"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"GANG RELATED"

Screenplay by

Jim Kouf

SHOOTING DRAFT

1997



FADE IN:

NEON SIGN - THE PRINCE MOTEL - NIGHT

The N and the E are not working. So it reads the PR IC motel.
ROOMS TO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince
Motel has passed its prime. A few beat up cars are parked
outside rooms. We CRANE DOWN to ROOM SEVEN. Curtains closed,
but someone is holding it open a crack, looking out. We PUSH
in CLOSE TO THE WINDOW and the EYE looking over the parking
lot. Then the curtain closes.

INT. ROOM SEVEN - PRINCE MOTEL - NIGHT

Peeling flowered wallpaper, ultra-cheap furniture. The man
moving away from the window is RODRIGUEZ. He is slender,
sports a thin mustache, hair slicked straight back. He's in
his late thirties. Slightly nervous.

Another man sits on the couch, looking at a magazine. He is
forty, solidly built. His name is FRANK DIVINCI.

DIVINCI
Says here they got slips in Honolulu.
325 a month. Utilities included.
That's not bad.

Rodriguez sits down.

DIVINCI
But I gotta get at least a forty
footer. It'll handle rough water
better and I'll need the room if I'm
gonna live on it.

Rodriguez stands up, moves back to the window. Divinci looks
up.

RODRIGUEZ
I don't know how you do it.

DIVINCI
What?

RODRIGUEZ
How you can think about Hawaii now?

DIVINCI
My heart's in Hawaii.

RODRIGUEZ
You never been there. How can your
heart be there.

DIVINCI
You're tellin' me there's no place
you'd rather be other than here?

RODRIGUEZ
No, I'm saying I just don't know how
you can think about Hawaii right
now.

DIVINCI
If I was in Hawaii right now, I
wouldn't be thinking about here. See
the difference?

RODRIGUEZ
No.

DIVINCI
Look, I'm not in Hawaii, I'm here.
But I don't want to be here, I want
to be in Hawaii. I can't be in Hawaii,
therefore I think about it so as to
not get depressed about being here.

RODRIGUEZ
But I'm here, I know I'm here, I
don't like being here, but I can't
be anyplace else because I look around
and I see all this shit. How do you
get around that?! That's what I'm
asking.

DIVINCI
Focus.

RODRIGUEZ
Focus.

Divinci nods. Rodriguez looks at his watch.

RODRIGUEZ
It's time. No more Hawaii, okay?
Focus on this.

DIVINCI
(smiles)
Aloha.

Rodriguez shakes his head, exasperated, and exits.

RODRIGUEZ
(to himself)
Aloha my ass.

CUT TO:

EXT. DARK STREET - NIGHT

Poor side of town. A few old cars parked on the street. Some
buildings vacant. A LATE MODEL WHITE CADILLAC cruises past.
We HEAR LOUD RAP MUSIC.

INT. CADILLAC - NIGHT

LIONEL HUDD drives. Hudd is thirty. African American. The
MUSIC is loud. His clothes lean to African roots. A WOMAN
sits next to the passenger window. Her name is CYNTHIA WEBB.
Cynthia is thirty-five, dressed in short provocative skirt,
tight top. A little too much make-up. She's lead a hard life.

She glances at Hudd. Hudd glances at her, looks down at her
skirt hiked up on her leg.

CYNTHIA
Left at the corner.

Hudd's eyes linger on her thighs for a moment, then he turns
his attention back to driving, tapping along with the heavy
bass.

EXT. PRINCE MOTEL - NIGHT

The Cadillac pulls into the parking lot. Parks in front of
room SEVEN. Hudd gets out, looks around. Cynthia gets out,
leads him to SEVEN. Knocks.

The curtains pull back. Divinci looks at Hudd and Cynthia.
She nods to him. The door unlocks and opens.

Cynthia enters. Hudd looks around again. Then follows.

INT. MOTEL ROOM SEVEN - NIGHT

Divinci waits at the door. He and Hudd eye each other as
Hudd enters the room. Divinci looks out, making sure no one
has followed, then shuts the door.

DIVINCI
Hope you don't mind me checkin' you
for weapons.

HUDD
Hell yes I mind.

Divinci hesitates. This could break the deal.

HUDD
I just don't want no man handlin'
me.

Hudd looks at Cynthia. The suggestion is taken.

DIVINCI
Okay. Check him.

Hudd spreads his legs, lifts his arms. Cynthia would rather
not have the job, but there's no choice.

HUDD
Lotta good hidin' places on this
body. Check good.

Cynthia runs her hands over Hudd, checking pockets, pants,
sleeves. Finally coming to his crotch. Hudd smiles.

HUDD
Careful. It's loaded.

Cynthia has heard it all before. She's not squeamish in the
least and she gives him a good going over.

CYNTHIA
He's got nothin'.

She smiles back at Hudd. Then moves away, sits on the couch
and seductively crosses her legs.

Divinci, satisfied, pulls a PLASTIC BAG packed tight with
COCAINE out of his pocket, tosses it to Hudd.

Hudd sits on the couch, opens the bag, sticks his finger in
and tastes the contents. But never takes his eyes off Divinci.

HUDD
Not bad, not bad. Any more where
this came from?

DIVINCI
Maybe.

HUDD
Then maybe we talk again.

DIVINCI
Maybe.

Hudd stands, unzips his pants. Reaches in to grab his cock,
but instead, pulls out a stack of MONEY. Inch thick.

HUDD
Told you there was a lotta good hidin'
places on this body.

Hudd hands the money to Divinci and pockets the plastic bag.
Then crosses to the door. Glances back at Cynthia.

HUDD
Bet you gotta lotta nice hidin'
places, too.

Then Hudd smiles and exits.

EXT. PRINCE MOTEL - NIGHT

Hudd gets into his Cadillac, pulls out of the motel parking
lot.

EXT. STREET - NIGHT

Deserted. No one on the street this late. Several of the
buildings are boarded up.

INT. CADILLAC - NIGHT

Hudd drives. No music this time. His attitude has changed.
More serious. LIGHTS in the REAR VIEW MIRROR. Coming up fast.
Hudd watches as the car pulls around to pass.

He glances at the CAR as it pulls past him, but all we SEE
is the FLASH OF A BLAST FROM A GUN. Front WINDOW EXPLODING.

THE CADILLAC

swerves into a parked car. The OTHER CAR -- a BUICK REGAL --
screeches to a stop next to it. ONE MAN gets out. Moving
quickly to the Cadillac. It's dark, difficult to see. He
carries a SMITH AND WESSON .44. Opens the door. He's wearing
PLASTIC GLOVES.

Hudd is dead, slumped against the passenger door. The man
reaches in, turns off the engine, grabs the plastic bag of
cocaine. And now we see it's Divinci.

INT. BUICK REGAL - NIGHT

Rodriguez is the driver. Anxious. Engine running.

RODRIGUEZ
Come on! Hurry up!

Divinci dashes back to the Buick, hops in. Rodriguez floors
it.

THE BUICK

tears off down the dark street.

CUT TO:

EXT. APARTMENT BUILDING - NIGHT

Not a great part of the city. Apartment buildings line both
sides of the street. An alley runs between two of the
buildings. A TAXI pulls up in front. HEADLIGHTS SHINING on a
MAN passed out in the street.

Cynthia exits the taxi. The taxi pulls away. She glances at
the man passed out in the street.

His clothes are ragged. He's filthy. His face covered in
beard and greasy dirty hair. Hard to tell how old he is.
Maybe forty. Maybe eighty. Who knows? His hand clutches a
bottle in a bag.

CYNTHIA
Hey, Joe, wake up. Get outa the street
before you get run over. Joe, wake
up!

She nudges him with her foot. The man groans, rolls back.
Dead drunk.

CYNTHIA
You're in the street, Joe. Get outa
the street.

The man, JOE, is silent for a moment, then he starts to crawl --
toward the middle of the street.

CYNTHIA
Other way, Joe.

Joe turns his crawl toward the curb. Cynthia watches him for
a moment. He is truly pathetic.

CYNTHIA
Forget it, Joe. Maybe you're better
off right there. I don't think you'd
even feel it.

Cynthia enters the building next to the alley.

CUT TO:

CYNTHIA - INT. APARTMENT - NIGHT

asleep. The room is dark. We HEAR a door open and close.
Cynthia wakes.

CYNTHIA
Who is it?

Divinci crosses to the bed.

DIVINCI
Got your money.

CYNTHIA
Put it on the table.

She closes her eyes, trying to go back to sleep.

DIVINCI
Tired?

CYNTHIA
Yes.

DIVINCI
I'm not.

CYNTHIA
Take a sleeping pill. There's some
in my purse.

DIVINCI
You want your money?

Cynthia's eyes open and she looks up at Divinci. He's smiling,
holding up FIVE ONE HUNDRED DOLLAR BILLS.

CYNTHIA
I already worked for that.

Divinci unzips his pants.

DIVINCI
This is a bonus.

CYNTHIA
For who?

Divinci smiles. Cynthia snatches the money. Divinci starts
to undress.

DIVINCI
This ain't my fault. This is a failure
of our educational system. If you
hadn't fallen through the cracks and
dropped outa school, you wouldn't be
here now.

CYNTHIA
So what's your excuse?

DIVINCI
I'm in love.

Cynthia just stares at him for a long beat. Then she unbuckles
Divinci's pants.

CUT TO:

KEY - INSERTED INTO DOOR LOCK - NIGHT

A door is pushed open. Rodriguez enters his one bedroom
apartment. Starts to shut the door when TWO MEN appear from
the shadows. The first is short, well dressed. His name is
VIC. The second is large, heavy-set, shaved head. His name
is CUTLESS SUPREME. Cutless Supreme is not a man to be messed
with.

VIC
Keepin' some late hours.

Rodriguez looks at Cutless Supreme.

RODRIGUEZ
What the hell you doin'? What're my
neighbors gonna think?

VIC
I apologize. I understand your
concerns. But you must understand
that, unlike a bank, I cannot rely
on a late fee as sufficient
encouragement to repay one's debts.
I am forced to employ the likes of
Mr. Cutless Supreme, whom I might
add, contributes significantly to my
overhead. I am the real loser here.
And I am concerned about your
sincerity in repaying the twenty-
seven thousand, nine hundred forty-
two dollar gambling debt that is one
week past due. What can you do to
reassure me of your good intentions?

RODRIGUEZ
I can make your life fuckin' miserable
that's what I can do.

VIC
Look at me. Do I have a wife and
three kids? Do I have a good job at
IBM? Am I a handsome guy? No, no and
no. I loan money at excessively high
interest rates to pricks like you
who can't control their urges to
lose big money playing cards and
then I am forced to stay up all night
trying to convince them that I have
needs, too. The point of which is, I
already have a fuckin' miserable
life. So don't threaten me you lousy
bag of cat shit.

Rodriguez steps toward Vic, but Cutless Supreme slides in
between them. Rodriguez isn't going to win this one.

VIC
All I'm askin' is that you be
responsible. Is that unreasonable?

Rodriguez backs off, hesitates as he runs over his options.
There aren't any. He reaches into his pocket, pulls out some
of his night's earnings.

RODRIGUEZ
Four thousand is all I got.

VIC
I am proportionally reassured. You
purchased yourself an extension.

Vic takes the money, heads for the street. Rodriguez watches
Vic walk away. Cutless Supreme watches Rodriguez.

RODRIGUEZ
Cutless Supreme, what kind of fuckin'
idiot name is that?

CUTLESS SUPREME
It was the car my daddy stole to
take my momma to the hospital, but
the cops stopped him and shot him
dead in an alley before he could
explain. I was born in the back seat.

Rodriguez glares at Cutless Supreme, then he shuts the door.

CUT TO:

CREDIT SEQUENCE - BLACK AND WHITE MONTAGE

CRIME SCENE PHOTOGRAPHS -- Dead drug dealers lying where
they were shot. Overlapping CLOSE-UPS of EVIDENCE TAGS and
SHELVING filled with EVIDENCE from hundreds of crime scenes.
And CLOSE-SHOTS of CRIME SCENES -- chalk outlines -- bullet
shells - bloody foot prints. And finally CRIME SCENE TAPE.
The BLACK AND WHITE fades back into COLOR --

YELLOW CRIME SCENE TAPE

surrounding the CADILLAC. We PULL BACK, revealing COPS
controlling the area. It's early morning. A FEW PEOPLE have
stopped to watch. But this is not a high traffic area.

ANOTHER CAR pulls up. Unmarked. Two men get out. We FOLLOW
BEHIND THEM as they approach the Cadillac and PATROLMAN
MAHONEY, who knows them.

PATROLMAN MAHONEY
Another day, another body. Where you
wanna start?

FIRST MAN
A hit?

PATROLMAN MAHONEY
Looks like. Could be gang related.

And now we SEE THE TWO MEN from the unmarked car. It's DIVINCI
and RODRIGUEZ. Suit and ties. They act like they own the
area. And they do.

PATROLMAN MAHONEY
Happened sometime last night, early
morning, two, three o'clock. African-
American male, looks like in his
thirties. But even that's a guess.
Half his head is on the upholstery.

RODRIGUEZ
Any witnesses?

PATROLMAN MAHONEY
Oh, sure, hundreds.

INT. CADILLAC - DAY

The bloody scene is untouched. Hudd's body is where it fell,
on the seat. Dried blood everywhere. Divinci looks in.

DIVINCI
Fuckin' Animals.

CUT TO:

INT. POLICE STATION - DAY

EVIDENCE ROOM. Behind a locked fenced in area. A DESK OFFICER
checks in and out all evidence. He is twenty-eight, wears
glasses, very clean cut. TWO DETECTIVES are checking in
evidence as Divinci walks in.

FIRST DETECTIVE
...three shotgun shells, twelve gauge.

The Desk Officer checks in the evidence.

DESK OFFICER
Three shotgun shells, twelve gauge.

The two detectives wave hellos to Divinci as he approaches.

SECOND DETECTIVE (SGT. GARDNER)
Heard you got a gang related. Lucky
guy, Divinci. You get all the pretty
ones.

DIVINCI
One less drug store on the street.

DESK OFFICER
And the world is a safer place.

The Desk Officer buzzes Divinci through the door. Divinci
crosses to the --

EVIDENCE STORAGE ROOM

-- filled with shelves. Stacked with evidence from on-going
investigations. And the shelves are full of guns, knives,
bloody gloves, masks, shoes, etc.

Divinci looks around, then removes the PACKAGE OF COCAINE
and the .44 from his pockets and places them back on one of
the shelves. CASE NUMBER C-549087. One thing about the .44
which we can see now -- a BLACK STAIN on the metal of the
handle.

CUT TO:

INT. HOMICIDE SQUAD ROOM - DAY

Desks, phones, computers, typewriters and HOMICIDE DETECTIVES.
Some witnesses being interviewed. Rodriguez is on the phone
at his desk. He's in the middle of an interview as he fills
out one of the many forms that complicate his life.

RODRIGUEZ
(into phone)
-- a green car... you know what
make... Maybe a Ford, uh-huh. You
didn't see the license, did you?

Divinci comes back to his desk, next to Rodriguez. Rodriguez
looks up. Divinci gives him a confident smile and brushes
his hands together -- clean hands.

RODRIGUEZ
(into phone)
Yeah, no, I understand, it was dark...
Uh-huh.

Divinci sits at his desk. He pulls an ADVERTISEMENT for a 42
FOOT SPORT FISHING BOAT out of his desk. He holds it up to
Rodriguez, points to the boat.

DIVINCI
Wanna go for a ride?

RODRIGUEZ
(into phone)
You think you could describe the
driver?
(covers phone; to
Divinci)
You bought it?

DIVINCI
As of last night, I've got the down.
Just picture me under swayin' palms
with a Mai Tai.

We can HEAR someone describing a felon over the phone, but
Rodriguez isn't listening. He's looking at the boat.

RODRIGUEZ
(into phone)
Uh-huh.
(covers phone)
You're gonna buy it, no shit. When?

DIVINCI
Just a phone call away.

Divinci picks up the phone, starts to dial.

RODRIGUEZ
That's really great, man.

Divinci smiles. Rodriguez suddenly realizes the person on
the other end of the phone has stopped talking.

RODRIGUEZ
(back to phone)
Uh-huh, okay... how tall was he?

A heavy set man in his fifties approaches -- CAPTAIN
HENDERSON.

CAPT. HENDERSON
You got primary on the drug related
this morning on 27th.

DIVINCI
I'm workin' it up now.

CAPT. HENDERSON
Who's your second?
(Divinci points at
Rodriguez)
In my office. Both of you.

DIVINCI
Why?

CAPT. HENDERSON
Now.

Captain Henderson doesn't wait for a response. He heads for
the office -- an inner office of glass and wood.

Divinci looks at Rodriguez, who is suddenly a little nervous.
We can HEAR the PERSON OVER THE PHONE that he's talking to,
but he's no longer interested and hangs up on them.

RODRIGUEZ
What the hell --

Divinci motions "keep calm."

INT. CAPTAIN HENDERSON'S OFFICE - DAY

Henderson is hanging up his coat as Divinci and Rodriguez
enter. They aren't the only ones in the office. RICHARD SIMMS,
thirty-two, trim, short cut hair, suit, is waiting.

CAPT. HENDERSON
Detectives Divinci and Rodriguez,
this is Richard Simms. He's with the
D.E.A. He wants to ask you some
questions about your case.

DIVINCI
What's the occasion?

SIMMS
You get an i.d. on the victim?

RODRIGUEZ
We're waitin' for prints.

Divinci pulls out his note pad.

DIVINCI
Car was registered to --

SIMMS
-- Anchor Imports. 81 El Dorado.
Black.

DIVINCI
If you got all this, what d'you want
from us?

SIMMS
...The man in the car is Lionel Hudd.

RODRIGUEZ
(a little incensed)
How d'you know that?
(to Henderson)
What's goin' on here?

SIMMS
Hudd was DEA, undercover.

Rodriguez and Divinci take the news like a sledgehammer. On
their frozen expressions we HEAR --

SIMMS (O.S.)
He was workin' a case on syndicate
distribution of drugs on the south
side. But every dealer we tagged
kept getting killed. He finally got
a lead on a girl -- Hudd was a friend
of mine... I'm gonna nail the
sonuvabitch who killed him.

A long beat on Rodriguez and Divinci, then --

DIVINCI
We'll do everything we can to help.

CUT TO:

THE UNMARKED POLICE CAR - EXT. STREET - DAY

screeching around a corner and up a drive into a VACANT LOT.
The car skids to a stop and Rodriguez gets out of the driver's
side, slamming the door and storming off. He's out of his
mind.

