City Under Siege Script

HUNTER

"City Under Siege - Pt. 1"

Story by Tom Chehak & George Geiger
Teleplay by Joe Menosky

ACT ONE

FADE IN

EXT. TEXAS HIGHWAY - DAY #1

Heat waves rise off the desolate two lane blacktop road. A
tan colored N.D. sedan speeds past.

SUPER: Sunday 1:23 P.M. - Route 234 Presidio County, Texas

INT. SEDAN - DAY

Two Texas Rangers in the front seat are sweating buckets,
faces drenched, tan uniforms soaked. RANGER #1 is driving.

RANGER #1
Five hundred miles to Austin for a
turn down and no AC...hardly worth
the gas, huh?

RANGER #2
Why don't you ask the Goddess?

INCLUDE THE BACK SEAT

to see IRIS SMITH, 29, in prison denims and dry as a bone,
eyes closed, head erect, body straight, like an Egyptian
monarch deep in thought. We may see heavy handcuffs
chained around her waist. Ranger #1 gestures to Iris.

RANGER #1
(continuing)
Spooky bitch don't even sweat.

RANGER #2'S POV

A blue Mustang with its hood up appears like a mirage out of
the heat, a "woman" with long dark hair and sunglasses
stands next to it, flagging down the approaching car.

RANGER #2
Hell of a place for a breakdown.

EXT. TEXAS HIGHWAY - DAY

as the Ranger's car pulls in behind the blue Mustang. Ranger
#1 gets out. As he moves closer to the woman his expression
changes. Something isn't right.

ANGLE ON IRIS - THROUGH WINDSHIELD

RANGER #2
(turning to her)
You want to stretch your legs?

Iris shrugs, holding up her manacled hands. The Ranger
takes a ring of' keys out of his pocket and unlocks the
cuffs. We see the reflection on the windshield of the
"woman" outside pulling a shotgun on Ranger #1. Ranger #2
jerks around at the blast from the gun. It's clear that the
"woman" is really a man, BILLY JOE POWELL, in disguise.

BILLY
Get out! Open the back.

Billy yanks Ranger #2 out onto the ground, taking his gun.
Ranger #2 uses another key on the ring to open the rear door
(no interior lock buttons). Iris scoots out and takes the
keys, using them quickly on her manacles. (Frame to lose
Ranger) as Billy smashes the butt of his shotgun into the
side of Ranger #2's head O.C.

IRIS
(to Billy)
You son-of-a-bitch. You did it.

BILLY
I said I would, didn't I?

One cuff still dangling, the two exchange a deep kiss, during
which the wig falls revealing Billy's true identity. Iris
breaks off the kiss, her duty done.

While Iris removes the other cuff, Billy pumps a shotgun
blast into the back of the car, popping the truck. He tosses
Iris a duffel. She digs through the duffel, successfully
pulling up a loose leaf notebook. She opens it with almost
holy reverence. Billy rifles the trunk coming up with the
guns and ammo as Iris strips out of her prison shirt and
puts on a shirt of her own. He tosses a shotgun to her. He
pumps a shell into his gun. Iris looks up from her note
book as he aims at the stirring ranger.

IRIS
No. He's got to be alive.

BILLY
He's got to go to hell.

IRIS
(jerking Billy)
He's got a purpose.

BILLY
Yeah...I got a purpose, too.
Nothing gets in my way.

Billy shrugs her off and fires into the car door. He blows
out the windshield of the car. Iris has moved to the semi-
conscious ranger. Billy continues to pepper the patrol car
in the background, oblivious to:

LOW ANGLE - ON IRIS AND RANGER

Iris puts her face on the ground next to Ranger #2. She
pokes her notebook in his face (a calendar) and points to a
day.

IRIS
Can you hear me?
(he nods)
When they find you, tell them Iris
Smith has a message for a cop in
L.A. Tell Rick Hunter I've
survived and I've scheduled his
execution...

Ranger #2 nods, barely hanging on. Oblivious of Iris'
Conversation, Billy crosses to the Mustang as Iris stands.
The ranger's car vents steam in the b.g.

BILLY
You done with your purpose?

IRIS
I just started.

