

When he found out, he freaked.

He wasn't about to kill no cop.

Couple minutes later, somebody

come in, cut Jacobs down.

Now he's trying to pin it

on a rival gang.

Who was the shooter?

I'm not saying another word

till I speak to his D.A.

He doesn't know sh*t.

Look, our job is to

stop this from escalating.

He killed a cop! He's got a target

painted on him...

from every officer

in the field right now.

[Man over radio]:

Charles Edward 12, be advised:

Suspect vehicle is pinned, but there's

movement within the perimeter.

- (Gunfire popping)

- Shots firing! Shots firing!

(Tires squeal)

Officers need backup!

38th Cross street...

- put your head down!

- (Firing)

Put your head down!

Down down... Get down!

Keep your head down!

Come on.

Come on!

Quick with your leg!

Come on, man.

Come on.

Hey hey. Hey!


Tino, hey!

Come on, breathe!

- (Gunfire stops)

- Suspect down! Suspect is down!


Cover me! Cover me!


Breathe! Come on!


We're clear!

Need an E.M.T.!


- Where's our paramedics?

- Shepherd!

Rescue 1-6, we have two...


- two G.S.W.S.

- Shepherd?

- What is your E.T.A.?

- Was he hit? Is it Pips?


What's his status, detective?

He's gone.

S.W.A.T.'s on their way.

- What's their E.T.A.?

- They're still 10 minutes out.

You tell them there's plainclothes

within the perimeter.

- Whoa. What're you thinking?

- I'm going in.

Hey, wait for S.W.A.T., man. We don't know

how many shooters are in the vicinity.

This kid doesn't have

10 minutes, all right?

Shepherd, I can't let you

do this, man.

Hey, you want to stay, Briggs,

you stay.

Hold on!

You're not seriously

going in there, are you?

He's my partner.

Listen, you're our eyes and ears.

You maintain radio silence unless

you see movement on our position.

- You got it?

- Yep.

- They know we're here. Be smart.

- All right.

(Leaves rustling)


movement, tree line!

We're sitting ducks

out here, man!

- Cover me.

- No! They're trying to pin us down,

trying to beat us to Michael. We need

to make a move to the warehouse.


Hey, listen to me.

Point every light you've got

on that tree line.

Every light you've got

on that tree line right now.

- [Man]:

- Good. Don't stop.

Keep those lights moving.

You hear me?

Keep those lights moving.

(Gunshots continue)

You ready?

- Let's go!

- F***in' crazy.

- Clear left!

- Clear right!

Moving center.

- (Firing)

- Down down down down!

Police officers!

Drop the gun!

- (Radio static)

- Man, I didn't do this!

I didn't kill

that f***in' cop!

Drop the f***ing gun, Michael.

We have you surrounded.

Michael, I'm coming out.


Michael, hey.

Hey, I'm unarmed.

- I just wanna talk.

- I didn't kill that f***in' cop.

Man, I didn't do this.

We're here to help you.

Put the weapon down,

Michael, now!

Hey hey, eyes on me,


Eyes on me! Okay?

Tell your boy to

put his gun down.

That's not gonna happen,


Everybody, calm down!

Just lower your weapon, Briggs.

- No way.

- Do it, motherf***er!

- No way.

- Michael, we're not here to hurt you.

I promise. I give you my word:

We're not here to hurt you.

- Let's just talk.

- He's one of them, isn't he?

Just you and me.

No, he's not.

- He's f***in' one of 'em, isn't he?

- No, he's not.

He's been with me

all night.

We're here to get you out.

You understand me?

I just need you to tell me

what you saw tonight.

Cops! I saw f***in' cops!

- You saw cops on 6th street?

- That's what I said.

Okay. All right.

Back it down, detective.

How many cops did

you see, Michael?

I saw three of 'em!

All right. You saw three cops.

Can you identify them?

Stand down, detective!

Lower your weapon!

Look at him, Michael.

He's lowering his gun.

All right?

He's lowering his weapon.

Lower your weapon, Briggs.

Now i need you to tell me

you can identify these cops.


I seen 'em before.

Okay. All right.

That's good.

- Who else knows about this, Michael?

- Man, you tell me.

Hey! Hey, listen to me.

If there's somebody out there

that can back up your story,

We need to get them

into protective custody.

Look, we've got a car

standing by.

Alright? We're not gonna

bring you in here.

We're gonna take you to the feds...

The F.B.I., Michael.

They're gonna take you

into protective custody.

No one's gonna get near you.

You're gonna be safe.

I need to know...

who else do we need

to protect?

No. I'm the only one left.

(Radio static)

Suspect in custody.

(Siren wailing)

- Michael!

- Drop the gun!

- Michael, don't! Michael, no!

- Get down!

- Drop the f***in' gun!

- No, wait a minute!

- Wait a minute! Wait wait!

- (All shouting)


suspect down.

(Door opens)

What you got?

We've got five dead bodies

in the last 24 hours.

This could be the worst case

of retaliation violence

This city's ever seen.

- Has that gotten out?

- Not yet.

But we've only got a few hours

till the press gets wind of it.

All right.

So what are you thinking,


There's no way to justify

their actions in the field tonight.

Someone has to take

the fall for this.

Is that the official position

of the district attorney?

Just to be clear,

Nothing leaves this room until

it's been blessed by our office.

What's your take

on Shepherd?

He's been on the job for 30 hours

straight with no sleep.

He'll be easy to break.

Okay, detective.

Are you ready to begin?

- You know the drill, detective.

- (Hits button)

Tell us what happened

out there tonight.

What difference does it make?


The difference between losing

your badge and going to prison

- For criminal misconduct.

- No matter what I say,

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Brian A. Miller

Brian A. Miller is an American television producer and the current Senior Vice President and General Manager of Cartoon Network Studios in Burbank, California, having assumed the title in 2000. He was formerly Vice President of Production at Nickelodeon Animation Studio, Vice President of Production at Hanna-Barbera, and Vice President of Production at DIC Entertainment. He also served as a production supervisor for Alvin and the Chipmunks. He was also the executive in charge of production for various shows in the 1990s and early 2000s such as Dexter's Laboratory, CatDog, Hey Arnold!, The Angry Beavers, ChalkZone, The Adventures of Jimmy Neutron: Boy Genius, The Powerpuff Girls, Captain Planet and the Planeteers, Adventures of Sonic the Hedgehog, Cow and Chicken, Johnny Bravo, and the first and early second season of SpongeBob SquarePants. He has overseen the production of many animated series, such as Adventure Time, Chowder, Foster's Home for Imaginary Friends, Regular Show, Dexter's Laboratory, Samurai Jack, Mixels, Ben 10, and many more. more…

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Submitted on August 05, 2018

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