Divinci gets out quickly, follows him. Rodriguez is so fired
up and scared he can't stop moving.

RODRIGUEZ
SHIT, FUCK, SHIT, JESUS CHRIST!

DIVINCI
Calm down!

RODRIGUEZ
WE'RE DEAD, WE'RE FUCKING DEAD!

DIVINCI
SHUT UP!

RODRIGUEZ
FUCK, FUCK, FUCK!

Divinci catches Rodriguez, tries to stop him from flailing
about.

DIVINCI
STOP IT! YOU HEAR ME, RIGHT NOW,
STOP IT!

RODRIGUEZ
GOD, GOD, THIS IS REALLY FUCKIN' OUT
OF CONTROL!

Rodriguez tries to push Divinci away, but Divinci holds on.
They struggle --

RODRIGUEZ
LET GO OF ME!

-- pushing, shoving, falling to the dirt. Divinci jumps on
top of him, pulling his pistol and shoving it into Rodriguez
mouth.

DIVINCI
Shut up and listen to me!

Rodriguez glares up at Divinci.

DIVINCI
They could be watchin' us right now
you asshole. So fuckin' shape up!
You got it?!
(nothing from Rodriguez)
I want you to nod!

It takes Rodriguez a moment, but he nods. Divinci pulls his
gun out of Rodriguez' mouth, gets off him and holsters his
pistol. Rodriguez is scared to death, not of Divinci, of the
mess they're in. He just lies in the dirt.

DIVINCI
Get the fuck up!

Rodriguez starts to get to his feet. Divinci grabs him, yanks
him up. Pushes him to the car.

DIVINCI
Get in the car!

They move back to the car. Rodriguez gets back into the
driver's seat. Divinci moves around to the passenger side.
Gets in, slams the door shut.

INT. UNMARKED CAR - DAY

They sit silently in the car for a moment in the middle of
the vacant lot. Breathing hard. Dirty. After a beat --

DIVINCI
There's no fuckin' reason to panic.

Rodriguez turns slowly and looks at Divinci incredulously.

RODRIGUEZ
No fuckin' reason to panic? Did you
say no fuckin' reason to panic!

DIVINCI
Stop being an idiot! We're the cops
on the case. It's our case. We are
going to find the fuckin' killers.

RODRIGUEZ
WE'RE THE FUCKIN' KILLERS!

DIVINCI
Since when does that matter?!

Rodriguez stares at Divinci for a beat, then we --

CUT TO:

EXT. UNMARKED CAR - PARKED - DAY

Rodriguez and Divinci are sitting on the car, each with a
beer and sharing a bottle of whiskey.

DIVINCI
All they want is someone to go down
for the crime, right? Do we care who
goes down for the crime? Fuck no. As
long as someone goes down for the
crime. It's a slot that's gotta be
filled.

Rodriguez is calmer, but still something bothers him --

RODRIGUEZ
We killed a cop, doesn't that bother
you?

DIVINCI
Of course it bothers me. What d'you
want me to do, turn myself in? Well
I'm not. That's the risk we take
everyday, somebody might pop us,
especially undercover like that. So
he got popped. It happens.

RODRIGUEZ
Not by other cops!

DIVINCI
I patted him down! He wasn't wearin'
a wire, he had no badge, no gun, how
was I supposed to know?!

A moment of silence, then --

DIVINCI
Look, I feel just as bad as you do,
but we gotta start thinkin' about us
here. The important thing is we don't
lose control of the case. We can
never lose control of the case.
Whatever evidence there is goes
through us. We lay down the trail.
Make it nice and logical. We're the
teachers and two and two can add up
to five if it's our classroom.

RODRIGUEZ
What're you talkin' about, are you
sayin' we stick somebody with this?

DIVINCI
Evidence points wherever we want it
to point. Shit, we can provide so
much evidence, even the asshole we
pick will think he fuckin' killed
him.

RODRIGUEZ
You got some asshole in mind?

DIVINCI
Just don't worry. We'll find a killer.
There's lots of 'em out there.

CUT TO:

EXT. STREET - DAY

THREE AFRICAN AMERICAN YOUTHS, all in their twenties, are
hanging on a street corner. Talking. Normal street traffic.
They give a long hard look to an ATTRACTIVE AFRICAN AMERICAN
WOMAN who walks past. A little chatter.

The UNMARKED CAR suddenly screeches to the curb. The black
youths scatter quickly as Divinci jumps out and goes after
the tallest of the three. His name is JAMES. Rodriguez guns
the car and gives chase on wheels.

James darts across traffic. Divinci running hard after him.

Rodriguez spins the car in a u-turn. Racing after them.

EXT. ALLEY - SAME TIME

James darts down the alley. Narrow, dark, lined with trash
bins. Divinci turns into the alley, but he isn't going to
catch him.

James is almost to the end when the car turns into the alley,
skidding to a stop. Rodriguez jumps out, gun leveled at James.

No where for him to go. He slows down. Rodriguez moves in
from his front, Divinci runs up from behind. James is
disgusted.

JAMES
What the hell'd I do now?

CUT TO:

INT. POLICE STATION - EVIDENCE STORAGE ROOM - DAY

Divinci removes the PACKAGE OF COCAINE and the .44 from the
shelf. CASE NUMBER C-549087.

CUT TO:

THE .44 - INT. INTERROGATION ROOM - DAY

SLIDING across a table to James, who stops it with his right
hand. Divinci and Rodriguez are across from him.

JAMES
Ain't my gun.

DIVINCI
Never is, is it.

JAMES
That ain't my fuckin' gun.

He shoves the gun back. Divinci stops it with his arm, careful
not to touch it.

DIVINCI
Got your fuckin' prints on it.

James quickly realizes what they've done. He lunges for the
gun, but Divinci picks it up quickly with a pencil through
the trigger guard. James glares at them with murderous intent.

RODRIGUEZ
Where were you Friday night?

JAMES
Friday night... last Friday night?

RODRIGUEZ
Where were you?

JAMES
Whatever you think I did went down
last Friday night?

DIVINCI
Better have a good alibi, James, or
it's good ali bye-bye.

A beat, then James smiles.

JAMES
I was in jail you assholes. Check it
out.
(starts to laugh)
All night. What a couple a dickheads!

Rodriguez and Divinci are silent.

CUT TO:

DOOR - INT. APARTMENT - DAY

KICKED IN on a grungy small apartment. Divinci and Rodriguez
burst in, guns drawn. Scaring the shit out of an HISPANIC
MAN (CORTEZ) and his half-naked GIRLFRIEND as they watch
television.

DIVINCI AND RODRIGUEZ
NOBODY MOVE! HANDS IN THE AIR! NOW!
MOVE IT!

CUT BACK TO:

THE .44 - INTERROGATION ROOM - DAY

SLIDING across the table back to Rodriguez and Divinci. Cortez
sits across from them. Wearing white t-shirt, baggy pants.
Tattoos on his arms.

CORTEZ
Ain't my gun.

RODRIGUEZ
(smiles)
Got your prints on it.

CORTEZ
(stands; angry)
You fuck, I ain't never seen that
gun before!

RODRIGUEZ
Where were you last Friday night?

CORTEZ
Fuck you. I wanna talk to a lawyer!

Just want they wanted to hear. No alibi.

RODRIGUEZ
Lawyer's not gonna help you, Cortez.
All the evidence we got points right
to you.

Cortez stares at them for a moment, then --

CORTEZ
Did you say last Friday night?

Cortez smiles and pulls up his shirt, revealing a long scar
across his stomach.

CORTEZ
Intensive Care, you pindejo fuckin'
gutter shits. And Thursday night,
and Saturday, too. I just fucking
got out this morning.

CUT TO:

MAN - EXT. ALLEY - DAY

SLAMMING INTO A WALL, hitting hard, falling back to the dirty
garbage covered alley. He's about twenty-seven, thin, blond
hair tied in a pony tail. He wears a flannel shirt, jeans,
boots. He doesn't want to fight. His name is DAVE.

DAVE
Alright, alright, alright... shit. I
ain't gonna fight you.

He looks up at Divinci and Rodriguez moving toward him.

CUT TO:

INT. INTERROGATION ROOM - DAY

Dave is behind the desk handling the .44 with no apparent
problem.

DAVE
Ain't my gun.

RODRIGUEZ
That's what they all say.

DAVE
Wish it was. No better gun than Smitty
and Wes .44 mag with serial numbers
filed off.
(opens cylinder)
Got any bullets?

Divinci walks around, holds out his hand for the gun.

DAVE
Who did I kill?

DIVINCI
Where were you last Friday night?

DAVE
You mean, what's my alibi right?

Dave spits on the gun, wipes off his prints with his shirt.

DAVE
I was breakin' and entering. Jewelry
store on seventh and Front, about
nine o'clock. Not even close to your
jurisdiction. I got the rocks to
prove it.

He drops the gun, clean of prints onto the table.

DAVE
Sorry I can't help ya. But one to
five is better than ten to life.

Divinci and Rodriguez stare at Dave. They are not happy.

CUT TO:

MUG SHOTS - INT. HOMICIDE SQUAD ROOM - DAY

in plastic pages. A BINDER full of criminal portraits. Divinci
is going through one book. Rodriguez searches another.

DIVINCI
Montrose LaJolla...

RODRIGUEZ
We pulled him in last year for knifing
that dealer on 32nd.

DIVINCI
Yeah. Almost killed him, remember?
He'd be good.
(calls out to ANOTHER
DETECTIVE)
Anybody seen Montrose LaJolla?

ANOTHER DETECTIVE
He's dead. His life partner killed
him in a Domestic D about a month
ago.

Rodriguez suddenly slams his book shut.

RODRIGUEZ
Shit!

Divinci looks at him. Rodriguez is angry, tense. Divinci
gives him a look telling him this is not the time and place
for a discussion on this topic.

DIVINCI
Take it easy.

RODRIGUEZ
This isn't gonna work!

Divinci leans toward Rodriguez.

DIVINCI
Nobody said it was gonna be easy.
But let's not advertise our despair...
Okay?

The PHONE RINGS. Divinci picks it up.

DIVINCI
(into phone)
Divinci.

INT. CAPT. HENDERSON'S OFFICE - DAY

Captain Henderson is sitting behind his desk. Divinci and
Rodriguez are in front of him. Rodriguez is trying to hide
his nervousness. Divinci is absolutely cool.

DIVINCI
This is our case! Not the goddamn
DEA's!

CAPT. HENDERSON
It's been three days.

DIVINCI
We're not fuckin' magicians! What
the hell is three days?! This is a
goddamn murder case! It takes a little
bit of goddamn time!

CAPT. HENDERSON
When a Federal Undercover Officer
goes down, it's never a fuckin' murder
case! I don't like the DEA on my ass
any better than you like 'em on yours.
But this is personal for them and
they want answers. Forget your other
cases and get something, anything
that I can give to them. The last
thing I want is the goddamn F.B.I.
on my back, too.

Divinci and Rodriguez are quiet for a beat, then --

DIVINCI
We've got a couple leads. We need a
little more time.

CAPT. HENDERSON
I can't hold 'em off much longer.

RODRIGUEZ
This is no fuckin' way to run an
investigation.

CAPT. HENDERSON
Let me tell you both something, if
you don't solve this quick, they're
gonna start askin' why? And they'll
be lookin' to blame somebody in this
department. So my advise to you is,
get something fuckin' fast or turn
over what you've got and get outa
the way.

Rodriguez and Divinci are quiet for a moment, then --

DIVINCI
How much time we got?

CAPT. HENDERSON
A couple days. The funeral's this
afternoon.

RODRIGUEZ
What funeral?

CAPT. HENDERSON
For Agent Hudd. Simms wants you there.

DIVINCI
What for? We didn't know him.

CAPT. HENDERSON
How the hell do I know?! It's DEA,
it's their thing. You're the cops on
the case, I suppose they want you to
know what a great guy Hudd was so
you'll work all that harder to find
his killer. Just go. It'll reassure
'em how much you care and keep 'em
off my ass.

CUT TO:

EXT. CEMETERY - GRAVE SITE - LATE AFTERNOON

MOURNERS gathered around the grave site. WIFE in tears. MOTHER
in tears. The men trying their best to hold up. Beyond the
family, DEA AGENTS. Simms among them. A show of support and
solidarity. A REVEREND delivering --

REVEREND
-- and it is too easy to say that he
was a good man in his job because he
gave more than most. And it's too
easy to say that he was a good man
in his community because he gave
more than others. And it's too easy
to say he was a good man at home
with his family because he was always
there when they needed him. Special
Agent Lionel Hudd was not just a
good man, he was an extraordinary
man. And his death shall not be in
vain.

CAMERA FINDS Divinci and Rodriguez at the back. Rodriguez
looks nervous. Divinci notices. Their conversation is quiet.

DIVINCI
Don't Humpty Dumpty on me.

RODRIGUEZ
What's that mean?

DIVINCI
Your cracks are startin' to show.

RODRIGUEZ
(covering)
Bullshit.

Divinci sees Simms approaching from the side.

DIVINCI
Get your balance. Here comes the
King.

Rodriguez glances toward Simms as he walks up. The
conversation is quiet. Not wanting to disturb the ceremony.

SIMMS
Glad you came... Anything break?

Divinci glances at Rodriguez.

DIVINCI
Nothin' to brag about. But we've got
a couple new leads we're followin'.

SIMMS
...Look, normally we'd be all over
this, but your Captain seems to think
you can do the job. It's your
territory. I guess you know it better
than anybody. And that can be worth
a lot. But you understand... we won't
wait forever.

Divinci is pissed. He doesn't like Simms.

DIVINCI
Just outa curiosity... What happened
to his backup? You guys use backup
on undercover don't you?

SIMMS
It was a new lead. Hudd was afraid
backup would blow his cover. He was
supposed to check in ten minutes
after the deal went down. He never
checked in.

RODRIGUEZ
We want this one as bad as you do. A
cop's a cop. We're in this together,
right?

Simms stares at Rodriguez and Divinci for a moment, then he
returns his attention to the ceremony.

SIMMS
That's why I asked you to come here.
Just so you knew that.

CUT TO:

EXT. HOT DOG VENDOR STREET - DUSK

Rodriguez and Divinci walk down the street, hot dogs in hand,
returning to their car parked curbside.

DIVINCI
He didn't have backup. You believe
that?! Jesus what a dick.

RODRIGUEZ
I don't think we should criticize
that particular decision of his.

DIVINCI
I don't care what the reasons are,
you don't play Lone Fuckin' Ranger
on a drug buy. You're just askin'
for it. That's all I'm sayin'.

RODRIGUEZ
I don't trust those bastards. They're
not waitin' for us. That's bullshit.
They're runnin' their own
investigation. I know it!

DIVINCI
Let 'em. The gun, the coke came from
evidence. The car came from impound.
So what's to find?

RODRIGUEZ
That's what I'm afraid of. There's
nothing for them to find. We were
too good.

DIVINCI
So what're you worried about?

RODRIGUEZ
Nobody is that fuckin' good.

Divinci looks at Rodriguez, then smiles.

DIVINCI
Except us.

CUT TO:

STRIPPER - INT. STRIP JOINT - NIGHT

bumping and grinding her way through her performance. We
don't see her face yet. Just her body. G-string and skin
tight tank top. LOUD MUSIC. MEN in the audience appreciative.
The room is smoky. LIGHTS swirl over the stage. The tank top
comes off. WHISTLES and CHEERS. And now we see the dancer --
it's CYNTHIA.

INT. HALLWAY - BACK STAGE - NIGHT

Cynthia moves down the hall in her g-string and high heels.
She enters the dressing room.

INT. DRESSING ROOM - NIGHT

Divinci is sitting in the only chair in the cramped little
room. He's going through her purse. Cynthia stops when she
sees him, then shuts the door.

CYNTHIA
I think this is breaking and entering,
isn't it?

DIVINCI
I work homicide, I don't deal with
that shit.

CYNTHIA
(puts on robe)
Learn anything you didn't already
have on file?

DIVINCI
Yeah. You surprise me sometimes.
Here I think you're just a hard case
and I discover you've got a heart of
gold.
(holds up her drivers
license)
You're an organ donor. That's really
nice. The only problem is, they'll
never use your best parts.

CYNTHIA
I'll make sure you get them.

DIVINCI
Hey, don't get me wrong. I was just
surprised that we had something in
common... Besides what we have in
common.

CYNTHIA
Do everybody a favor, if you're gonna
donate your heart, make sure it goes
to science. Most people want one
that beats.

DIVINCI
Cynthia... pretty name. What do the
first three letters spell?

CYNTHIA
Don't get so clever. It's out of
character.

CUT TO:

INT. CYNTHIA'S APARTMENT - BEDROOM - NIGHT

Divinci and Cynthia are lying in bed. Divinci has his arm
around her, but he's staring at the ceiling.

CYNTHIA
What's so interesting up there?

DIVINCI
Nothing.

CYNTHIA
Then why's it got all your attention?

DIVINCI
I'm thinkin', that's all.

CYNTHIA
About us?

DIVINCI
No.

CYNTHIA
Good.

Divinci looks at Cynthia.

DIVINCI
What if I was thinkin' about us?

CYNTHIA
Don't waste your time.

DIVINCI
What if I was?

CYNTHIA
Where's it gonna get us?

DIVINCI
Maybe I got plans.

CYNTHIA
I don't wanna hear 'em. Plans just
make you think somethin's gonna get
better. I'm fine now. I don't need
to get screwed up waitin' for
something good to happen.

DIVINCI
I just want you to know, love is
important to me.

CYNTHIA
Me, too.

DIVINCI
But more important is loyalty. Nothing
is more important than that. Not
love, not anything. Because loyalty
is about respect. You can talk about
love all you want, but without respect
it's empty. I mean the first thing
that goes in a marriage is respect.
And once it's gone, forget the love.
So I am telling you, I am loyal to
you. Like I'm loyal to my partner.
We are closer than blood. And I trust
him with my life.

Cynthia didn't really expect this from Divinci. She's
actually, despite herself, a little touched.

CYNTHIA
Why're you telling me this?

DIVINCI
When you asked if I was thinkin'
about us and I said I wasn't, I just
want you to know that I do.

A beat, then --

CYNTHIA
Just don't ask me to marry you.

DIVINCI
(smiles)
Why aren't more women like you?

Divinci leans in and they kiss.

CUT TO:

EXT. CYNTHIA'S APARTMENT - NIGHT

Divinci exits the building. Starts to cross the street to
his car parked on the opposite side when he HEARS SOMETHING
BEHIND him. He turns, instantly reaching for his pistol.