They get into the blue Mustang. Billy cranks it up and
chews gravel onto the road, heading west.

CUT TO

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT (OF DAY
#2 - 3 DAYS LATER)

Hunter is sitting at his desk preparing to go home for the
day. On a wall-mounted TV, Mayor TOM BRADLEY is addressing
the camera as part of a newscast. In an MOS cut away,
Bradley is shaking hands with Dep. Chief CURTIS MOREHEAD.

SUPER: Tuesday 9:38 P.M. - Central Division, L.A.

MAYOR BRADLEY
(on TV)
I'm today ordering the deployment
of city-wide neighborhood
emergency task force...NET Force
in areas where crime is up more
than twenty percent. Deputy Chief
Morehead will oversee the NET
Force, reporting to me...and I
expect results.

Capt. CHARLIE DEVANE sticks his head out of his office.

DEVANE
Hunter.

INT. DEVANE'S OFFICE - NIGHT - CONTINUOUS

Lose Bradley as Hunter enters.

DEVANE
About an hour ago that Texas
Ranger came out of a coma and
updated the telex we got on Iris
Smith's escape. No details yet on
her accomplice, but she gave the
ranger a message:
(beat; then)
She's coming after you.

HUNTER
We've all heard that before.

DEVANE
(reads)
'Iris Smith stated she's set
Hunter's day of execution.'
(after a beat)
I'd like you to think about
sticking close to your desk.

HUNTER
You know I can't do that.

DEVANE
Hunter, I was in briefings at City
Hall all day, the Mayor's breaking
our humps. Crime stats up in for
division...money for cops isn't.
The order is: deliver.

HUNTER
I'll deliver Iris Smith.

DEVANE
I don't have time to worry about a
Cop with a target on his back.

HUNTER
Don't.

Hunter exits.

INT. HOMICIDE SQUAD ROOM - NIGHT - CONTINUOUS

As Hunter crosses back to his desk. Mayor Bradley wraps up
on the monitor.

MAYOR BRADLEY
I believe there's no better
disciplined law enforcement agency
in the country. And I hear the
cry from the citizens in L.A. for
our police to crackdown.

Hunter sits and opens a dog-eared file on his desk as
Bradley continues in the b.g. until a cop shuts off the T.V.

MAYOR BRADLEY
(continuing)
I will not tolerate any less than
the safest city we can make it.
You have my word on that.

INSERT - ARREST REPORT

There is an old booking photo of Iris. We see a list of
petty crimes and convictions ending with murder...Texas
extradition, Hunter, arresting officer.

RESUME

Hunter's concentration on the report is shattered when his
phone begins to ring. He answers it. The breathless,
gasping voice of SANDRA CLEMENTS is on the other end.

HUNTER
Hunter.

SANDRA (O.C)
(phone filter)
She says tell you she's here.

HUNTER
Who is this?

Intercut:

INT. SANDRA CLEMENTS' APARTMENT - BEDROOM - NIGHT

SANDRA CLEMENTS, pretty, panicked, 38, in sweat shirt and
jeans, is in the grasp of Billy Joe Powell. He has a
straight razor to her neck. Iris is on the bed, notebook on
her lap. (Note: She wears a trendy long "duster" hiding a
holster which can carry a shotgun hanging down her back.)

IRIS
No. Use my name.

SANDRA
Iris Smith is here...she's going
to kill me...help me.

Billy jerks Sandra's head back pressing the blade closer to
her neck. Sandra stops abruptly, gasping at the jolt.

HUNTER
Where are you?

Hunter signals to Charlie who has started out of his office.

SANDRA
(desperate)
I'm at the Vista Mar
Apartment...1648 Riverside...209.
Sandra Clements.

Hunter rips off a note from his pad and gives it to Devane,
who immediately crosses to another phone.

HUNTER
Sandra, let me talk to her.

ANGLE - ON DEVANE

DEVANE
(into phone)
1648...in progress, code three,
and get an air unit en route.

SANDRA
She wants me to make sure you got
the message from the ranger...

IRIS
(raising shotgun)
Thank you, Miss Clements.

The deafening shotgun blast tells Hunter it's over.