A drunk staggers out of the alley -- looks like he has a gun
in his hand.

Divinci instinctively raises his gun to shoot when --

THE LIGHT -- catches the object in the drunk's hand -- a
BROWN BOTTLE, the neck sticking ahead like the barrel of a
gun.

DIVINCI
(lowers gun)
You fuckin' idiot.

The drunk stops when he hears the voice. Looks through his
matted greasy hair that cascades in front of his eyes. Now
we recognize Joe.

Divinci turns away, disgusted. Opens his car door, then stops.
Caught in a thought. He turns back and looks at Joe again.

EXT. ALLEY - NIGHT

Joe stumbles back into the DARKNESS OF THE ALLEY. Lies down
next to a trash bin. LIGHTS suddenly illuminate Joe. Joe
squints as a CAR moves right up to him. Joe shields the light
with an arm.

We HEAR the DOOR OPEN and CLOSE, then Divinci bends down
into the LIGHT. He is wearing a BASEBALL CAP backwards on
his head. And GLOVES on his hands. He reaches inside Joe's
JACKET POCKET.

DIVINCI
What've we got here?

He pulls out the Smith and Wesson .44. Divinci looks at Joe.

DIVINCI
Where were you last Friday night?

Confused, Joe looks up at Divinci through matted hair.

CUT TO:

INT. CAR - DRIVING - NIGHT (EARLY MORNING)

Divinci drives. Joe up front. In an alcoholic daze.

DIVINCI'S VOICE
What's your name?

Joe looks at Divinci. Having trouble focusing.

DIVINCI
Your name, what's your name?

WILLIAM
...Joe...

DIVINCI
Where'd you get the gun, Joe?

Joe looks down at his hands -- he's holding the .44.

DIVINCI
It was in your pocket, Joe, your
coat pocket. You must keep it for
protection, right?

WILLIAM
I don't know.

DIVINCI
Sure you do, Joe. Everybody needs
protection. Especially a guy like
you lives on the street, right?

Joe just stares at the gun.

DIVINCI
Put it back in your pocket, Joe. You
don't have to worry about me, I'm
not gonna hurt you.

Joe puts the gun into his jacket pocket.

CUT TO:

EXT. STREET - EARLY MORNING

The LOCATION of HUDD'S MURDER. The street is empty. Quiet.
Divinci stops his car next to where Hudd died.

INT. DIVINCI'S CAR - EARLY MORNING

Joe is asleep, leaning against the window. Divinci reaches
across and yanks him.

DIVINCI
Wake up, Joe! I want you to look at
something. Out the window, Joe. Look
out the window.

Joe's eyes open. Divinci forces his head to the window.

DIVINCI
This is where it happened, Joe. I
want you to remember it. This is
where you killed him

Joe tries to turn to Divinci, but Divinci holds his head.

DIVINCI
You remember it now? How you shot
him through the head? You remember
it?

WILLIAM
I... don't...

DIVINCI
(lets go of Joe)
You will.

Divinci slams his foot down on the accelerator and --

THE CAR

-- tears off down the street.

CUT TO:

RODRIGUEZ - INT. BEDROOM - EARLY MORNING

asleep. Alone in a double bed. The PHONE RINGS. Rodriguez
startles awake. Catches the phone on the second ring.

RODRIGUEZ
Who the hell is this?

INTERCUT WITH DIVINCI - INT. MOTEL ROOM - EARLY MORNING

Divinci on the phone in the f.g. Joe is passed out on the
bed in the b.g. The room is dark.

DIVINCI
Is that any way to answer the phone?

RODRIGUEZ
Divinci, shit! It's quarter to six.

DIVINCI
I know what time it is, I'm not the
one in bed. I need the photos of the
scene.

RODRIGUEZ
Now?

DIVINCI
I got a suspect. But he can't remember
all the details. He needs a little
help. And I thought, since you're my
partner, you might jump at the
opportunity to lend me a fuckin'
hand.

Rodriguez sits up in bed.

RODRIGUEZ
He doesn't remember last Friday?

DIVINCI
He doesn't remember a lotta Fridays.
Bring the shots and pick up a fifth
of Vodka.
(glances at Joe)
Make it two.

CUT TO:

JOE - INT. MOTEL ROOM - DAY

asleep on the bed.

DIVINCI
Time to get up, Joe.

Divinci slaps him. Joe's eyes open.

DIVINCI
I want you to look at something.

The room is still dark. Curtains drawn. We now see Rodriguez.
He's wearing a black sock cap and gloves. He hands Divinci
POLICE PHOTOGRAPHS of the car, the street, the victim -- the
murder scene. Divinci pulls Joe into a sitting position.

DIVINCI
There's the guy and the street and
the car. You remember how you shot
him.

Joe stares at the photographs and starts to shake his head.

DIVINCI
You don't remember? That's not what
you told me last night.

Joe is confused.

DIVINCI
If you remember you can have a drink.

Joe looks at the bottle Rodriguez holds out to him.

DIVINCI
But you gotta remember how you saw
him driving toward you and you were
in the street and you were afraid he
was going to hit you so you had to
shoot to protect yourself. You
remember now don't you?

Joe stares at the photographs for a moment, then nods.

DIVINCI
And where's your gun, Joe, where do
you keep your gun?

Joe thinks a moment, then reaches into his coat pocket and
pulls out the .44. Divinci hands Joe the bottle and Joe
drinks. We PUSH IN on the BOTTLE OF VODKA as the liquid drains
away and we CLOSE IN TIGHT until we can SEE LIONEL HUDD'S
FACE as we --

DISSOLVE TO:

CLOSE UP - THE PHOTOGRAPHS

Hudd dead. Blood on the windows. The street. Joe is drunk
again. In a haze. Starts to lift the bottle. Rodriguez pulls
it away. Rodriguez and Divinci always stay behind Joe.

RODRIGUEZ
Why'd you kill him?

WILLIAM
I... don't know...

RODRIGUEZ
It was your gun.

WILLIAM
...I don't have a gun.

DIVINCI
Yes you do. In your pocket.

WILLIAM
...I'm tired.

DIVINCI
I know, Joe, it's tough to remember
things you don't wanna remember.
What about your last name, Joe. You
got a last name?

Joe looks up as if trying to remember. Or trying not to.

RODRIGUEZ
Come on, Joe, everybody's got a last
name.

WILLIAM
I don't remember.

RODRIGUEZ
Don't fuck with us, Joe. We're trying
to help you. What's your last goddamn
name?

Joe shakes his head.

WILLIAM
I don't know.

Rodriguez suddenly smacks Joe on the side of the head when
he tries to look back. Joe is surprised by the blow. Divinci
pushes Rodriguez back. Shakes his head telling him to back
off.

DIVINCI
(to Joe; friendly)
Come on, we're all tired here, Joe.
Just give us your last name.

WILLIAM
I don't remember.

DIVINCI
...Okay, fine, what's in a name? But
you remember the gun, right, in your
pocket.

Joe nods.

DIVINCI
And you remember that you told me
you thought he was going to hit you,
right? That's why you shot...

WILLIAM
...Yeah.

Divinci looks at Rodriguez. Rodriguez nods.

DIVINCI
How'd it happen, Joe, tell me how it
happened.
(prompting)
You saw him driving toward you --

WILLIAM
-- I saw him driving toward me --

CUT TO:

INT. CAR - NIGHT - LIONEL HUDD

driving. The night that he was shot. He looks ahead into the
darkness of the street. Suddenly he SEES --

EXT. STREET - NIGHT

A MAN standing in the street ahead of him.

HUDD - INT. CAR - NIGHT

smiles and turns toward the man in the street.

A .44

is pulled from a jacket pocket, lifted toward the APPROACHING
CAR. The gun is in the hands of Joe. He is scared. The
HEADLIGHTS COMING RIGHT AT HIM. He aims and FIRES the gun.

THE FRONT WINDOW

SHATTERS. And the car swerves to the curb.

EXT. STREET - NIGHT

Joe watches from the street, then looks at the .44 in his
hand.

BACK INSIDE THE MOTEL ROOM - NIGHT

Rodriguez leans into Joe who is now sitting on the edge of
the bed, looking down at the .44 in his hand.

RODRIGUEZ
Then what did you do?

EXT. STREET - NIGHT

Joe is in the street again. He doesn't know what he did.

BACK INSIDE THE MOTEL ROOM

Divinci leans close to Joe from behind now.

DIVINCI
You ran.

And now Joe can imagine it. We PUSH INTO JOE'S EYES.

BACK TO THE STREET

as Joe turns and runs. As fast as he can away from the death.
He looks back over his shoulder, scared.

JOE'S VOICE
I didn't mean to...

BACK INSIDE THE MOTEL ROOM

Joe is staring at the gun. Divinci and Rodriguez watch him.

WILLIAM
He was going to hit me... I was
scared... he was going to hit me.

Rodriguez looks at Divinci.

DIVINCI
That's why you shot him.

WILLIAM
That's why I...

JOE - BACK ON THE STREET - NIGHT

AIMS the gun again at the APPROACHING CAR.

JOE'S VOICE
...shot him.

And we HEAR the GUN SHOT AGAIN, shattering the silence as we --

CUT TO:

THE SMOKING .44 - INT. ABANDONED WAREHOUSE - DAY

held by Joe's hand, which is held by Divinci's gloved hand.
Divinci has held Joe's finger on the trigger and pulled it.

The gunshot is deadened in the old building. Joe is lying in
the back seat of a car, passed out, with Divinci holding the
.44 in his hand. The back door is open. The engine is running.

DIVINCI
Helluva nice shot, Joe.

Divinci pulls the 44. out of Joe's hand, then shuts the door,
gets into the front. The car pulls away, exiting the
warehouse.

HAND - INT. INTERROGATION ROOM - POLICE STATION - DAY

signing a name at the bottom of a paper -- Joe. Beneath it
is the type written name: JOE DOE. We PULL BACK and see it's
Joe signing a typewritten page as Divinci and Rodriguez watch.
Joe is a mess. When he finishes he pushes the paper away and
puts his head down on the table. Divinci picks up the paper
and we --

CUT TO:

EXT. CYNTHIA'S APARTMENT BUILDING - DAY

A small yellow Toyota with a bashed up left fender pulls to
the curb. Cynthia gets out lugging her purse and a bag of
groceries. We HEAR ANOTHER CAR DOOR SHUT. She turns. Divinci
is walking across the street from his car toward her.

CYNTHIA
It's the middle of the day.

Divinci gives her a look as he takes the grocery bag from
her.

DIVINCI
Just talk.

CYNTHIA
Since when?

Divinci leads the way into the apartment building.

INT. CYNTHIA'S APARTMENT - DAY

Cynthia opens the door, pulls the key out of the lock as
Divinci enters behind her with the groceries.

DIVINCI
I need you to do something.

CYNTHIA
Good, I need the money.

She shuts the door. Divinci deposits the bag on the table.
Cynthia picks it up, moves into the kitchen.

DIVINCI
This isn't a deal. Where you goin'?

CYNTHIA
I got perishables, okay?

Cynthia enters the kitchen and Divinci follows. Cynthia starts
unloading the groceries, putting the milk, eggs, etc. into
the refrigerator.

DIVINCI
The guy we did the last deal with is
dead.

Cynthia turns suddenly.

CYNTHIA
What?

DIVINCI
Somebody popped him that night,
probably when he tried to unload the
stuff. I don't know.

CYNTHIA
Jesus, does anybody --

DIVINCI
-- Don't worry, there's no connection.
We got the guy who did it.

Cynthia breathes a sigh of relief.

CYNTHIA
You scared the hell outa me.

DIVINCI
We just need you to do one thing.

CYNTHIA
...What?

CUT TO:

INT. POLICE STATION - DAY

Divinci and Rodriguez are moving down a hallway with Cynthia.
She's nervous. Wants very much not to be here.

DIVINCI
He'll be third from the left. Don't
fuck up. Third from the left.

CYNTHIA
What'm I supposed to say?

DIVINCI
Just look at 'em and then look at
the man the third from the left and
say, It's him.

RODRIGUEZ
And I'll say, Are you sure?

DIVINCI
And you say, Absolutely. No question.

CYNTHIA
This is all I need to do right?

DIVINCI
We have a signed confession. You
i.d. him, he's goin' straight into
the can.

CYNTHIA
Okay, okay. But this is it. I'm not
doin' anything more than this.

DIVINCI
Hey, it's a done deal.

CUT TO:

INT. POLICE LINEUP ROOM - DAY

ROWS of seats face a small platform. The LINEUP WALL is
striped with horizontal lines with HEIGHT NUMBERS. The
brightly lighted lineup is separated from the gallery, which
is in the dark.

UNIFORMED GUARDS are on hand to make sure there is no
discussion, verbal or otherwise, between accused and witness.
SIX MEN file onto the platform. All shady characters.

A VOICE
Stop and face front.

The six men obey. A couple keep their heads down. The others
squint from the bright lights.

THE VOICE
Lift your heads, look straight.

Heads are lifted. Eyes front. But we only recognize one of
them, standing third from the left. It's Joe.

Divinci, Rodriguez and Cynthia are in the gallery.

DIVINCI
Take your time. Try and remember his
face.

Cynthia counts three from the left and... wait a minute. She
looks more closely. Just to be sure. Rodriguez and Divinci
watch her. She's obviously putting on a good show. Then she
turns to Divinci, sitting next to her and whispers --

CYNTHIA
I know him.

Divinci is caught a little of guard -- he didn't expect a
private conversation, nor does he want one for fear of it
looking like he's coaching her.

DIVINCI
If you can identify the man --

CYNTHIA
(whisper)
I know him.

DIVINCI
Just tell us which one.

Cynthia, frustrated, gives Divinci a look.

CYNTHIA
No. I fucking know him.

Divinci still isn't sure what's gotten into her. Rodriguez
looks over, a little annoyed.

RODRIGUEZ
What's the problem?

DIVINCI
There's no problem!
(to Cynthia; pointedly)
Do you see him up there?!

CYNTHIA
(aside)
You don't understand.

Divinci is losing his patience. He doesn't want to blow the
whole thing now, not in front of guards and police personnel.
The Guards are beginning to wonder what the hell's going on.
So are the MEN in the line.

ONE OF THE MEN
Hey, come on, do it or don't!

THE VOICE
No talking.

Divinci leans in close to her. We can HEAR GRUMBLING from
the men on the platform.

DIVINCI
Pick the asshole out!

Cynthia starts to protest again, but she suddenly feels
Divinci's hand grip her arm. He's had enough. Cynthia gets
the message. And while keeping her eyes locked on Divinci
she says --

CYNTHIA
Third man from the left.

JOE

squints against the harsh light, trying to see into the room,
as if he recognized the voice.

CUT TO:

INT. HALLWAY - POLICE STATION - OUTSIDE THE LINEUP ROOM -
DAY

Rodriguez, Divinci and Cynthia move briskly down the hall.
None happy about what just happened. The conversation is
strained.

DIVINCI
You mind telling me what that was
all about?!

CYNTHIA
I know him. He hangs around my
building. He lives in the alley or
something.

Rodriguez looks at Divinci. Is this a problem?

DIVINCI
You don't think people that hang
around your neighborhood can kill
somebody. Well let me tell you
something. You don't live in a great
fuckin' neighborhood.

Divinci pulls a paper from his pocket.

DIVINCI
Just sign the goddamn paper.

CYNTHIA
What paper?

RODRIGUEZ
You picked a man out of a lineup,
you have to sign that you did that
so they don't think we made it up.

Cynthia just stares at Rodriguez for a beat, then --

CYNTHIA
Now why the hell would they think
something like that?

DIVINCI
Sign it.

CYNTHIA
You said all I had to do was pick
him out.

DIVINCI
This is part of it. Just sign it and
you're done.

CYNTHIA
How come you're so sure it was him?

Rodriguez rolls his eyes.

RODRIGUEZ
Jesus Christ!

DIVINCI
He confessed.

CYNTHIA
Bullshit.

RODRIGUEZ
We got it in writing.

CYNTHIA
He didn't do it.

DIVINCI
How the hell d'you know that? Were
you with him at the time?! You have
a good goddamn alibi for him?!

RODRIGUEZ
Maybe she was blowing him!

CYNTHIA
Better him than you.

Rodriguez grabs her arm and pushes her against the wall.
Divinci looks around quickly to see who's watching.

DIVINCI
Take it easy.

Rodriguez angrily throws up his hands and glares at Divinci.

RODRIGUEZ
Fine, I got nothin' at stake here.

Divinci gives him a look, then leans right up next to Cynthia.

DIVINCI
This is what they call an open and
shut case. He did the kill and he's
going down. Don't make the mistake
of thinking you know the right thing
to do.

Divinci holds out the paper. Cynthia hesitates a beat, then
takes it and signs her name.

CUT TO:

JOE - CLOSE SHOT - MUG SHOTS

holding a number. The SCENE FADES WHITE with the FLASH.

DISSOLVE TO:

CELL DOOR - INT. JAIL - DAY

closing on Joe who is standing in the small CELL, facing the
wall, his back to us. The door is locked and we --

CUT TO:

INT. EVIDENCE ROOM - DAY

as the .44 is placed on a shelf. But this time it's tagged
with a different number. M5114000.

CUT TO:

THE SIGNED CONFESSION - INT. CAPT. HENDERSON'S OFFICE - DAY

as Agent Simms reads through it to the end.

SIMMS
Doe?

Simms looks across at Rodriguez and Divinci. Capt. Henderson
and TWO OTHER DEA AGENTS (HOOPER and SARKASIAN) are also
present. The DEA are in suits and ties.

RODRIGUEZ
He wouldn't give us his last name.

SIMMS
He signed a confession but he wouldn't
give you his last name?

DIVINCI
He said he couldn't remember it.
(points to his head)
He's a head case.

AGENT HOOPER
You run prints?

RODRIGUEZ
No priors.

AGENT SARKASIAN
Ballistics match?

RODRIGUEZ
We're waiting. But a forty-four was
used in commission. He had a forty-
four on him.

AGENT HOOPER
It went down pretty quick.

DIVINCI
It's our street.

CAPT. HENDERSON
I think they did a helluva job.

Suddenly Simms slams his hand down on the desk.

SIMMS
Goddammit!

Everyone turns to Simms. He's angry. Rodriguez is uneasy.

SIMMS
Some goddamn piece a shit blows him
away for NOTHING!

The intensity of Simms anger quiets everybody. A beat as
Simms regains his composure.

SIMMS
I'm sorry. Hudd was too good for
this to happen... I just didn't think
he'd go down this way.

Simms crosses the room to Divinci and Rodriguez.

SIMMS
Good work. Thanks.

He shakes their hands. Then exits. Hooper and Sarkasian follow
their boss out the door. Rodriguez, Divinci and Henderson
exchange a look.

CAPT. HENDERSON
Do me a favor. Make sure this one
sticks. I don't want the D.E.Assholes
back in here.

CUT TO:

HEADLIGHTS (B&W)

coming right at us. Closer and closer. Filling the screen.

FLAMES BURST (COLOR)

from the barrel of a .44 in SLOW MOTION -- a FIREBALL. The
GUNSHOT is deafening, like thunder.

GLASS

SHATTERS in SLOW MOTION.

JOE

covers his face with his hands to protect himself from the
glass. But there is no glass. Joe is sweating, detoxing.
Wild eyed. He looks through his fingers, but there is no
street, no dead man. Just the BARS of his CELL.

CUT TO:

GLASS OF WHISKEY - INT. CYNTHIA'S APARTMENT - NIGHT

golden liquid caressing the ice. A hand lifts the glass to
red lips. The liquid disappears. Cynthia lowers the glass,
staring at it.

DIVINCI'S VOICE (FILTERED)
Cynthia... pretty name. What do the
first three letters spell?

Cynthia suddenly hurls the glass across the room.

THE GLASS - SLOW MOTIONS

shatters against the wall. And bits of glass, edges sharp
tumble through space like ice.

CUT TO:

INT. POLICE JAIL - CELLBLOCK HALLWAY - DAY

A GUARD leads a MAN in a dark suit and striped tie down the
corridor. He carries a briefcase. Short hair and a beard and
wire-rimmed glasses. His name is ELLIOT GOFF.

GUARD
Word is he killed a DEA undercover...
(no response)
Word is he shot him in the face...
(no response)
Word is he signed a confession.

ELLIOT
Word is everyone's entitled to a
defense... no matter how guilty they
are.

They stop at the cell block door. The guard unlocks the door.
INSIDE THE CELL we can see Joe on the floor in fetal position.
Shaking from lack of alcohol.

ELLIOT
Oh shit.

CUT TO:

INT. INFIRMARY - DAY

Elliot waits in the hall. Fingers impatiently drumming his
briefcase. The door opens and a DOCTOR exits the room.

DOCTOR
He's detoxing. I gave him something
to help him through it.

ELLIOT
Can I talk to him?

The doctor nods, opens the door. Elliot enters.

INT. INFIRMARY - DAY

Basic first aid station. Joe is on a table. Eyes closed.
Elliot walks up. Doctor behind him.

ELLIOT
Joe, can you hear me?

Joe's eyes open.

ELLIOT
I'm Elliot Goff. I'm your attorney...
Do you understand what I'm saying?

Joe's eyes close. Leaving Elliot in the dark.

CUT TO:

INT. SMALL COURTROOM - DAY

Court is in session. Old metropolitan courthouse. The
PROSECUTOR and his TEAM are at one table. The DEFENSE ATTORNEY
and his CLIENT are at the other.

The Prosecutor is a woman. Her name is HELEN EDEN. She is
thirty-nine. She wears a business suit. RICHARD STEIN is her
second in command. Richard is thirty-three.

The DEFENSE ATTORNEY is fifty and a little on the portly
side. His name is JOHN OBLINGER.

But it's the DEFENDANT that really attracts our attention.
His name is CLYDE D. DUNNER. He's done his best to look like
a law abiding citizen, but no matter what kind of clothes he
wears or how he slicks down his long hair or trims his
mustache, this sonuvabitch looks like he'd kill for a nickel.
He's on trial for murder. In the first. What a surprise.

We are in the midst of opening statements. And Helen is
keeping the JURY riveted. The presiding Judge is a WOMAN,
JUDGE WEINBERG.

HELEN
-- when the defendant, Clyde Dunner,
entered the house of George and Carol
Beaman on Friday night, a .44 caliber
pistol in his hand. He entered the
house with one thing in mind. To
kill George and Carol, the people he
blamed for the break up of his
marriage to Carol's sister, Paula.

The defendant is hardly listening. His attention is on TWO
MEN SITTING BEHIND the prosecution table. And he turns to
glare at them. The two men are DETECTIVES RODRIGUEZ and
DIVINCI.

Clyde glares at them as if he'd like to get up right now,
walk over to them and cut off their heads. Actually, that's
what he's thinking. He mouths "You die."

Divinci mouths back. "Fuck you, prick, asshole, dickhead."
Then he smiles. Clyde boils.

HELEN
George and Carol were watching a
movie when he entered the living
room and opened fire. George was
killed instantly, hit in the face.
Carol died later of three bullet
wounds to her chest.

John Oblinger, his attorney, catches Clyde's murderous look
and instructs him, with a point of his hand, to pay attention
to Helen. Clyde reluctantly turns his gaze from Divinci.

HELEN
Then the defendant, in his effort to
cover up the crime, doused them with
lighter fluid and set the house on
fire... Carol was still alive.

A YOUNG MAN, looking very upset, enters the courtroom, shows
i.d. to a GUARD, then makes his way down the aisle. He tries
his best to be quiet, not to interrupt Helen's statement.

HELEN
Ladies and gentlemen of the jury we
will prove to you, beyond any
reasonable doubt, that the defendant,
Clyde David Dunner, is guilty of two
counts of murder in the first degree.

Helen looks at the jury for a beat, then returns to her table.

JUDGE WEINBERG
The defense may now proceed.

John Oblinger stands to present his side of the case. But
our attention stays with Helen as she approaches the table
to find her team in an upset. Their conversation is a tense
whisper.

RICHARD STEIN
-- Jesus Christ!

YOUNG MAN
-- I don't know where?

RICHARD STEIN
Are you sure?

YOUNG MAN
They looked all over --

HELEN
What's wrong?

RICHARD STEIN
They can't find the murder weapon.

HELEN
What're you talking about?

RICHARD STEIN
Dunner's .44. They can't find the
goddamn gun!

YOUNG MAN
They lost it or something. Misplaced
it, I don't know. They can't find it
anywhere.

HELEN
(no whisper this time)
What?!

A pause in the court. The judge taps his gavel in anger as
we --

CUT TO:

INT. HELEN'S OFFICE - DAY

Rodriguez, Divinci, Richard Stein, the young man and Helen.
Helen is furious.

HELEN
-- I don't have a goddamn case without
the goddamn gun. His fingerprints,
the ballistics, everything! I have
to have the fucking gun or he's gonna
walk. That murdering piece of filth
will go free without the .44. How
could they lose it?!

Rodriguez and Divinci exchange a look.

CUT TO:

RODRIGUEZ AND DIVINCI - EXT. COURTROOM - DAY

walking quickly down the steps.

RODRIGUEZ
The Dunner gun, you used the fucking
Dunner gun?!

DIVINCI
This is not my fuck up! Our shooting
was supposed to be gang-related and
unsolved! Only because we tagged a
goddamn undercover cop do we need
the fucking .44 for evidence!
Otherwise, we never woulda needed
it. So don't point your finger at
me!

RODRIGUEZ
Alright, alright... But how are we
supposed to explain how the same gun
was used in two murder cases by two
different killers when it was supposed
to be in police custody?!

DIVINCI
We don't explain it. It's not our
fault they lost the evidence.
Ballistics are already complete in
Dunner's case. All we need is another
gun.

CUT TO:

BRIEFCASE - ALLEY - DAY

as it opens, revealing a DOZEN different HANDGUNS.

THE GUN SELLER
All my merchandise is in top
condition. Untraceable. The best
money can buy.

A BLACK MAN in a three piece suit, picks up the .44 with a
GLOVED HAND. His accent is British.

THE GUN SELLER
It's got good knock down, but it's
slow. Unless you have a preference
for revolvers, I suggest a nine
millimeter auto. They are more
expensive, but what they cost in
money, they save in time.

Rodriguez and Divinci look down at the gun.

DIVINCI
The .44.

The gun seller eyes them for a moment.

RODRIGUEZ
What?

THE GUN SELLER
You look like police.

Divinci and Rodriguez stare at the gun seller. Then he smiles.

THE GUN SELLER
No offense.

CUT TO:

INT. EVIDENCE ROOM - DAY

as the NEW .44 goes onto the shelf. CASE NUMBER C-549087.

CUT TO:

INT. JAIL - INTERVIEW ROOM - DAY

Elliot is waiting, sitting at a table, staring at papers in
his open briefcase. Door opens and a GUARD leads Joe into
the room. Joe looks better, for the first time. His hair is
combed. And he's clean. He wears jail blues. But he is a
little gaunt. And tired. Elliot stands. The guard shuts the
door, leaving them alone.

ELLIOT
Joe, I'm Elliot, we met the other...
well, you weren't in very good shape.
You look much better.

Joe just stares at Elliot.

ELLIOT
Have a chair. We need to talk.

WILLIAM
About what I did.

ELLIOT
Yes.

Joe crosses to the table and takes a chair opposite Elliot.

ELLIOT
Joe, before we get into what happened
that night, I'd like to check a couple
of things first.
(looks at papers)
Joe is your first name, I assume
Joseph?

WILLIAM
Okay.

Okay? Not the answer Elliot was looking for.

ELLIOT
What about Doe? Is that what you
told the officers your last name
was?

WILLIAM
I don't think so.

ELLIOT
What did you tell them your last
name was?

WILLIAM
I don't remember.

ELLIOT
Well, is Doe your last name?

WILLIAM
I'm not sure.

Elliot stares at Joe. This is going to be a little more
difficult than he thought.

ELLIOT
Do you know what your last name is?

WILLIAM
I don't remember.

ELLIOT
Joe, I'm your attorney, I'm here to
help you. It doesn't matter if you
give the court your last name or
not, they will still put you on trial.
Do you understand?

WILLIAM
Yes.

ELLIOT
So there's no reason to try and hide
your identity.
(Joe nods)
What is your last name?

WILLIAM
I would tell you if I could remember.

ELLIOT
Joe Smith, Joe Jones, Joe DiMaggio...

Elliot hopes he can trigger a response. Joe tries hard.

WILLIAM
...I don't think so.

ELLIOT
Okay. Look, we'll move on. You
understand the charges against you.
They're serious. And if you are found
guilty, you could go to prison for a
very long time.

WILLIAM
Maybe I should.

ELLIOT
What?

WILLIAM
Go to prison. I killed him. I didn't
mean to. But he was going to hit me.

ELLIOT
Yes, I know, I read your confession.
Joe, if you really felt your life
was in danger, we might be able to
use self-defense as our argument.
But before we get into that... Do
you have any family, Joe? Any friends?

WILLIAM
I don't think so.

ELLIOT
Joe... do you know what a psychiatrist
is?

WILLIAM
Yes.

ELLIOT
Have you ever seen a psychiatrist?

WILLIAM
...I'm not sure.

ELLIOT
Joe, you don't remember much about
yourself.

WILLIAM
No.

ELLIOT
...but you remember the night you
shot the man in the car.

WILLIAM
Yes.

ELLIOT
Why?

WILLIAM
...because... I can... I'm sorry,
I'm not much help.

Elliot stares at Joe, then looks down at the blank page in
front of him.

CUT TO:

INT. SMALL COURTROOM - DAY

The trial of Clyde D. Dunner in progress. Prosecution team
at their table. Defense team at their table. JUDGE WEINBERG
at the bench. Divinci on the stand. Clyde glaring at him.
And Jury listening to Helen on the floor, prosecuting with
vigor.

HELEN
-- and when you approached the suspect
in his apartment, did you identify
yourself as a police officer?

DIVINCI
Yes.

HELEN
Did the suspect respond?

DIVINCI
Yes, he did?

HELEN
In what way?

DIVINCI
He started shooting through the door.

HELEN
The Defendant fired six times, until
his gun was empty. We would like to
show you the weapon he used.

Helen crosses to the prosecution table, picks up the .44.
She holds it up for the jury to see.

HELEN
And we would like to enter it into
court records. It was the same Smith
and Wesson revolver he used to
viciously murder George and Carol
Beaman.

The .44 is duly entered into the records.

CLYDE

glances at "his" .44 as it passes into the BAILIFF'S HANDS.
It's a .44 all right.

HELEN
The prosecution would like to call
Mr. Steven J. Allen to the stand.

BAILIFF
Steven J. Allen.

STEVEN J. ALLEN, a short balding bespectacled man in his
fifties, crosses to the witness box where he is sworn in,
then sits.

HELEN
Mr. Allen, would tell the court what
you do.

STEVEN J. ALLEN
I am a lab technician for the police
department. One of my duties is to
examine weapons used in violent
crimes.

Clyde's attention is on Helen's LEGS. He's bored by the
proceedings, but something suddenly strikes him. He looks at --

THE .44 SMITH AND WESSON

-- on the evidence table. There is no BLACK STAIN on the
handle.

STEVEN J. ALLEN
I tested the defendant's revolver
and matched the bullets fired to the
bullets removed from the deceased.

CLYDE
That ain't my gun.

All attention turns to Clyde. His attorney, the judge, the
jury, Helen, everybody is surprised by the sudden statement.

JUDGE WEINBERG
I must remind the defendant that he
is not to speak out when --

CLYDE
That ain't my gun!

The Judge taps her gavel. John Oblinger puts a hand on Clyde's
arm. Clyde pulls it away. And now things happen very fast.

CLYDE
THAT AIN'T MY FUCKIN' GUN!

And Clyde is moving toward the gun. And the Bailiff and GUARDS
are moving toward Clyde. And Helen is moving out of the way.
And the Judge is standing, banging her gavel. And the jury
is scared.

CLYDE
YOU'RE TRYIN' TO FUCKIN' FRAME ME!

Clyde grabs for the gun as the bailiff and guards grab for
Clyde. Clyde turns and decks the bailiff and all hell breaks
lose.

CLYDE
IT AIN'T MY FUCKIN' GUN!

CUT TO:

INT. MEN'S ROOM - DAY

Door slams open. Rodriguez and Divinci enter. Rodriguez
quickly checks all the stalls as Divinci closes the door.
They are alone. When Rodriguez finishes with the stalls --

RODRIGUEZ
We gotta put the right gun back.

DIVINCI
We can't put the right gun back!
Without that gun, they won't convict
Joe.

RODRIGUEZ
Without that gun they won't convict
Clyde!

DIVINCI
I'm not worried about Clyde, I'm
worried about us!

RODRIGUEZ
Look, Joe's never goin' to trial,
right. He signed a goddamn confession!
Like you said, this one is open and
shut. Clyde's the one we gotta worry
about. We can't let him go back on
the street! He's a fuckin' psychopath.
He'll kill somebody again.

DIVINCI
Shit. How the hell did that piece of
puke know it wasn't his fuckin' gun?!
I don't think he knows his own fuckin'
mother, but he knows his fuckin'
gun!

RODRIGUEZ
I don't think that's important right
now.

CUT TO:

INT. EVIDENCE ROOM - DAY

The harried Desk Officer is filling out his usual paper work
when Divinci and Rodriguez approach. Divinci knocks on the
door. The desk officer looks up. He's had a tough day.

DESK OFFICER
Sorry, Divinci, can't do it.

DIVINCI
What d'you mean you can't do it? I
gotta check something.

DESK OFFICER
You gotta get written permission
from the Chief.

RODRIGUEZ
Since when?!

DESK OFFICER
Since an hour ago when he came down
here and chewed me a new asshole
bigger than a three car garage.

DIVINCI
What's the problem?

DESK OFFICER
Something about missing evidence or
who the hell knows. I just wanna
transfer the hell outa here.

DIVINCI
What the hell're we supposed to do?!

DESK OFFICER
Ask the chief. Policy ain't my
department!

CUT TO:

INT. SMALL COURTROOM - DAY

Joe's preliminary trial. Joe is seated at the defense table
with Elliot. ANOTHER JUDGE, JUDGE HAROLD PINE, is behind the
bench. No jury. This is a preliminary hearing to determine
if there's enough evidence for Joe to stand trail. Elliot is
shuffling papers in preparation for his opening.

And at the prosecution table is a very tired Helen. She looks
completely pissed off and worn out. In no mood for anything
to go wrong.

JUDGE HAROLD PINE
Whenever you're ready.

Elliot stands.

ELLIOT
We would like to plead not guilty to
the charge of murder at this time
for reason of Insanity.

Helen gives Elliot a look. She doesn't need this.

WILLIAM
But I did it.

Elliot turns to Joe.

ELLIOT
Yes, Joe. Let me handle this.

WILLIAM
But I signed the confession.

ELLIOT
Yes, Joe. Don't worry about it. I'm
the attorney.

HELEN
Your honor, can we have a moment?

JUDGE HAROLD PINE
Council may approach the bench.

Helen and Elliot cross to the bench.

HELEN
Your honor, my colleague's client
admits to the killing. I don't see
any reason to go through a trial
when it's obvious he would like to
plead guilty.

ELLIOT
I don't agree.

HELEN
If he wants to plead guilty, you
have to let him plead guilty.

ELLIOT
Not if he's not of sound mind.

HELEN
Come on, Elliot!

ELLIOT
I think he's crazy. I know you think
he's just putting it on, that's D.A.
standard procedure, but I don't think
he is. So, your honor, I'm standing
by the not guilty because I believe
he's incapable of making that
judgment.

JUDGE HAROLD PINE
Have you had a psychiatrist look at
him?

ELLIOT
Yes, your honor.
(hands him papers)
I think you'll see that my diagnosis
is not without warrant.

The judge hesitates, then looks at Joe. Joe is staring at
him.

JUDGE HAROLD PINE
I'll review the findings and make my
decision tomorrow.

ELLIOT
Thank you, your honor.
(to Helen)
Besides, I hear there's a good chance
of beating the charges for lack of
evidence.

Helen's look turns icy.

CUT TO:

INT. ETHNIC BAR/RESTAURANT - DAY

Dark, smoky. Not a place for the health-conscious. Rodriguez
and Divinci at a corner booth. Both with scotch and waters.

DIVINCI
Nobody can connect us to the evidence
thing... we're clean there.

Rodriguez is quiet.

DIVINCI
The most important one is this DEA
mess anyway. Once that's finished,
we're completely in the clear.

RODRIGUEZ
You know we can't do it anymore.

DIVINCI
...yeah, I guess.

RODRIGUEZ
No, we're through. That's it.

DIVINCI
Good while it lasted though. A hundred
grand apiece. Not bad for a few nights
work.

Divinci lifts his glass in a toast to himself, drinks.

RODRIGUEZ
I just wanna get through this.