CUT TO

EXT. VISTA MAR APARTMENTS - NIGHT

Aftermath, police cars everywhere. Some people are being
interviewed by uniforms, most are just gathering around.
Two deputy coroners exit the building with a body bag on a
gurney. Hunter follows, noticing the crowd then turning to
a uniformed officer.

SUPER: Tuesday 10:12 P.M. - Vista Mar Apts., No. Hollywood

Hunter's talking with HELEN AARONSON, a middle-aged woman.

HELEN
I don't know if it's anything. I
was just walking my dog...crossing
the street. Two people came
running out of the apartment.

HUNTER
Two? One was a woman...five five
...maybe a hundred and ten pounds?

HELEN
About.

HUNTER
(shows photo)
Is this her?

HELEN
I can't tell. If the kids hadn't
shot out the street lamps maybe I
could. The man was bigger. I
started to cross the street and
they nearly ran me down. I was
going to report them anyway. I
got part of their license
plate...242...that's all I got.
It was a blue Mustang, not a new
one. The plates were black and
white, did I say that?

HUNTER
Texas, 242...that's very helpful.
(beat)
I'd like to talk to you
again...maybe have you look at
some pictures...

HELEN
Of course.

HUNTER
Thank you.

Hunter starts crossing to his car. JACK SMALL, a tough, all
business, divorced man, approaches with his daughter DEBBIE,
a teen-ager who is in the mainstream of L.A. teendom.

SMALL
My kid and I live in the building
down the street. I'm Jack Small.

HUNTER
I'm Sgt. Hunter....

SMALL
Debbie goes to the school where
Clements teaches...taught. What
happened...robbery, rape?

HUNTER
We're working on it.

SMALL
Working on it? You can do better
-- or maybe you can't, if you're
like most cops.

DEBBIE
(tugs at him)
Dad...

Small begins to play to the neighbors.

SMALL
Just a minute.
(to Hunter)
People in this neighborhood have
had enough, Hunter. She can't
walk to the corner at night. The
market's been hit three time in a
month...there's more drugs in the
damn school than a pharmacy.
(tops Hunter)
I'm a fireman, Hunter...I don't
work' on a fire...I put it out...
before it gets out of control.
Get your act together...
(re: neighbors)
Or we might do it without you.

Small walks off as Hunter watches.

CUT TO

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY #3

Hunter's at his desk, on the phone, still in last night's
clothes, having been working all night. McCall approaches
with the morning paper and a long stream of telex paper
under her arm. She sits as Hunter finishes his phone call.

HUNTER
(into phone)
Anything is something...whatever
you hear. Thanks.

MCCALL
Texas Rangers are still trying to
locate the owner of the Mustang.
(beat)
You look beat. Anything shaking?

HUNTER
(hangs up)
Just turning over all the old
rocks...anybody who knew Iris. No
luck so far...she's been in the
Texas death house since '79.

McCall opens the newspaper for him to see. A story below
the fold is headlined, "ESCAPEE KILLS TEACHER", featuring an

MCCALL
Maybe somebody'll spot her.
(re: telex)
Austin twixed us some more
background: she just lost her last
appeal, end of the road, lethal
injection scheduled for yesterday.
She's been hell on wheels in the
joint. I don't know the case.
Why's she got it in for you? Who
was she?

HUNTER
A nobody. One of those faces who
wanted to be noticed. Got mixed
up in a murder in Houston...came
back home to L.A. San Fernando
Valley. I just happened to be the
cop that nailed her.

MCCALL
Okay...if she's back to even the
score, why kill a civics teacher
from Truman high?

HUNTER
I don't have a clue?

Devane comes out of the office and crosses to Hunter and
McCall. He has a destination in mind.

DEVANE
The pleasure of your company is
requested in the Task Force room.

McCall groans. Hunter ignores the invitation.

MCCALL
I'll pass, Charlie.

DEVANE
That 'order' came from the Mayor
...via Dep. Chief Curtis Morehead.

McCall and Hunter stand and follow.

HUNTER
Why do we need to know about his
NET Force?

DEVANE
You're part of it --
(beat)
Just keep your head down...let me
deal with him.

INT. CENTRAL DIVISION - TASK FORCE ROOM - DAY

Dep. Chief Morehead addresses the assembled staff of cops
initiating his Task Force command.

SUPER: Wednesday 10:15 A.M. - NET Force Command Center,
L.A.

MOREHEAD
If you don't know, my name's
Morehead. I'm here because,
frankly, this division has dropped
the ball. I read the mail which
comes into City Hall. People are
pissed. Every time they turn
around a neighbor's getting
mugged... or raped, or murdered.
Community perception is the police
exist to warm the stools at Dunkin
Donuts.

Devane, Hunter and McCall enter the room.

MOREHEAD
(continuing)
In the next two weeks, I'm going
to see to it that perception
changes. Capt. Devane...thank you
for joining us.

Devane isn't amused by Morehead's pointed welcome. He
begins passing out mimeo forms.

MOREHEAD
(continuing)
Watch commanders you know where
you stand. Detectives, here's
your assignments. Questions?

DEVANE
Yeah. This is my division. Why
didn't anyone let me see these
assignments till now?

MOREHEAD
Because this is my task force.

DEVANE
You can't pull my people off
ongoing cases.

MOREHEAD
Certainly I can.

MCCALL
I'm on the Clements homicide with
Hunter.

MOREHEAD
Am I not speaking English here?
Vacations over, people...we're
hitting the streets. One
homicide, one cop. Can you manage
alone, Sgt. Hunter?

HUNTER
The murder part or the donut part?

The others need a laugh. This is it. Morehead's complexion
darkens.

MCCALL
Why do you want me undercover at
Truman High?

He turns to a pin map of No. Hollywood. It's studded with
pins of varying colors. He points to a black one and traces
to the vortex of the pins, where they are most dense.

MOREHEAD
The Sandra Clements case ought to
tell you. She was a teacher at
Truman... here, in the middle of
my problem.
(re: pins)
Green is drugs. Blue is rape.
Red is assault. Black is murder.
A cop in Sandra's place might help
us pull some pins out of this map.

Other cops join in a general belly ache about the new work
schedule: "Double shifts...foot patrols..."

MOREHEAD
Look!...I don't think you
understand. What was, didn't
work. You are no longer what you
think you are. You are my task
force, appointed by the Mayor, who
pays your ticket. I don't want
any thinking, I want you doing
what you're told.

Morehead starts for the door...

MOREHEAD
(continuing)
Now, I'm going to a press
conference where I'm telling the
media you're already kicking the
crap out of every crook in town.
Don't make a liar out of me.

CUT TO

INT. STARLITE MOTEL ROOM - NIGHT (OF DAY #3)
SUPER: Wednesday 11;10 P.M. - Starlite Motel, No. Hollywood

Iris is on the bed, calendar notebook spread out on her lap.
On the television is a news report featuring Morehead,
surrounded by a swarm of reporters.

REPORTER
(on TV)
Do you have any updates on the
death of the school teacher.

MOREHEAD
We're focusing an intensive
investigation on this case.

Billy comes out of the bathroom, wrapped in a towel, having
just showered. He's focused on the TV as he drags on a new
white armless tee-shirt.

BILLY
Who's that?

REPORTER
(on TV)
And can you confirm the rumors her
death is related to the prison
break in Texas and the manhunt for
Iris Smith and her partner.

BILLY
(interest peaked)
That's us, baby doll...

MOREHEAD
(on TV)
Rumors aren't important...what we
are doing is. We're going to war
on all degenerates... and we'll
win...in the schools, on the
streets, in the neighborhoods.

Billy slaps off the television.

BILLY
From the valleys to the mountains
to the oceans white with foam.
They haven't got a pissant idea of
what's going on.

IRIS
Turn it back on.

BILLY
Somethings turned on but it's not
the tube.

He moves in on Iris. Iris is cold to his advances, more
interested in her plotting in her calendar notebook.
Frustrated, Billy rolls off the bed, strutting.

BILLY
What is it with you? It's
Wednesday, you know when my
birthday is...what else --

He reaches to take her calendar, but she fastens her nails
in his arm and he recoils.