DIVINCI
We're gonna get through it. No
evidence problems on this one.

RODRIGUEZ
I hope not... I don't know, Frank,
lately I been thinkin'... maybe what
we did wasn't such a good idea.

DIVINCI
Hey, we took out a few scumbags,
that's it. Nobody's ever gonna miss
those shitheels. They were all pieces
of garbage. Not one of 'em had a
sheet less than a mile long. Drugs,
extortion, assault. They were all
fuckin' guilty as hell and still on
the street, you know that.

RODRIGUEZ
Except the cop.

DIVINCI
Yeah, except the cop. That's part of
the job. Could just as easily have
happened to you or me.

RODRIGUEZ
But we're cops, you know? We fucked
up.

DIVINCI
We fucked up once. Once outa ten.
That's not bad.
(a beat)
I'm sorry, okay? I'm sorry. He was
in the wrong place at the wrong time,
what can I say. I'm not goin' down
for it.

RODRIGUEZ
I know.

DIVINCI
Look, if we got paid a decent salary
we wouldn't be tempted by this, right?
And what happens when we retire? You
think our pension's gonna take care
of us? Shit no. We are on our own. I
mean all I want in life is a goddamn
fishing boat, a beach, a couple drinks
and some Hawaiian fuckin' music.
That ain't much for twenty years
putting murdering assholes behind
bars. I mean, the dealers, the pimps,
the killers, they got no rules. We
got all the fuckin' rules. It ain't
fair. That's all I'm sayin', it ain't
fair... For awhile, we made it fair.

Rodriguez downs his scotch.

DIVINCI
Quit thinkin' you're a bad guy. You're
not a fuckin' bad guy. You made one
mistake. Let it go.

Rodriguez nods. A WAITRESS comes to the table. Rodriguez
orders another. The Waitress leaves. Rodriguez hesitates a
moment, then --

RODRIGUEZ
Do you think we're corrupt?

DIVINCI
Hey, I never took a fuckin' bribe in
my life.

RODRIGUEZ
Me either.

DIVINCI
Nobody ever bought me.

RODRIGUEZ
I know.

DIVINCI
No fuckin' way. Even the thought
makes me sick. And what we did has
nothing to do with being corrupt.
It's two completely different things.
Don't get 'em confused.

RODRIGUEZ
I guess you're right.

DIVINCI
I'm telling you. It's nothin' to do
with corrupt.

RODRIGUEZ
I'm worried, that's all.

DIVINCI
Hey, you gotta worry a little. It's
natural. Just don't lose your sense
of humor.

RODRIGUEZ
My sense of humor, right.

DIVINCI
The problem with people is, nobody
gives a shit about makin' the world
a better place. You and me, I don't
care what anybody says, we made the
world a better place. No matter what
happens. There are ten less drug
dealin' assholes on the street today
because of us. They're not plea
bargainin' their way back onto the
street, they're not clogging up the
courts, and they're not costing the
tax payers a fuckin' penny because
they're not in prison. They were
garbage. And there's nothin' wrong
with takin' out the garbage.

Divinci downs his scotch. Rodriguez nods, then --

RODRIGUEZ
So, you think you'll get back with
Caroline?

DIVINCI
Shit. Nothin' I ever do is good
enough, you know?

RODRIGUEZ
Never is, never was, never will be.

DIVINCI
Guess I gotta make the effort. It's
gonna cost me if I don't.

RODRIGUEZ
Tell me about it. You know how much
I got left.

DIVINCI
You're gonna think I'm an idiot,
but... I like Cynthia. There's no
bullshit with her. I just fuckin'
like her.

RODRIGUEZ
I think you just like fuckin' her.

Rodriguez smiles. Divinci looks at him for a beat, then --

DIVINCI
Yeah, that, too.

CUT TO:

NEWSPAPER - INT. CYNTHIA'S APARTMENT - DAY

with JOE'S PHOTOGRAPH on the front page. HEADLINE: UNDERCOVER
COP GUNNED DOWN BY UNDERCOVER KILLER. We PAN AROUND to
Cynthia, sitting in her kitchen, staring at the photograph.

CYNTHIA
What the hell, Joe, at least you
won't get run over.

She folds up the paper and throws it in the trash can.

CUT TO:

INT. SMALL COURTROOM - DAY

The Dunner trial. The JURY is back. Helen, Judge Weinberg,
Clyde D. Dunner (who now sports a couple bandages to his
head), his attorney John Oblinger -- they're all waiting for
the verdict.

JUDGE WEINBERG
The defendant will stand and face
the jury.

Clyde stands.

JUDGE
What is your verdict?

JURY FOREMAN
We find the defendant, Clyde David
Dunner, not guilty.

Helen closes her eyes in defeat. Clyde smiles.

CLYDE
Fuckin' A!

CUT TO:

INT. HOMICIDE DIVISION - DAY

Divinci is on the phone.

DIVINCI
-- when was the last time you saw
him? -- Uh-huh -- And you haven't
seen him since then?

Rodriguez suddenly strides up. He looks panicked.

RODRIGUEZ
We gotta talk.

DIVINCI
(into phone)
Just a second.
(covers phone)
Calm down. I heard. Clyde walked.

RODRIGUEZ
No!
(leans in close)
They're takin' Joe to trial.

Divinci stares at Rodriguez for a beat, the reality of his
statement taking a moment to fully slam home.

RODRIGUEZ
They found him mentally unable to
plead so his attorney pleaded not
guilty by reason of insanity.

DIVINCI
You gotta be kiddin' me.

RODRIGUEZ
Yeah, that's me, I love to make people
laugh. You hear the one about the
two cops who popped the undercover
DEA?

CUT TO:

INT. STRIP JOINT - NIGHT

Cynthia on stage, in the middle of her routine. Hoots and
whistles from the all MALE CROWD. But she's not really into
her performance tonight. She pulls off the last of her
clothing to APPLAUSE and CHEERS.

INT. DRESSING ROOM - NIGHT

Cynthia enters. An ASIAN MAN in sweat shirt and jeans is
sitting in the room.

CYNTHIA
Who the hell're you and what the
fuck are you doing in here?!
(calls down hall)
HEY, BOB, I GOT AN ASSHOLE IN THE
DRESSING ROOM.
(to the man)
I suggest you get out before Bob
gets here. He doesn't like assholes.

ASIAN MAN
You're Cynthia Webb.

CYNTHIA
(calls down hall)
BOB!

The Asian Man stands.

ASIAN MAN
But you are Cynthia Webb the famous
dancer, yes?

CYNTHIA
Yeah, yeah, nice try, get out.

The man moves toward her, pulling a PAPER from his pocket.
He hands it to her.

ASIAN MAN
I liked your show very much.

CYNTHIA
What the hell's this?!

He exits. No answer. Cynthia stares at the paper --

CYNTHIA
A subpoena?! For what?! I didn't do
anything!

But the man is gone. BOB, a HUGE BOUNCER, tears past, giving
chase.

CYNTHIA
(staring at paper)
Oh shit... oh shit. He served me! He
fuckin' served me!

CUT TO:

INT. BEDROOM - NIGHT

Dark, quiet. PHONE RINGS. A hand picks up the phone.

MAN'S VOICE
Hello.

ANOTHER MAN'S VOICE
Detective Divinci?

DIVINCI
Yeah.

ANOTHER MAN'S VOICE
This is Sergeant Gardner down at the
station.

INTERCUT WITH SERGEANT - INT. HOMICIDE DIVISION - NIGHT

The station is alive with activity. Even at this early hour.
HOOKERS, PIMPS, PUSHERS, DRUNK DRIVERS. Some being booked,
some being released, some being obnoxious.

SERGEANT GARDNER
Sorry to call so late, but I got a
hysterical woman here says she needs
to talk to you about a murder.

Divinci turns on the light revealing a WOMAN in bed with
him. He picks up his watch, looks at the time.

SERGEANT GARDNER
I told her I couldn't call you at
home, but she said that it was very
important. A matter of, you know,
life and death.

DIVINCI
What's her name?

SERGEANT GARDNER
Cynthia.

Divinci perks up at the name.

And now we SEE Cynthia in the POLICE STATION trying not to
look as freaked out as she feels. But she's not holding
together well.

DIVINCI
Tell her to wait, I'll be right down.

Divinci hangs up. Starts to dress. The woman groans.

WOMAN
What the hell're you doing?

DIVINCI
I gotta go down to the station.

WOMAN
Now? What time is it?

DIVINCI
Go back to sleep.

WOMAN
Frank, this is no way to repair our
marriage, you know?

She pulls the covers over her head. Divinci pulls on his
pants.

CUT TO:

INT. POLICE STATION - 3:38 A.M.

Divinci pushes into the room. Sees Cynthia sitting on the
bench, looking nervous as hell. Smoking, tapping her foot,
looking around. Just this side of a wreck.

DIVINCI
Hey!

Cynthia sees him and is immediately on her feet, moving to
him.

CYNTHIA
Frank, I can't do this. He came to
the club. You gotta --

DIVINCI
Not here!

He takes her arm, leads her out of the station.

INT. POLICE STATION PARKING GARAGE - NIGHT

Divinci leads Cynthia out of the station to his car.

CYNTHIA
I thought you said all I had to do
was pick him out?! That's what you
said, that's all I had to do. I did
what you said. But that was supposed
to be all.

DIVINCI
SHUT UP!

He opens the driver's door, pushes her in. Gets in behind
her.

INT. UNMARKED CAR - NIGHT

Cynthia is a bundle of nerves. Divinci slams the door. Cynthia
is startled by the suddenness of his anger.

DIVINCI
What're you talkin' about?

Cynthia opens her purse and pulls out the subpoena.

CYNTHIA
They want me in court.

Divinci glances at the papers.

CYNTHIA
You promised me I wasn't gonna have
to do anything! What the hell is
goin' on?!

This is yet another glitch that Divinci hadn't counted on.

CYNTHIA
I can't do this, Frank. I can't go
into court. I'm gettin' outa here!

DIVINCI
You are not getting outa here!

CYNTHIA
Well I can't go to court! THAT'S NOT
WHAT YOU SAID I'D HAVE TO DO!

DIVINCI
WELL THIS WASN'T SUPPOSED TO HAPPEN!
NOW JUST FUCKIN' CALM DOWN FOR A
SECOND AND LET ME THINK!

Cynthia glares at him, then turns away, takes a drag and
blows out the smoke.

CYNTHIA
Fine. Think away.

Divinci hesitates as ANOTHER CAR pulls out. Then turns to
her.

DIVINCI
Look, you're a witness, that's all.
You got nothin' to worry about. You
saw something happen --

CYNTHIA
-- What?! What did I see?!

DIVINCI
I will tell you everything you gotta
know. You understand? Everything.
You will know exactly what to say.

Cynthia looks at Divinci, unsure. Divinci gives her a
confident smile. Look, it's another stage, that's all. Just
like dancin'.

THE UNMARKED CAR

pulls quickly out of the PARKING GARAGE.

CUT TO:

INT. JAIL - MEETING ROOM - DAY

Elliot is waiting. The guard opens the door and Joe enters.
Joe is looking better. Getting him off booze has helped
immensely.

ELLIOT
Hi, Joe. You're looking much better.

WILLIAM
I guess jail's been good for me.

Elliot nods, motions for Joe to take a chair.

ELLIOT
Trial date's been set for Thursday.

WILLIAM
I've been thinking about what I did...
and I don't think it's right that I
try getting off.

ELLIOT
Excuse me?

WILLIAM
I want to plead guilty. I killed a
man and I should be punished.

ELLIOT
...I'm a little surprised.

WILLIAM
Why?

ELLIOT
Nobody ever wants to be punished for
what they've done. It's just a new
concept. But I still think our defense
is reasonable. I don't believe, under
the condition you were in, that you
were responsible for your actions.

WILLIAM
But why was I carrying a gun? I had
no right to carry a gun.

ELLIOT
If you hadn't been carrying the gun,
you might be dead.

WILLIAM
And he might be alive.

ELLIOT
I understand... Can I think about
this?

WILLIAM
No. I've made up my mind.

Elliot stares at Joe for a beat, then we --

CUT TO:

YELLOW CRIME SCENE TAPE - EXT. APARTMENT BUILDING - DAY

TWO MURDER VICTIMS lying in the street. POLICE OFFICERS have
the area under control. A few CURIOUS PEOPLE have stopped to
watch. An UNMARKED CAR pulls up. Stops.

INT. UNMARKED CAR - DAY

Parked. Rodriguez behind the wheel. Divinci next to him.

RODRIGUEZ
What if she takes off?

DIVINCI
Then we got no goddamn witness puts
him at the scene.

RODRIGUEZ
And what happens if she testifies
and nobody fuckin' believes her?

DIVINCI
Perjury, maybe. But that's a fifty
fifty. They might believe her.

RODRIGUEZ
Shit, Frank, she's a goddamn stripper
for Chrissake, who's gonna believe
her. I don't believe her when she's
telling the truth!

An OFFICER walks to the car and knocks on the window. Divinci
rolls it down.

DIVINCI
What?

OFFICER
Ahh, we got two bodies out here and
three more in the house.

DIVINCI
So?

OFFICER
I was just wondering if you were
gonna be the primary on this one,
that's all.

DIVINCI
Yeah, yeah, we're comin'. Just give
us some room.

Divinci rolls the window back up. The officer backs off.

RODRIGUEZ
She could blow the whole thing. She
could tie us in and that would be
it. We'd be fuckin' fried.

DIVINCI
If it looks like she's gonna crumble
we'll take steps.

RODRIGUEZ
What steps?

Divinci looks at Rodriguez.

DIVINCI
One more chalk outline more or less
in this city who's gonna know?

RODRIGUEZ
Oh shit, Frank.

DIVINCI
Hey, hey, you think I like this?!

RODRIGUEZ
We just can't go around killin'
everybody!

DIVINCI
Just a second. Look around. Whatta
we got here? Two stiffs on the street,
shot to shit, three more inside.
That's five chalk lines in one night
in one deal in one neighborhood in
one city. Let me fill you in on some
statistics, we're not killin'
everybody.
(a beat, then --)
Look, this is strictly last resort.
Okay? But let's not kid ourselves.
If push comes to shove, somebody has
to go down. If you got another
candidate, I'm willin' to listen.

Rodriguez is silent. Divinci opens the door. Rodriguez watches
him, then he follows. To the scene of another crime.

CUT TO:

INT. CYNTHIA'S APARTMENT - DAY

Cynthia is in the kitchen, making herself a peanut butter
and jelly sandwich as she watches Sally Jesse Raphael
interview yet another moron on television. The phone rings.
She takes a bite of the sandwich as she picks up and mumbles --

CYNTHIA
Hello.

INTERCUT WITH INT. OFFICE - D.A.'S DEPARTMENT - DAY

Richard Stein, the attorney, is on the phone. His office is
cluttered with the myriad of case files he's forced to juggle.

RICHARD STEIN
Cynthia Webb?

CYNTHIA
(swallows)
...yeah.

RICHARD STEIN
I'm Richard Stein with the District
Attorney's office. You're a witness
in a case we're handling and I'd
like to talk to you as soon as
possible.

Cynthia puts down the sandwich, her appetite suddenly gone.

RICHARD STEIN
Ms Webb?

CYNTHIA
Yeah.

RICHARD STEIN
Any chance we could get together
today?

CYNTHIA
(nervous)
I'm ah... pretty busy.

RICHARD STEIN
It won't take long. Will you be home
about two?
(no answer)
Ms Webb?

CYNTHIA
Yeah, okay... two.

RICHARD STEIN
Good. Let me make sure I've got your
correct address.

CUT TO:

SUITCASE - INT. CYNTHIA'S BEDROOM - DAY

as clothes are stuffed into it. The suitcase is slammed shut.
And Cynthia heads for the door.

CUT TO:

EXT. MANSION - DAY

A BLACK CONVERTIBLE MERCEDES pulls into the circular, gated
drive of the large two story home on immense manicured
grounds. A BMW is parked in front of the FOUR CAR GARAGE. It
is being waxed by car care specialists. The Mercedes stops
and a MAN gets out. He has gray hair and expensive clothes.
He carries a briefcase and heads for the front door. His
name is ARTHUR BAYLOR.

EXT. MANSION - PATIO - DAY

A BUTLER shows Arthur to the patio where another MAN, NATHAN
MCCALL, is seated behind a table, reviewing documents. McCall
is fifty-five, wears glasses.

BUTLER
Mr. Baylor is here.

McCall looks up, smiles.

WILLIAM
Arthur.

Arthur crosses. The two men shake hands.

ARTHUR
Nathan. How are you?

WILLIAM
Good, Arthur, thanks. Would you like
some coffee, juice.

ARTHUR
No, I'm fine.

WILLIAM
Well, this is all a bit of a mystery.
You certainly got my attention with
your phone call. What's this all
about?

Arthur removes a NEWSPAPER from his briefcase. Opens it.
Revealing the PHOTOGRAPH OF JOE and the headline: UNDERCOVER
COP GUNNED DOWN BY UNDERCOVER KILLER. McCall looks at the
paper.

WILLIAM
Is there something you want me to
see?

Arthur points at the photograph. McCall looks. A beat, then --

WILLIAM
Oh my God.

CUT TO:

INT. BUS STATION - DAY

Cynthia boards a greyhound. Getting the hell out of Dodge.

CUT TO:

INT. CYNTHIA'S APARTMENT - DAY

We HEAR a key in the lock. The door opens and Divinci enters.
He looks around.

DIVINCI
Cynthia.

He moves into the bedroom. Sees clothes strewn around and a
half empty closet.

DIVINCI
Shit!

He heads back into the living room. Pulls open the door and
almost runs into Richard Stein who was just about to knock.

DIVINCI
(startled)
Jesus!

Richard Stein is just as startled and it takes him a moment
to recognize --

RICHARD STEIN
Divinci?

Divinci is caught off guard.

RICHARD STEIN
Richard Stein, D.A.'s office.

DIVINCI
Oh, yeah, sorry. I didn't expect --
what're you doing here?

RICHARD STEIN
I have to talk with Cynthia Webb. A
witness in -- well, wait, aren't you
and Detective Rodriguez on this one?

DIVINCI
(vamping)
Yeah, yeah, that's why I'm here. I
wanted to go over some of the details.

RICHARD STEIN
Me, too. Is she there?

DIVINCI
No.

RICHARD STEIN
I was supposed to meet her at two.
(looks at watch)
Do you know her?

DIVINCI
What d'you mean?

RICHARD STEIN
Well, I just mean, if she's not
here... you were...
(a little awkward)
...inside.