IRIS
Never...touch...this...

BILLY
Never touch nothin' of yours, I
guess. It's a calendar. So what?

IRIS
It took me eight years in solitary
to see my path and plot it in
here. Most people go their whole
lives and never see. I saw it in
one blinding flash of light.

BILLY
You're out, Iris. People here
don't know the half of you.

IRIS
I'm their death. Everyone creates
their own death. And that's why
they created me.

Iris stands, crosses to Billy, arms around him. She kisses
him passionately, and we hear the material of his shirt rend
as she draw her nails down his back.

He shudders with pain, not exactly hating, it.

BILLY
You're crazy's, what you are.

As they fall out of frame onto the bed.

END OF ACT ONE

FADE OUT

************************************************************

ACT TWO

FADE IN

EXT. VISTA MAR- APARTMENTS - DAY #4

McCall is at the curb, unloading boxes of clothes and
household items from a U-Haul trailer and setting them on
the sidewalk. When she's got three boxes on the ground. Jack
Small approaches and takes the fourth out of her hand.

SMALL
Not a good idea to leave stuff on
the curb. It won't be here when
you get back. You moving in?

McCall nods and offers her hand.

MCCALL
Dee Dee Myers.

SMALL
Jack Small. My daughter and I
live on the second floor.

MCCALL
The school recommended this
building. I didn't realize it was
a tough neighborhood.

SMALL
Show me one anymore that isn't.
You're starting at Truman?

MCCALL
In the morning. Gym. Assistant
Princpal Landry helped me get in
here.

SMALL
Roger? Yeah, he's on the first
floor. A lot of teachers around
here.

MCCALL
I guess you know about Sandra
Clements.

SMALL
She lived right across the street.

A car full of Melrose sleaze-dressed girls pulls up and
stops. Small's daughter Debbie gets out, the car goes. She
heads past, not even looking at them.

SMALL
Debbie. Help us out here. Meet
Miz Myers.

Debbie keeps going, a little wobbly, probably stoned.

MCCALL
Really, she doesn't have to -

SMALL
She's spaced out again...I guess
it's obvious. She's been needing
a talking to. But, 'you've' got
got her all day...I mean the
school does. It's a miracle I can
even get through to her.

There's a glance between McCall and Debbie. Then Debbie
heads into the parking garage as Roger Landry's car comes
in. Small closes the U-Haul and picks up one of McCall's
boxes. They start heading into the underground garage.

MCCALL
Anybody doing anything about it?
The neighborhood, I mean? Police?

SMALL
Worthless. Worse than worthless.
They'd like to lull us with false
security...like sheep...
(conspiratorial)
But we have a little neighborhood
program taking up the slack. Let
me put it this way: sleep soundly,
somebody's watching over you.

Roger Landry gets out of his car and approaches. There's a
strained beat between Debbie and Landry -- as if they're
ignoring each other on purpose -- which McCall picks up on
as Debbie disappears into the building. When McCall and
Small approach, Small is cool towards Landry. Landry and
McCall recognize each other.

LANDRY
(to McCall)
Good to see you again.

MCCALL
Thanks for helping me find this
place on such short notice.
(to Small)
I've been out in Pico Rivera...
transfer on short notice.

SMALL
See you upstairs.

Small takes off. As they watch him go:

LANDRY
(regarding Small)
Careful of him...quite a temper
...his wife left on account of it,
his daughter hates his guts...
(beat)
Thought you ought to know...

CUT TO

INT. CENTRAL DIVISION - COMM ROOM - DAY

The place is bustling with task force activity. Hunter is
huddled over a computer with a file clerk. He turns back
toward his desk, with a teletype form. The aisles are
crowded with bodies...mostly workmen; movers bringing in
file cabinets, phone company installers putting in new
lines, a sign painter working on a NET Force Command Center
sign. Hunter passes Devane.

HUNTER
I finally got two hits on the
Texas partial...

DEVANE
Didn't you send the inquiry last
night?

HUNTER
Morehead's got the system
overloaded with out-of-state
traces on stolen VCR's and who
knows what.

Devane looks at the telex form.