DIVINCI
(forces a smile)
Oh, yeah, the legal thing. Well,
she's a witness in a murder case.
And when they don't answer a knock
and the door's open, it's my
experience, you know. I like to make
sure there's no dead bodies layin'
around.
(pulls door shut)
Don't tell on me.

RICHARD STEIN
No, no, of course not... Well, maybe
I should wait. She might be stuck in
traffic or something.

DIVINCI
Yeah. If she shows up, let me know.
I'd like to talk to her, too.

RICHARD STEIN
Of course.

Divinci looks at Stein for a beat, then smiles and --

DIVINCI
See you in court.

RICHARD STEIN
Right.

Divinci heads down the walkway. Richard Stein watches him
for a moment, then looks at the closed door, then at his
watch.

CUT TO:

INT. ELLIOT'S OFFICE - DAY

Elliot's office is a cramped space in the PUBLIC DEFENDERS
FLOOR of the CRIMINAL COURTS BUILDING. A buzz of activity
outside. The staff is overworked, underpaid and
underappreciated. Elliot is reviewing legal documents. Knock
on the door.

ELLIOT
Yeah.

The door opens and Arthur Baylor enters.

ARTHUR
Elliot Goff?

Elliot looks up and suddenly recognizes --

ELLIOT
Arthur Baylor?

ARTHUR
Yes.

Elliot is stunned and flattered. He stands quickly.

ELLIOT
Arthur Baylor, oh my God. I ahh,
would you ahh... are you here to see
me?

ARTHUR
Yes.

Arthur shuts the door.

CUT TO:

INT. JAIL - INTERVIEW ROOM - DAY

Door opens. Joe is lead into the room by the JAIL GUARD. Joe
looks even better now. His stay in jail has broken his
dependency on alcohol. His hair is clean and combed. And
he's not as depressed. He stops upon seeing Elliot and Arthur
at the table. Both men stand. The guard shuts the door. Arthur
looks at Joe for a moment, then says --

ARTHUR
William.

Joe stares at Arthur as if fighting a lost memory, then --

WILLIAM
...yes.

CUT TO:

INT. DISTRICT ATTORNEY - HELEN'S OFFICE - DAY

HELEN
What are you telling me?!

Richard Stein is facing a not very happy Helen. She is seated
behind her desk stacked high with case files.

HELEN
She missed the appointment? She forget
you were coming? What?!

RICHARD STEIN
If you want my best guess, I'd say
she split.

HELEN
She split, our witness split... Can't
we keep our evidence and witnesses
from disappearing around here? I
mean what do I have to do, lock them
in the trunk of my car? What the
fuck is going on?! I want that bitch
back here and on the stand or in
jail!

Richard Stein nods quickly.

RICHARD STEIN
I'll get her.

And he exits fast. He doesn't like it when his boss is pissed.
And right now his boss is really pissed.

CUT TO:

EXT. BAIL BOND OFFICE - DAY

A seedy side street near the courthouse and jail. The unmarked
car pulls up and Divinci gets out.

INT. BAIL BOND OFFICE - DAY

The interior is sparse. Several FRAMED FIGHT POSTERS on the
walls. All with MANNY LADREW, a young tough fighter in the
featherweight division, in his best pose, explaining where
and when the next bout will be -- but all these posters are
at least fifteen years old.

Two desks. One for the secretary, who is on vacation, and
the other for MANNY LADREW, the ex-pugilist. He's put on
some pounds in the intervening years, plus an added thin
mustache. Manny is on the phone --

MANNY
-- yeah, uh-huh.
(takes notes)
Why you think he'd go there?

Divinci enters.

DIVINCI
We need to talk.

MANNY
(covers phone)
Just a second.

DIVINCI
Not just a second, now!

Manny glares at Divinci. He doesn't like Divinci, never has,
never will. But he's a cop. Cop's you have to make room for.

MANNY
(into phone)
I'll call you back.
(hangs up)
What d'you want, Divinci?

Divinci pulls some papers out of his pocket, hands them to
Manny.

DIVINCI
I got a witness who took off. I gotta
get her back. I don't got a lotta
time.

MANNY
You're the fuckin' police. What're
you comin' to me for?!

DIVINCI
Don't ask fuckin' questions, you
just find her!

Manny, annoyed, looks at the papers -- photo of Cynthia
included.

MANNY
Where've I seen her before?

DIVINCI
She dances.

MANNY
Yeah, right, okay. So what'd she
take off for?

DIVINCI
I said --

MANNY
-- I know what you fuckin' said, but
you want me to find her I gotta know
why the fuck she took off! So I know
where not to look! Okay?!

DIVINCI
...she's supposed to testify. She
got scared, thinks somebody might
kill her, so she's hidin'. That's
why I want you to find her. If
somebody is tryin' to pop her, I
don't want anyone knowin' where she
is. Manny eyes Divinci. He doesn't
believe anything anybody tells him.
Especially in his business.

MANNY
How long I got?

DIVINCI
Two days.

MANNY
Shit, two fuckin' days!

DIVINCI
Find her, puss head.

Divinci glares at Manny, then exits. Manny watches him leave.

MANNY
Sure, Detective. Always like to help
out the police whenever possible!

CUT TO:

INT. LARGE COURTROOM - DAY

Joe (William) is lead into the courtroom by GUARDS. Takes
his place at the DEFENSE TABLE which includes Elliot and TWO
YOUNG ATTORNEYS. The PROSECUTION TABLE, which includes Richard
Stein and Helen is going over last minute minutia.

PEOPLE are taking seats in the gallery. But another attorney
joins the Defense table. It's Arthur Baylor. And Richard
Stein double-takes when he sees him.

AT THE PROSECUTION TABLE

RICHARD STEIN
(to Helen)
Isn't that Arthur Baylor?

Helen turns.

HELEN
Yes.

They watch Arthur shake hands with everyone - Elliot, the
two young attorneys and Joe.

RICHARD STEIN
What's he doing here?

Arthur takes a seat at the defense table and glances across
at Helen and Richard and nods. Helen and Richard are stunned.

HELEN
What the hell?

BAILIFF
Hear ye, hear ye. All rise, face our
flag and recognize the principles
for which it stands. The Criminal
Court, Department G is now in session.
The Honorable Harold W. Pine
presiding.

Everyone rises as JUDGE HAROLD PINE enters. In black robe.
Taking his place behind the bench. He sits.

BAILIFF
Please be seated and come to order.

Everyone sits. And even Judge Harold Pine double-takes when
he sees Arthur Baylor at the Defense table.

BAILIFF
The People versus Joe Doe in case
number 95-24705.

JUDGE HAROLD PINE
Before we proceed, I'd like to ask
the Defense if there's anything this
court should be made aware of.

Arthur stands.

ARTHUR
Yes, your honor. I have joined the
defense in the representation of Mr.
William Dane McCall, otherwise known
to this court as Joe Doe.

Everyone turns to look at Joe (William McCall). CAMERA PUSHES
in on him. It doesn't look as if he's sure who he is yet.

ARTHUR
I have represented the McCall family
for several years before William
McCall's disappearance seven years
ago. It was assumed that he had died,
but since he has reappeared under
these tragic circumstances, I would
ask this court for a continuance to
allow the defense to prepare
adequately in light of his real
identity now being known.

JUDGE HAROLD PINE
How long do you need.

ARTHUR
One week should be sufficient.

JUDGE HAROLD PINE
Any objection to a week's continuance
by the State?

HELEN
I don't... believe so, your honor.

JUDGE HAROLD PINE
Then I grant a one week continuance.
We will start the proceedings next
Monday morning.

Judge Harold Pine taps his gavel.

CUT TO:

TELEVISION NEWS REPORTS - INT. HELEN'S OFFICE - DAY

FLASH Joe's photograph and scenes of him being lead from the
courtroom. Helen and Richard Stein are watching. They can't
believe it.

NEWSCASTER
-- when it was discovered that the
man who has confessed to killing an
undercover DEA agent, was actually
himself thought dead for seven years.
The man who signed the confession as
Joe Doe is actually William Dane
McCall, brother of Nathan McCall.
Both are sons of the founder of McCall
International, a corporation involved
in telecommunications, computer design
and development and other related
industries. The net worth of both
men is estimated at over a billion
dollars --

CUT TO:

INT. UNMARKED CAR - DAY

Parked on the street. Rodriguez and Divinci inside. Rodriguez
reads the paper.

RODRIGUEZ
-- but William McCall shunned the
business world and turned his life
to medicine, receiving his medical
degree from Harvard in 1969. Once
again he turned his back on the
established norm and spent several
years in Africa performing organ
transplants for the poor.

Rodriguez slams down the paper.

RODRIGUEZ
Jesus Christ, this is who you picked?
A goddamn surgeon who performs organ
transplants on poor Africans?!

DIVINCI
He was living in the fuckin' street!
How the hell was I supposed to know
he was a goddamn doctor?!

RODRIGUEZ
He's not a goddamn doctor! You picked
a fuckin' Saint to pin a fuckin'
murder on!

Divinci grabs the paper away from him. Both cops are angry,
upset, frustrated and scared to death.

RODRIGUEZ
When we pick 'em, we really fuckin'
pick 'em. We shoulda just picked up
the fuckin' Pope.

DIVINCI
(reading)
-- he disappeared seven years ago on
September 19 two weeks after the
tragic death of his wife and two
young children in a multiple vehicle
accident. At the time it was assumed
that he had returned to Africa, but
that was never confirmed. What William
McCall has been doing for seven years
is now the mystery that the court
will try to help unravel.

Divinci closes the paper.

DIVINCI
Alright, alright, let's think here.
What's the worse case scenario?

RODRIGUEZ
Are you asking me if I can think of
something worse than what we've done
that we can still do, or something
worse that might happen to us if
this all blows up and we are convicted
and sent to jail and die in the
electric chair and go to hell?

Divinci looks at Rodriguez.

DIVINCI
Work with me here.

RODRIGUEZ
I'm sorry. I'm a little on edge.
Would you repeat the question?

Both men are quiet for a moment, then --

DIVINCI
Even if the doc walks, there's no
evidence ties us to it. There's only
one person who can connect us to
Hudd.

RODRIGUEZ
Okay, fine, I don't wanna argue about
it anymore. Let's just fuckin' kill
her.

CUT TO:

INT. BALL BOND OFFICE - DAY (LATE AFTERNOON)

Manny LaDrew is pouring himself a cup of coffee. His SECRETARY
is typing up a letter at her desk.

DIVINCI'S VOICE
We need to talk.

Manny recognizes the voice. He mouths an oh fuck to himself,
then turns around to Divinci who is standing in the doorway.

MANNY
Are you fuckin' with me?

DIVINCI
No, I'm not fuckin' with you. Are
you fuckin' with me?!

MANNY
You don't know?

DIVINCI
Know what?

MANNY
Well this is a good one. You're a
cop and you don't know.

DIVINCI
Stop it.

MANNY
Cops got her. Ain't that a gas. Cops
got her, you're a cop, and you gotta
find out from me. It's a crazy world
we live in, don't you think?

Divinci suddenly explodes, going for Manny, grabbing him,
slamming him against the wall, his arm to Manny's throat.

DIVINCI
Cops?! What fuckin' cops?!

MANNY
I don't know what fuckin' cops. All
I know is, my people got to her
sister's place and she was already
gone. Her sister said some cops took
her. I thought it was you!

Divinci glares at Manny for a beat, then he storms out.

SECRETARY
What an asshole.

Manny looks down at his Secretary.

MANNY
You're a good judge of character.

CUT TO:

DIVINCI - INT. HOMICIDE DIVISION - DUSK

at his desk, on the phone.

DIVINCI
-- look, she's our witness, if she's
in custody, somebody better tell me!

Divinci slams down the phone. He sits quietly for a moment,
then rubs his face. Rodriguez crosses to his desk, sits down.

DIVINCI
Anything?

RODRIGUEZ
Nothin'. Nobody knows nothin'. The
D.A. thinks she's gone. D.E.A. doesn't
know shit.

DIVINCI
If she was bein' held by police,
we'd know.

RODRIGUEZ
Unless she said somethin'.

DIVINCI
If she said something we wouldn't be
sittin' here.
(a beat, then --)
I think it's that lyin' piece of
shit.

CUT TO:

MANNY - INT. BALL BONDS OFFICE - NIGHT

getting the shit beat out of him. The room is dark. Two men
are hammering on Manny. Throwing him against the wall, pulling
him up and hitting him in the stomach -- not the face.
Throwing him across the room, over the desk. Manny is too
hurt to get up. Divinci walks over to him, rubbing his gloved
hand.

DIVINCI
Don't ever lie to me again.

Manny looks up weakly. Divinci walks away. Rodriguez opens
the door and they exit.

CUT TO:

INT. COUNTY JAIL CELL - MORNING

Joe is sitting on his cot, staring at the floor. ANOTHER MAN
is in the cell with him, reading a magazine. His name is
DUNCAN. Duncan looks at Joe.

DUNCAN
First trial, huh.

WILLIAM
Yes.

DUNCAN
I got one piece of advise. When you
break for lunch, don't get the
pastrami.

We HEAR the BARRED CELL DOOR open.

GUARD
Time to go.

Joe gets up. Puts out his hands. They shackle him as we HEAR --

THE BAILIFF'S VOICE
Hear ye, hear ye. All rise, face our
flag and recognize the principles
for which it stands.

INT. COUNTY JAIL CELL - HALLWAY - MORNING

Joe is lead down the hall by TWO GUARDS, past rows of cells
filled with other PRISONERS --

BAILIFF'S VOICE
The Criminal Court, Department G is
now in session. The Honorable Harold
W. Pine presiding.
(We HEAR people rise)
Please be seated and come to order.

EXT. COUNTY JAIL - PARKING AREA - DAY

Joe is lead to a waiting prison van. He gets inside.

BAILIFF'S VOICE
The People versus William McCall in
case number 95-24705.

The van pulls away.

CUT TO:

THE .44 SMITH AND WESSON (CLYDE'S .44)

as it is introduced into evidence.

HELEN
-- when he pulled this gun and fired
at the driver of the car. Killing
him instantly. Let the record show
that this is the weapon used in the
crime, a Smith and Wesson forty-four
caliber handgun.

INT. LARGE COURTROOM - DAY

Joe is sitting at the Defense table with Arthur and Elliot.
The trial is underway. And they watch the .44 go to the
evidence table -- the .44 with the BLACK STAIN.

Richard Stein is seated at the Defense table. He, too, is
watching the .44. He leans across to his ASSISTANT.

RICHARD STEIN
All these goddamn guns are startin'
to look the same to me.

DISSOLVE TO:

DIVINCI - INT. LARGE COURTROOM - LATER

on the stand, being questioned by Helen.

HELEN
And when you arrested the defendant,
did he deny that he had killed Agent
Hudd.

DIVINCI
No.

HELEN
Can you describe the defendant's
condition at the time of his arrest.

DIVINCI
He was drunk. We could smell the
booze on him. But we drew blood. He
didn't object.

HELEN
We have the blood test report that
shows --
(picks up report)
-- that he had four times the legal
limit to drive. The people would
like to enter this into evidence.

They so enter it.

CUT TO:

RODRIGUEZ - INT. LARGE COURTROOM - LATER

on the stand. Elliot is cross-examining.

ELLIOT
-- and you arrested the defendant
four days after the killing. What
lead you to suspect Mr. McCall?

RODRIGUEZ
You ask questions. Work the
neighborhood. Find out who was on
the street that night.

ELLIOT
Yes, but specifically Mr. McCall? He
had no previous criminal record.

RODRIGUEZ
We found someone who'd seen him in
the area. So we picked him up for
questioning. We didn't expect it to
be him. But if someone saw him in
the area that night we would want to
talk to him. If he wasn't the killer,
he might've seen the killer. Just
routine really.

ELLIOT
Where did you find the defendant?

RODRIGUEZ
On the street. Corner of Third and
Madison.

ELLIOT
What was he doing?

RODRIGUEZ
He was passed out.

ELLIOT
But you knew it was the man you were
looking for.

RODRIGUEZ
Yes.

ELLIOT
Based on what?

RODRIGUEZ
His description.

ELLIOT
Who provided you with the description?

RODRIGUEZ
(hesitates a beat)
Cynthia something, I think.

Elliot moves to the defense table, glances at Arthur as he
picks up a paper. Arthur nods approvingly. Elliot looks at
the paper.

ELLIOT
I believe her name is Cynthia Webb.
According to the statement filed the
night she picked him out of the line-
up. The name familiar?

RODRIGUEZ
Yes... that's her.

ELLIOT
Where did you find Ms Webb?

RODRIGUEZ
On the street. Same area.

ELLIOT
And she agreed to pick the defendant
out of a line up.

RODRIGUEZ
Yes.

ELLIOT
Where you aware that Ms Webb
disappeared after she was served
with a subpoena?

RODRIGUEZ
Yes, my partner and I tried to contact
her about the case and were
unsuccessful.

ELLIOT
Thank you, Detective, that's all the
questions I have.

Rodriguez gets up as we --

CUT TO:

INT. ETHNIC BAR/RESTAURANT - NIGHT

A waitress cruises past tables to the booth in the back. She
sets down two scotch and waters to the two men. Rodriguez
and Divinci. The waitress exits. Divinci picks up his glass.

DIVINCI
To justice in all its forms.

Rodriguez picks up his glass.

RODRIGUEZ
We're not home free yet.

DIVINCI
Without Ms Webb, there's no place
they can go. We still got the
confession, the gun, the ballistics...
And I don't give a shit about all
this African doctor crap... the man
is a drunk and he's been a drunk for
seven goddamn years. So lets have a
drink for drunks.

Rodriguez reluctantly lifts his glass. They clink and drink.

DIVINCI
That's the thing about life. You
control it or it controls you. Most
people don't understand that. They
try'n blame their fuck-ups on
something or somebody else. But it's
not like that. I don't wanna hear
why your life's a mess. It's a mess
cause you're a mess. That simple.
They're waitin' to live happily ever
after. But after what? After all the
shit happens? Well, I got a clue for
everybody, the shit never stops
happening. So you deal with it or
you get buried in it. I'm not talkin'
about you, you know what I'm sayin'
here.

RODRIGUEZ
Yeah.

DIVINCI
Life don't work in mysterious ways.
There ain't no mystery to it. You
just work it. And you don't take it
too serious. You can't take it too
serious otherwise you get fragile.
And you can't be fragile and have
any fuckin' fun.

RODRIGUEZ
You think I'm fragile?

DIVINCI
That's the first sign of trouble,
when you start askin' other people.