DEVANE
Two Mustangs. '69 red in Abilene,
registered to a doctor, parked in
his garage. The other's a '73
blue in Waco. William Joseph
Powell.

HUNTER
The Rangers are working on him
now.

Devane nods and takes off.

CUT TO

EXT. MALCOME'S STAND - DAY

The outdoor greasy spoon is lined with stools. At one end
of the stand are two construction workers, dripping with the
slop they are eating. SPORTY JAMES sits at the other end.
MALCOME, the overweight black proprietor tends the griddles.

SPORTY
Malcome, I think we should uncork
the beaujolais.

Malcome nods and disappears as Hunter approaches.

HUNTER
You eat here often?

Malcome approaches, pops a wine cork, and pours a sample of
wine in a goblet for Sporty. He sniffs and tastes.

SPORTY
Nouveau. Do it, Malcome, and
bring my man the Caesar salad.

HUNTER
Hold the garlic.

Malcome begins to prepare a magnificent caesar salad in
front of the two.

SPORTY
Your lady is down deep. Being
deep and on every post office
bulletin board suggests a need for
an alternative cash flow.

HUNTER
You got a list of fences for me?

SPORTY
It might benefit you to explore
the menu in front of you.

Hunter opens the menu and takes out a piece of paper.

SPORTY
(continuing)
As up-to-date as I can get...
between these three, they handle
most of the hot loot north of the
hills, east of Sepulveda...

Hunter tosses a few bills and stands. Sporty shrugs, and
dumps the salad from Hunter's plate onto his, pushing the
money back toward Hunter.

SPORTY
No no, baby...this one's on me.
(off Hunter's look)
If the witch has you marked you
might as well know who your
friends are.

Malcome offers a pepper mill. Hunter is up and gone.
CUT TO

EXT. SAVARINO'S SOUND SHOP - DAY

Hunter pulls up, nestles his vehicle in amongst the
expensive sports cars and gets out.

INT. SAVARINO'S OFFICE - DAY

Savarino is at the counter on the phone as Hunter enters,

SAVARINO
No I don't handle European...No, I
don't carry that either. No we
don't install free. No, ten to
five. Yeah. You're welcome.

Savarino hangs up and turns to Hunter.

SAVARINO
You need something?

HUNTER
You Gary Savarino?

SAVARINO
Yeah.

Hunter shows his badge.

SAVARINO
(beat; continuing)
You're ahead of me there, sport.
I don't have a badge.

Hunter throws a photo of Iris on the counter.

HUNTER
But you do have a record...sport.
Twenty-seven different beefs in
since '80, and one conviction.
Tells me you do a little business
with Burglary...

SAVARINO
You didn't hear it from me.

HUNTER
Have you seen her?

SAVARINO
Iris Smith?
(beat)
She's been in the paper...but not
around here.

HUNTER
If she does give me a call. You
wouldn't want word to get out
you're snitching for Burglary.

Hunter moves out leaving Savarino one of his cards.

CUT TO

EXT. TRUMAN HIGH - DAY #5
To establish.

SUPER: Friday 8:12 A.M. - Truman High School, No. Hollywood

INT. TRUMAN HIGH - CORRIDOR - DAY

McCall walks down the hall. She's dressed in sweats.
Campus BMOC JOHNNY YOUNGBLOOD approaches and walks with her.

YOUNGBLOOD
Hello, darling.

MCCALL
It's Miss Myers. Let's see your
pass and ID.

YOUNGBLOOD
Chill out there, honey. I know
about you...gym teach, in from
Pico...'d like to see you do a
little floor exercise.
(offers hand)
Johnny...Youngblood...I'm the
official welcoming committee.

He puts his arm around McCall.

MCCALL
You like what you feel?

YOUNGBLOOD
I like athletic women.

MCCALL
Maybe when you grow up you can
find one who likes you, Sonny.

In one move, McCall whips Youngblood into a painful arm lock
and shoves him down the hall.

MCCALL
(continuing)
Let's go see the dean of boys.

A couple of underclassmen make the mistake of sniggering at
Youngblood, bent at the waist in agony as McCall shoves him
along the hallway. They quickly turn aside.