Rodriguez nods.

RODRIGUEZ
...I just wish I knew where the hell
she was.

CUT TO:

INT. HELEN'S D.A. OFFICE - NIGHT

Helen and Richard Stein are working late. Over take-out
Chinese.

RICHARD STEIN
(referring to papers)
-- so I think we'll have to rely on
the confession for his description
of what happened. He'll never take
the stand, even if --

The phone rings. Richard picks up.

RICHARD STEIN
(into phone)
D.A.'s office... What?... When?...
Where will --

Richard is surprised. He turns to Helen.

RICHARD STEIN
They found Cynthia Webb.

HELEN
Where?

RICHARD STEIN
I don't know.

HELEN
When?

RICHARD STEIN
I don't know.

HELEN
Well who the hell was that?

RICHARD STEIN
I don't know. They hung up.

Richard hangs up the receiver. He and Helen exchange a look.

HELEN
What the fuck is going on?!

CUT TO:

INT. LARGE COURTROOM - DAY

HELEN
Your honor, the people call Ms.
Cynthia Webb to the stand.

VARIOUS REACTIONS

Rodriguez and Divinci are stunned. Cynthia? Elliot is
completely surprised. Cynthia? Arthur is never shaken by
anything.

The courtroom doors open and Cynthia is lead down the aisle
by a SHERIFF'S DEPUTY. She moves to the chair.

But it's Joe's turn to double take. He remembers her. My
God, he knows her. It's Cynthia -- the girl from the apartment
building. He never saw who pointed him out, but he never
expected it to be her.

BAILIFF
Raise your right hand.

Cynthia raises her hand. But her look goes right to Joe.
Staring at him. She's never seen Joe like this -- cleaned
up, trimmed, handsome. She's not sure she even recognizes
him.

BAILIFF
You swear to tell the truth, the
whole truth and nothing but the truth
so help you God.

She turns her eyes from Joe.

CYNTHIA
Sure.

BAILIFF
You may be seated.

Cynthia sits down. Looks at Divinci.

And Joe leans across to Arthur and Elliot. Their conversation
is in whispers --

WILLIAM
I know her.

ELLIOT
She's the woman who identified you.

WILLIAM
No. I mean I know her.

ARTHUR
...How?

WILLIAM
I'm not sure... I think I lived near
her.

Arthur exchanges a look with Elliot. Arthur turns now and
looks at Cynthia. The wheels are turning.

HELEN
Please state your name for the court.

CYNTHIA
Cynthia Webb.

HELEN
Do you see the man that you identified
in a police line-up in this room.

CYNTHIA
Yes.

HELEN
Is it the defendant, Mr. McCall?

Cynthia looks at Joe. Joe looks straight at her. Cynthia
turns her eyes away.

CYNTHIA
Yes.

HELEN
Please describe what you saw the
night of September 14th.

CYNTHIA
I was comin' out of an all night
minimart --

CUT TO:

EXT. STREET - MINI MART - NIGHT

Cynthia comes out of a ALL NIGHT MINI-MART with a bag of
food. She walks down the street and suddenly we HEAR a
GUNSHOT. Followed by a CAR CRASH. She turns toward the sound.
And we HEAR RUNNING FOOTSTEPS. Then we see a man running. He
has a pistol in one hand.

Cynthia watches the man run past and disappear into the
darkness.

CUT BACK TO:

INT. LARGE COURTROOM - DAY

Cynthia is looking at Helen.

HELEN
And you're positive the man you saw
with the gun is the defendant.

Instead of looking at Joe, Cynthia turns to Rodriguez and
Divinci who are seated in the rows behind the prosecution
table. They are looking right at her. They wait for her
answer.

CYNTHIA
Yeah.

HELEN
No further questions.

Divinci offers her a small smile.

Cynthia turns away. Arthur is now standing in front of her.

ARTHUR
Miss Webb... is it Miss?

CYNTHIA
Yes.

ARTHUR
Miss Webb, had you ever seen the
defendant before that night, the
night you described to us?

CYNTHIA
No.

ARTHUR
Do you know what perjury is?

CYNTHIA
When you lie.

ARTHUR
When you lie under oath in a court
of law. Do you know what the penalty
for that is?

CYNTHIA
You go to jail.

ARTHUR
Yes... Cynthia, have you ever seen
the defendant before that night?

HELEN
Objection. The witness has already
answered that question.

JUDGE HAROLD PINE
Sustained.

ARTHUR
I just want to give the witness the
opportunity to remember if she could
have seen Mr. McCall anyplace else
before the night in question.

Divinci stares at Cynthia. As if willing her to give the
answer he wants her to give.

JUDGE HAROLD PINE
Ms. Webb, do you understand the
consequences of perjury?

CYNTHIA
Yes.

JUDGE HAROLD PINE
Let's get on with it then.

ARTHUR
What did you buy the night you went
into the mini-mart?

CYNTHIA
What did I buy?

ARTHUR
You remembered seeing Mr. McCall
that night and hearing the gunshot
and a car crash. I just wondered if
you remembered what you bought in
the mini-mart.

CYNTHIA
...shampoo I think.

ARTHUR
That's all?

CYNTHIA
Yes.

ARTHUR
Where do you live?

CYNTHIA
4356 17th Street. Number 37.

ARTHUR
Is that close to where this mini-
mart is?

CYNTHIA
Close? Sort of.

ARTHUR
How far would you say?

CYNTHIA
I don't really know.

ARTHUR
Within walking distance?

CYNTHIA
No... I don't think so.

ARTHUR
Did you walk there that night or
drive?

CYNTHIA
I ahh... drove.

ARTHUR
You drove. But when you left the
mini-mart you stated that you walked
down the street.

CYNTHIA
Yeah.

ARTHUR
How far?

CYNTHIA
...to the corner.

HELEN
Objection. Your honor, I don't see a
point to this line of questioning.

JUDGE HAROLD PINE
Is there a point?

ARTHUR
Yes, your honor. Since this is the
only witness, I'm trying to establish
what the scene was like that night.

JUDGE HAROLD PINE
Try to get there as quickly as
possible.

ARTHUR
(to Cynthia)
And how far away from the corner was
the Mini-mart? For example was it in
the middle of the block, close to
the corner, where?

CYNTHIA
In the middle I think.

ARTHUR
So you walked all the way to the
corner. I assume then you were walking
back to your car, yes?

CYNTHIA
...yeah.

ARTHUR
Was there a reason you parked so far
away?

CYNTHIA
(getting nervous)
Um... there were lots of cars parked
on the street.

ARTHUR
Was there anyone else on the street
besides you?

CYNTHIA
No.

ARTHUR
Lots of cars, but no people. Any
traffic?

CYNTHIA
I don't remember.

ARTHUR
So you were the only person to see
Joe on the street that night?

CYNTHIA
I didn't see anybody else.

ARTHUR
So you heard a gunshot, a car crash
and a man running with a gun in his
hand.

CYNTHIA
Yes.

ARTHUR
What did you do then? Did you call
the police, 911?

CYNTHIA
I went home.

ARTHUR
You went home. Straight home?

CYNTHIA
Yes.

ARTHUR
And you're sure it was Joe you saw
that night?

CYNTHIA
Yes.

ARTHUR
When you went home.

CYNTHIA
Yes.

Arthur pauses.

ARTHUR
When you went home you saw Joe?

Cynthia realizes what she's said.

CYNTHIA
No.

HELEN
Objection. Defense is trying to
confuse the witness.

ARTHUR
I'm not trying to confuse the witness,
it's the witness that's trying to
confuse the court. I have witnesses
who will refute her testimony.
Witnesses who were on that corner
the night of the shooting, who never
saw Ms. Webb, who never heard the
gunshot, who never saw Joe run past.
Ms Webb saw Joe outside her apartment
building that night because he lived
in the alley next to it. Isn't that
right, Ms Webb?

Arthur turns dramatically to Cynthia. She is scared.

HELEN
Objection!

Everyone's attention is on Cynthia.

ARTHUR
When I referred to him as Joe, you
knew who I was talking about, didn't
you. This case is the People versus
Mr. William McCall. Not Joe. Joe has
never been mentioned in this trial.
How did you know who I was talking
about, Ms. Webb?

Cynthia looks from Arthur to Divinci. Divinci is frozen.
Rodriguez is sweating.

Then Cynthia turns and looks at Joe.

Joe looks at her, feeling sorry for her. Not hating her.

ARTHUR
Ms. Webb, how did you know that Joe
was the defendant?

Cynthia lowers her eyes to the floor.

CYNTHIA
He lived in the alley next to my
apartment building.

Helen and Richard Stein are stunned yet again.

HELEN
(to herself)
Oh shit.

Divinci and Rodriguez are doing their best to remain cool,
calm and collected.

ARTHUR
Why did you lie to this court?

CYNTHIA
I don't know.

ARTHUR
Are you afraid of somebody?

CYNTHIA
I don't know.

ARTHUR
Are you protecting somebody?

CYNTHIA
I don't know.

JUDGE HAROLD PINE
Answer the questions, Ms. Webb or
I'll be forced to cite you for
contempt.

Cynthia looks up at the judge. She's not talking.

CUT TO:

CYNTHIA

having her mug shots taken. Holding a number. On the FLASH --

CUT TO:

INT. UNMARKED CAR - STREET - DAY

Driving.

RODRIGUEZ
She didn't talk.

DIVINCI
Don't hold your breath.

RODRIGUEZ
You think she'll talk.

DIVINCI
I know she'll talk.

RODRIGUEZ
We'll make it look gang related.

DIVINCI
Problem is we're gonna need another
gun.

RODRIGUEZ
The problem?! Have you forgotten?
She's in fucking jail. That's the
goddamn problem.

DIVINCI
Since when is being in jail a guaranty
of a long life? You just get a fuckin'
gun.

EXT. STREET - DAY

Rodriguez gets out of the car. Divinci pulls away, driving
into traffic. Rodriguez heads into the Station.

CUT TO:

INT. BAIL BOND OFFICE - DAY

Divinci enters. Manny looks up from his desk. His face is
bruised and bandaged.

MANNY
Oh shit. I didn't do anything!

DIVINCI
Everything's fine, Manny. I just
came to apologize.
(looks at secretary)
We need some privacy...

Manny looks at Divinci, then motions for his Secretary to
take a walk. She gets up, exits.

DIVINCI
Just one more favor. I want you to
bail somebody out of jail.

MANNY
You're kiddin'.

DIVINCI
Bail's twenty-five thousand.

Divinci pulls out a piece of paper.

DIVINCI
I want her out tonight. And don't
tell her who. It's a surprise.

MANNY
And how'm I payin' for this? They
don't take American Express.

Divinci pulls a plastic bag filled with cocaine out of his
pocket -- tosses it onto Manny's desk.

DIVINCI
I know you know how to exchange that.
It's worth a lot more than twenty-
five grand. You can keep the change.
(points to cocaine)
I want her back in two hours... Or
I'll nail you for possession.

MANNY
How'd you get to be such a prick?

DIVINCI
DNA.

Divinci exits.

MANNY
What a piece of shit.

CUT TO:

INT. COUNTY JAIL CELL - NIGHT

Cynthia sits alone in her cell.

CUT TO:

INT. COUNTY JAIL CELL - NIGHT

Joe lies on his cot. But even though he is in jail for murder,
he is no longer the bum. This is a new man now. Clean shaven.
Hair cut. Prison clothes neat. Duncan rolls over on his cot.

DUNCAN
You don't have to say nothin', but...
you really a doctor?

WILLIAM
...I was... a surgeon.

DUNCAN
No shit, no shit, really. A surgeon.
I know I'm nobody to judge, but you
musta been a smart guy. What the
hell's a smart guy like you doin' in
here?

Joe looks up at Duncan, hesitates, then --

WILLIAM
...I had an affair with another
woman... a nurse at the hospital I
worked at. It was nothing... I can't
even remember much about her... Except
my wife found out. We had a fight.
She left the house, took the kids...
She was hysterical. I should've done
something... gone after them, I don't
know... they were killed in a car
accident about a mile from the
house... I've never told anybody
that... about why she left.

Duncan nods.

DUNCAN
Hey, doc, you can trust me. It won't
go no farther.

CUT TO:

EXT. 6TH STREET OUTSIDE STATION - NIGHT

Rodriguez is outside the Station. Looking nervous and upset.
The unmarked car pulls up. Rodriguez moves for the car. He
gets in and the car pulls away.

INT. UNMARKED CAR - NIGHT

Divinci drives. Rodriguez sweats. Divinci notices.

DIVINCI
You get the gun?

RODRIGUEZ
I got it.

DIVINCI
Everything okay?

RODRIGUEZ
Are you kidding? We're going to kill
a goddamn witness who's in fucking
jail because we killed an undercover
DEA agent. I'm sorry, but this kinda
shit troubles me a little.

DIVINCI
Take off the dress and get back in
the game. We gotta do what we gotta
do.

RODRIGUEZ
Yeah. I know. Let's just get it over
with.

Divinci glances at Rodriguez. He's more nervous than normal.

CUT TO:

EXT. COUNTY JAIL - FRONT - NIGHT

Manny walks out of the jail building. Cynthia is with him.

CYNTHIA
I don't understand. Why can't you
tell me who put up the bond?

MANNY
Look, a guy comes in, says bail her
out, gives me the money, I do it.
That's how I make my living, I bail
fuckin' people outa jail. You wait
with me.

CYNTHIA
Was it a cop?

MANNY
Yeah, right. Cops bail people outa
jail all the time. Doesn't there
seem to be a dichotomy there for
you?

CYNTHIA
I don't like this.

MANNY
You wanna stay in jail, that's up to
you. Or you come with me.

CYNTHIA
What'd he look like?

MANNY
You're a stripper right? Lotta guys
fall in love with your type. But
they don't know how to get close,
know what I mean? Somebody wants you
to owe them something.
(shrugs)
Take it or leave it.

Manny starts down the steps. Cynthia hesitates, then follows.

INT. UNMARKED CAR - PARKED DOWN THE STREET - NIGHT

Divinci and Rodriguez watch Cynthia get into the car with
Manny.

RODRIGUEZ
This is the last time, Frank. The
last time we kill somebody.

DIVINCI
Yeah, it's the last time.

RODRIGUEZ
This'll be eleven, Frank. Eleven is
enough.

DIVINCI
I get the picture.

Divinci looks at Rodriguez. He's staring out the window, but
he looks ill. Something is not right with him.

RODRIGUEZ
It was all okay until you shot Hudd.

DIVINCI
What's goin' on here? You mad at me
or something?

RODRIGUEZ
It wasn't my idea to start killing
people, Frank. That's all I'm sayin'.
We're in this goddamn mess because
you started killing people.

DIVINCI
Drug dealers don't qualify as people.
Never did, never will. So what the
hell's wrong with you tonight? You
suddenly worried about where all the
money went?

RODRIGUEZ
I'm just sick of it, that's all.

Divinci stares at Rodriguez for a beat, then starts car.

CUT TO:

EXT. ALLEY - NIGHT

The unmarked car turns off the street onto the side street
and stops. The lights go out.

INT. UNMARKED CAR - NIGHT

RODRIGUEZ
What're you doin'?

DIVINCI
I need some fresh air.

Divinci exits. Rodriguez hesitates, then gets out with him.

EXT. ALLEY - NIGHT

RODRIGUEZ
Frank --

DIVINCI
Talk to me, okay? Just fuckin' talk
to me.

Rodriguez hesitates a moment, then --

RODRIGUEZ
I don't know... I owe some money. I
don't know how I'm gonna pay it...

DIVINCI
You gambling again?

RODRIGUEZ
Yeah, yeah... I just couldn't...
Frank... let's forget about this.
Let's just get the fuck outa here.
We got enough money, let's go. We'll
get outa the country or something.

Divinci turns toward Rodriguez. And he's got his pistol out.

RODRIGUEZ
What the hell're you doin'?!

DIVINCI
Take off your shirt.

RODRIGUEZ
What're you talkin' about?

DIVINCI
Just take off your shirt. If there's
nothin' to worry about, then I'll
apologize. But I'm not gonna argue.
Take off your fuckin' shirt now.

RODRIGUEZ
What is this, you piece of shit?!
You don't trust me?! Is that it?!
YOU DON'T FUCKIN' TRUST ME AFTER ALL
WE'VE BEEN THROUGH?!

DIVINCI
...Take off your shirt.

RODRIGUEZ
Fuck you, you don't trust me.

DIVINCI
I'm askin' you one more time.

RODRIGUEZ
You wanna shoot me? Shoot me.

Divinci hesitates. He doesn't want to. This is his partner.
A beat, then he lowers his gun.

DIVINCI
Okay, I'm sorry. You're right. I'm
fuckin' nervous. Like you. Forget
it. This thing... shit. Let's just
get it over with.

Divinci holsters his gun. Rodriguez hesitates, breathes a
sigh, then returns to the car. They both get back in.

INT. UNMARKED CAR - NIGHT

Divinci starts up the car.

DIVINCI
I'll just feel a whole lot better
when she's dead. Then we're off the
hook.

RODRIGUEZ
Right.

Divinci starts to shift gears, but suddenly throws his elbow
into Rodriguez' face. And Divinci is all over him like a
tornado. Slamming a fist into his face repeatedly. He grabs
his shirt and rips it open REVEALING the TAPE RECORDER
strapped to his body, recording their every word.

DIVINCI
YOU FUCKIN' RAT!

Divinci puts his revolver to Rodriguez' head. Rodriguez,
bleeding from the mouth and nose, looks at Frank.

RODRIGUEZ
Yeah... yeah... I am, I'm a fuckin'
rat... I traded you, Frank, I fuckin'
traded you... Simms knows everything.

Divinci pulls back the hammer, ready to blow Rodriguez' head
off.

RODRIGUEZ
Just fuckin' shoot me, get it the
fuck over with! I DESERVE IT! I
FUCKING DESERVE TO DIE!

Divinci is ready to pull the trigger.

DIVINCI
You're fuckin' right.

Divinci rips the wires off the recorder. Rodriguez closes
his eyes, waiting for the end. A tense moment, then --

DIVINCI
...Get out.

Rodriguez opens his eyes, looking at Divinci, who is still
holding the gun to his head. Another moment, then --

RODRIGUEZ
Frank --

DIVINCI
(calm)
Get outa the car NOW!

A beat, then Rodriguez gets out. Divinci looks up at his
partner.

DIVINCI
This is why you can never -- ever --
lose your sense of fuckin' humor.

EXT. ALLEY - NIGHT

The car tears away, leaving Rodriguez alone in the alley.

CUT TO:

THE KEY - INSERTED INTO THE DOOR LOCK - NIGHT

Rodriguez pushes open the door to his apartment, enters.
Shuts the door. Stands alone in the room for a moment, then
suddenly erupts in rage. Ripping off his coat, ripping off
his shirt, ripping off the tape recorder taped to his chest.

He throws the recorder on the ground. Stomps on it until
it's shattered into pieces. He stares at the broken recorder.

MAN'S VOICE (VIC)
I guess we caught you at a bad time.

Rodriguez spins around. Vic steps into the moonlight streaming
in through the window. Behind him is Cutless Supreme.

VIC
But we all have problems.

Rodriguez suddenly YELLS and CHARGES THEM. He tackles Vic.
But in the darkness we can't see anything. Until the explosion
of a GUN and the FLASH of flames lights up the room. A moment
of silence then --

VIC
Oh shit. You shot him, you fuckin'
shot him!

Two men stumble to the door. Leaving one on the floor. The
door is flung open and Vic runs out. Followed by Cutless
Supreme.

CUT TO:

CRIME SCENE TAPE - INT. RODRIGUEZ APARTMENT - EARLY MORNING

The crime scene is swarming with cops, DEA and FBI. The task
of evidence collection in progress. Rodriguez' body on the
floor. Agent Simms is standing over the body with Agent
Sarkasian.

AGENT SARKASIAN
Divinci musta figured it. I didn't
think he'd kill his own partner
though.

SIMMS
He's an animal.

DEA AGENT Hooper comes up behind Simms.

AGENT HOOPER
Recorders busted up. But we might be
able to salvage some of the tape.

SIMMS
I want him. You understand me, I
don't care what it takes. I want
that sonuvabitch!

Simms heads for the door. Sarkasian and Hooper follow.

CUT TO:

EXT. BAIL BOND OFFICE - MORNING

A car pulls up in front.

INT. BAIL BOND OFFICE - MORNING

It is deadly quiet. We PAN SLOWLY around the office until we
find Manny in his chair, sprawled back. Continuing to PAN
until we see Cynthia sprawled on the couch. But no signs of
blood. Just the bodies. The door opens. TWO MEN enters. All
we SEE are GUNS in hands.

Cynthia and Manny wake up with a start. Manny is scared.

MANNY
Shit! Who the fuck're you?!

A BADGE comes out. And now we see Agents Hooper and Sarkasian.

AGENT SARKASIAN
Ms. Webb. We'd like you to come with
us.

Cynthia looks at Manny. She's pissed.

CYNTHIA
This was the big secret? Shit. You're
an asshole.

Cynthia puts her coat on and heads for the door. Manny doesn't
know what the hell is going on.

CUT TO:

INT. INTERROGATION ROOM - FEDERAL BLDG. - DAY

Cynthia is in with Agents Simms, Hooper and Sarkasian.

SIMMS
Who set it up?

CYNTHIA
I don't know.

AGENT HOOPER
It was Divinci wasn't it?

CYNTHIA
I don't know.

SIMMS
Which one pulled the trigger? Divinci
or Rodriguez?

CYNTHIA
I don't know.

Agent Simms looks right into Cynthia's eyes.

SIMMS
Detective Rodriguez is dead. He was
shot in the head last night.

This gets Cynthia's attention.

SIMMS
Rodriguez was wearing a recorder.
Divinci found it. You can do addition,
can't you.

CYNTHIA
You're full of shit.

AGENT SARKASIAN
Just tell us what you know.

Cynthia looks at both of them.

CYNTHIA
Where's Divinci?

SIMMS
We don't know. But we're gonna find
him.

CYNTHIA
You're gonna find him?
(smiles sarcastically)
Right... I don't know a fuckin' thing.

Simms stares at her for a moment, then turns to Hooper and
nods. Hooper takes Cynthia's arm and leads her out of the
office. When the door closes --

SIMMS
Get a copy of the tape to Bailor.
But make sure it doesn't come from
us.

CUT TO:

INT. COUNTY JAIL CELL - DAY

Cynthia is alone in her cell. We HEAR footsteps. She looks
up as the GUARD approaches.

GUARD
Your attorney's here.

CYNTHIA
What attorney?

INT. ROOM - COUNTY JAIL - DAY

Cynthia enters the office. The Guard shuts the door. Cynthia
finds herself facing Arthur Baylor. A tape recorder on the
table in front of him.

ARTHUR
Hi, Cynthia. Please sit down.

CYNTHIA
I got nothin' to say.

ARTHUR
So I'm told.

Arthur pushes the tape recorder and we HEAR --

DIVINCI'S VOICE
...Take off your shirt...

RODRIGUEZ'S VOICE
Fuck you, you don't trust me.

DIVINCI'S VOICE
I'm askin' you one more time.

RODRIGUEZ'S VOICE
You wanna shoot me? Shoot me.

DIVINCI'S VOICE
Okay, I'm sorry. You're right. I'm
fuckin' nervous. Like you. Forget
it. This thing... shit. Let's just
get it over with. I'll just feel a
whole lot better when she's dead.
Then we're off the hook.

Arthur watches Cynthia's reaction to "when she's dead." But
Cynthia has seen enough not to be too shocked by anything.
And her reaction is subtle. She knows better than to reveal
what she's really feeling and thinking.

RODRIGUEZ'S VOICE
Right.

DIVINCI'S VOICE
YOU FUCKIN' RAT!

RODRIGUEZ'S VOICE
Yeah... yeah... I am, I'm a fuckin'
rat... I traded you, Frank, I fuckin'
traded you... Simms knows everything.
Just fuckin' shoot me, get it the
fuck over with! I DESERVE IT! I
FUCKING DESERVE TO DIE!

DIVINCI'S VOICE
You're fuckin' right.

The recording ends. Arthur shuts off the machine.

ARTHUR
I think you know my client is
innocent. That's all I care about,
my client. But I understand why you're
scared. You're already facing perjury
charges. My guess is, your involvement
is deeper than that. But I don't
really care, I'm not after you... I
get nothing if you go to jail. But I
think if I help you, I can help my
client.

CYNTHIA
...how?

ARTHUR
William -- Joe -- didn't do it, did
he?

Cynthia hesitates, then shakes her head.

ARTHUR
Why don't you sit down.

A beat, then Cynthia pulls up a chair.

CUT TO:

AGENT SIMMS - INT. OFFICE - DAY

angry.

SIMMS
No goddamn way! I'm not going to
grant that whore immunity. She lied
on the stand, she's protecting
somebody. And she's involved. I want
them all.

Arthur, who was sitting across from him, stands.

ARTHUR
Before I leave, let me remind you
that you have shit for a case. If
you really care about seeing justice
for your dead agent, don't blow this
deal. Immunity for her testimony is
a small price for a bad cop. It's
the only way she's going to talk.

Simms glares at Arthur.

ARTHUR
And William McCall walks, right now,
all charges dropped.

Simms hesitates, then --

SIMMS
If what she says is any good, I'll
deal. If it isn't, then nobody goes
anywhere.

CUT TO:

INT. HALLWAY - CRIMINAL COURTS BUILDING - DAY

Cynthia is lead down the hall by GUARDS. They enter an office.

INT. OFFICE - CRIMINAL COURTS BUILDING - DAY

Agents Simms, Hooker, Sarkasian and TWO TECHNICIANS are
waiting inside with Arthur. Cynthia is lead into the room.
The guards withdraw, closing the door.

Cynthia looks at the men, then at the TAPE RECORDING EQUIPMENT
on the table and the empty chair. A MICROPHONE is waiting.

Cynthia looks at Arthur, then sits down in the chair.

CUT TO:

EXT. CRIMINAL COURTS BUILDING - DAY

REPORTERS swarm around Arthur and Joe as they exit the
courthouse.

REPORTERS
How does it feel to be a free man
again?

Arthur and Joe head down the steps to a waiting LIMOUSINE.

REPORTERS
Do you remember everything that
happened to you? What are your plans?

WILLIAM
I just want to go back to work.

REPORTERS
As a surgeon?

WILLIAM
Yes.

REPORTERS
What about the signed confession,
did the police coerce you into signing
it?

ARTHUR
I'm sorry, no more questions.

They get into the back of the waiting limo and it pulls away.

INT. LIMOUSINE - DAY

Nathan is in the back, staring at Joe. Arthur sits next to
Joe. Nathan smiles. Joe smiles.

NATHAN
Good to have you back, Will.

WILLIAM
...I'd like to make one stop.

NATHAN
I know.

CUT TO:

EXT. CEMETERY - DAY

The limousine is parked curbside. Nathan and Arthur wait.
Watching Joe walk across the lawn. He stops, looking down.

The grave stones are for his wife and two children. He sits
down beside them. It's very near where Agent Hudd was buried.

CUT TO:

EXT. THE MCCALL MANSION - DUSK

Giant party in progress. Expensive cars parked along the
drive.

INT. MCCALL MANSION - DUSK

Filled with well-wishers in TUXES and GOWNS. Arthur Bailor
and Elliot in attendance. Elliot isn't used to this much
glory, but he's taking credit where where he can -- with one
of the PRETTY YOUNG WOMEN.

ELLIOT
-- you know, it just didn't make
sense, a man wanting to be punished
for a crime? How many times does
that happen? Once in a lifetime, I
can tell you.

CAMERA MOVES to Arthur, who is also receiving his share of
the credit.

ARTHUR
-- to tell the truth, I had no other
witnesses to refute her testimony.
But she didn't know that. All we
knew was that she was reluctant to
testify. You look for signs.

And CAMERA CONTINUES TO Joe and Nathan.

A MAN
My God, we thought you were dead,
you know. It's just incredible that
you're here.

A WOMAN
Life moves in such strange ways. Oh,
I just think what might've happened
to you had you not been arrested for
killing that poor policeman. You
still might be on the street.

Joe just takes it all in, smiling and nodding.

ANOTHER WOMAN
Joe, you look wonderful. After what
you've been through... I just can't
imagine.

ANOTHER MAN (SINCLAIR)
When you're ready to come back to
work, let me know. I've already spoken
to the board, they're ready to re-
certify you anytime. I can put you
in the emergency sector until you
get warmed up. We all want you back.
We can't afford to waste someone of
your talent.

A beat, then Joe smiles.

WILLIAM
...I'm ready.

A BLACK TUXEDO WIPES past CAMERA as we --

CUT TO:

BLACK SCREEN. We HEAR the POUNDING of the MUSIC -- a FAMILIAR
RHYTHM. And in GRAFFITI across the screen:

FOUR MONTHS LATER

EXT. STRIP JOINT - NIGHT

The neon blares as usual.

INT. STRIP JOINT - NIGHT

And there's Cynthia. Back bumping and grinding to the music.
He life hasn't changed at all. And she knows it. But there's
nothing else she can do.

CUT TO:

INT. CYNTHIA'S APARTMENT - NIGHT (EARLY MORNING)

Door opens. Cynthia enters. Shuts the door. Tries the light.
It doesn't go on. Suddenly a man is next to her --

MAN'S VOICE (DIVINCI)
I guess you had no choice.

Cynthia tries to move, but a hand grabs her arm. And now we
see Divinci. He looks like hell. A man on the run. Desperate
and dangerous. He hasn't shaved. His clothes are filthy. He
looks like... Joe. Cynthia looks up at him.

DIVINCI
You had to do the right thing.

CYNTHIA
What d'you want?

DIVINCI
What do I want?

Divinci suddenly shoves her hard across the room.

DIVINCI
Why're you asking me that? You gonna
grant me three wishes? I don't know
where to start. Let's see... money
would be nice... love would be
better... but a little loyalty...
you can never get enough of that.
(moves up to her)
...But we'll start with... money.

Divinci pushes her into the bedroom.

INT. BEDROOM - NIGHT (EARLY MORNING)

Cynthia goes to her closet, pulls out a box, opens it. It's
got her savings.

CYNTHIA
This is all I've got.

Divinci grabs the money and stuffs it into his jacket pocket.

CYNTHIA
They'll catch you.

DIVINCI
I don't think so.

CYNTHIA
You wanna bet?

DIVINCI
They don't have a clue, baby. And
you wanna know why? Because I am
following my heart.

Divinci puts aside his gun. And pushes Cynthia down on the
bed. He leans in close to her. Face to face.

DIVINCI
And they don't know where that is.

CYNTHIA
So tell me about your plans. I think
I'd like to hear 'em now.

Divinci looks at Cynthia for a moment, almost with remorse.

DIVINCI
Loyalty is what it all comes down
to. Nothing holds together when it's
gone. And once it's gone, you don't
ever get it back... You shouldn't've
told 'em.

CYNTHIA
I shouldn't've done a lotta things
in my life. But that's not one of
'em.

DIVINCI
Let me tell you something... the
only difference between a liar and a
witness is that just one of 'em knows
what he's doing.

INT. LIVING ROOM - NIGHT (EARLY MORNING)

It is dark and quiet. No clue as to what's going on inside.
And we hold on this for a long moment. Just wondering what's
she being made to do. And then there's a MUFFLED BOOM. Divinci
exits the bedroom quickly. He is upset. We HEAR the DOOR
close.

AND WHITE FEATHERS

fall like snow flakes on Cynthia's body draped across the
bed. The pillow on the floor beside her with the stuffing
blown out. She has a hole in her chest, right above her heart.

CUT TO:

INT. BAIL BOND OFFICE - EARLY MORNING

Manny unlocks the door, enters his office.

DIVINCI'S VOICE
Shut the door and lock it.

MANNY
Jesus Christ!

Manny looks toward the voice. Divinci is sitting on the floor
out of sight. Holding his revolver.

MANNY
You scared the shit outa me.

DIVINCI
Lock the door.

Manny locks the door.

DIVINCI
One more favor, Manny.

MANNY
Since when did I become such a good
guy?

DIVINCI
I'm takin' some time off. I want a
car, here tonight, and a driver. You
can do that for your old friend,
right?

MANNY
(disgusted)
Yeah, I can do that. But you are a
hot fuckin' potato. And drivers that
don't talk, don't come cheap.

DIVINCI
I got the money. Just put it together.

CUT TO:

EXT. HOSPITAL - EARLY MORNING

An AMBULANCE races up to the EMERGENCY entrance.

INT. HOSPITAL - EARLY MORNING

TWO PARAMEDICS push the gurney down the hall. Cynthia is
conscious on the gurney. Looking up at the ceiling. She is
fading. We HEAR --

VOICES
-- come on, hang in there, hold on.

CYNTHIA'S (MOVING) P.O.V OF THE CEILING and FACES.

The gurney pushes past and CAMERA PICKS UP TWO SURGEONS moving
out of an Operating Room. Pulling off masks and rubber gloves
bloody from surgery. One of them is Joe. The other surgeon
pats him on the back.

OTHER SURGEON
Just like riding a bike.

Joe finally breathes a sigh of relief and manages a smile.

CUT TO:

BLACK LINCOLN - EXT. BAIL BOND OFFICE - NIGHT

pulls up in front of the office. Tinted windows.

INT. BAIL BOND OFFICE - NIGHT

Manny is looking out the window.

MANNY
Leather upholstery, moon roof, CD.
What more could you ask for?

Divinci looks out. Gun in hand. He's cleaned himself up.
He's now wearing a Hawaiian shirt, slacks. A traveler.

DIVINCI
Better not be a set up.

MANNY
Want me to hold your hand?

DIVINCI
Just walk me to the door.

EXT. BAIL BOND OFFICE - NIGHT

The Lincoln idles at the curb. Divinci and Manny exit the
office. Divinci glances up and down the street as they move
toward the car. Manny opens the back door. Nobody inside.

DIVINCI
I think I'll let you live.

MANNY
You are a real prince. Now how about
my money?

Divinci hands Manny a wad of cash from his pocket, then gets
into the back of the car.

DIVINCI
You never saw me.

MANNY
Don't I wish that were true.

He closes the door. The Lincoln pulls away. Manny watches it
move off down the street.

MANNY
Have a nice trip.

INT. LINCOLN - NIGHT

Driving. Divinci in the back. Can only see the DRIVER'S EYES
in the REAR VIEW MIRROR.

DIVINCI
Head south. Get on the interstate.
Don't break the speed limit.

Divinci settles into the leather seat. Looks at the rear
view mirror.

DIVINCI
You know, the one thing about life...
you can never lose your sense of
humor. Without it, you got nothin'.

Suddenly the driver turns around, holding a 9mm and fires.
BLAM. BLAM. BLAM. Divinci's head snaps back as the BACK WINDOW
BLOWS OUT of the Lincoln.

And now we recognize the driver. It's Clyle D. Dunner.

CLYDE
Fuckin' A.

THE LINCOLN

moves right into CAMERA. BRIGHT HEADLIGHTS filling the screen.
The car stops. We HEAR the DOOR OPEN and RUNNING FEET. And
PAN INTO THE BRIGHT HEADLIGHTS GLARING into CAMERA.

CUT TO:

SURGICAL LIGHTS - INT. OPERATING ROOM - NIGHT

SHINING BRIGHTLY into CAMERA.

MAN'S VOICE
-- run the cardioplegia.

Faces appear. Looking down. We recognize Joe and one of the
friends from the party -- Sinclair.

WILLIAM
She's fibrilating. Go on bypass.

Faces move away as we HEAR MEDICAL MACHINES in operation. A
NURSE reappears. CAMERA MOVES back now, revealing the room.
And the operation in progress.

SURGEON SINCLAIR
Forceps.
(A nurse hands him
forceps)
Just like old times.

WILLIAM
I wouldn't have done this without
you... I owe you.

SURGEON SINCLAIR
Lucky to have a donor. Never would've
survived the night. Have a suture
ready.

NURSE
(picks up suture)
I heard it was a cop's heart.

Joe looks at the nurse.

NURSE
He was shot in the head a couple
hours ago.

CAMERA PUSHES IN ON JOE

NURSE
They think it was gang related.

The BRIGHT LIGHTS OVERHEAD bleed the scene to WHITE and we --

DISSOLVE TO:

WAVES - DAY

crashing on white sand. PANNING with the clear blue water
racing up the sand to a woman in a bathing suit, sitting
alone. We PAN UP HER LEGS, past her stomach, to her CHEST
where we see a SCAR ABOVE HER HEART.

We CONTINUE UP TO HER FACE NOW. It's Cynthia. Staring out at
the ocean. Palm trees behind her. She's beautiful. She leans
back, hands behind her and... She smiles. Her life has
changed. And we HEAR HAWAIIAN SLACK KEY GUITAR MUSIC as we --

FADE OUT:

THE END

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