CUT TO

INT. TRUMAN HIGH - GYM - DAY (LATER)

McCall is leading an aerobics class to music. About a dozen
high-school girls in dance togs are following her lead.

MCCALL
Okay...that's enough. I've got
some business in the office, so
take a lap around the court and
hit the showers early.

The girls like the break, and run onto the court. Wiping
her brow, smiling at their energy, she heads for:

INT. TRUMAN HIGH - GIRL'S LOCKER ROOM - DAY

McCall is moving into the locker room. She can hear the
giggling of girls. Something is in the air. She goes
around the corner to find four girls, one being Debbie Small
smoking cigarettes. The girls react, quickly putting out
their cigarettes.

MCCALL
Most schools forbid smoking in the
locker rooms.
(beat)
However, I'm new here. I'll look
into it. Maybe by the time I
learn the rules I'll have
forgotten your faces.

The girls, expecting the end are confused.

MCCALL
(continuing)
If it's against the school policy
...you'll wish Sir Walter Raleigh
planted corn. 'Bye.

The girls scramble for the exit. Debbie lingers behind
getting her books out of her gym locker.

MCCALL
(continuing)
Having met your dad, I'll bet he'd
go nuts if he knew you were
stealing a smoke at school.

DEBBIE
You'll tell him, huh...

MCCALL
Listen Debbie, it sounds like you
got enough going on in your life
without me butting in. I don't
like what I see, but I'm not going
to go running to your father.

DEBBIE
Why not? Isn't that what adults
are supposed to do?

Debbie grabs her stuff and starts out.

INT. TRUMAN HIGH - CORRIDOR - DAY

McCall, undercover as teacher, is walking with Vice
Principal Landry past a long row of lockers. A number of
kids are walking around as well.

LANDRY
You'll have three periods before
lunch, one afterwards. If you're
really serious about this, the
girl's JV basketball team needs a
coach.

MCCALL
(laughing)
It's been awhile, but I do have a
mean jumpshot.

They pass Johnny Youngblood, Alan Myerson and Todd Land,
hanging out by a pay phone. Landry grows quiet as they
pass. When they are out of earshot he turns to McCall.

LANDRY
There's one thing about Sandra
Clements' death I should have
passed on to your partner.

MCCALL
I've got some time now.

LANDRY
Let's go into my office.

There's a sudden commotion in the hall behind them. They
turn to see Jack Small and five other men striding angrily
towards them, fire axes in hand.

LANDRY
Jack...

Small brushes by him and McCall. He and his men start
breaking the locks on a row of student lockers, smashing
them open, then dumping the locker contents onto the floor.
Stunned, Landry moves towards them, but is reluctant to get
in the way of the flying axes. McCall flanks him, but as a
teacher, not a cop.

LANDRY
(continuing)
Jack! Damn it...knock it off!

The men continue their fury for a moment, then stop, as
Small and a couple of the others come up with bags of dope
from the spilled contents on the floor: stolen radios, bags
of pills, etc. Students are piling into the hall, jeering,
getting revved up.

PAST MCCALL

Pushing students back.

LANDRY
Get out of here right now...I mean
right now, or 1'11 see you in
jail. I mean it. This is not the
way to handle things...

SMALL
Then you handle things. My
daughter buys this poison here,
nobody stops her...if you won't,
I'll go to the source and burn it
out.

Landry doesn't answer. Small dumps the contents of the bag
in front of Landry and takes off with his men, throws his
crow bar and barges through the throng of students.

LANDRY
(fuming; to kids)
Get back in your rooms...now!

ON YOUNGBLOOD

standing away from the scene with ALAN MYERSON and another
tardie. All three having just watched this scene.

YOUNGBLOOD
I hope I don't get stupid when I
get old.

ALAN
Should we clean out the lockers?

YOUNGBLOOD
Why? We're not dumb enough to
deal. How's the 'star' search.

ALAN
A couple of possibles.

Youngblood's beeper goes off. He checks it and silences the
beeper.

YOUNGBLOOD
There's Savarino...he's got a new
deal for us, so don't take
forever. Get me a cheerleader and
I'll kick in a couple a hundred
for your trouble...and start a
list...
(beat)
Sophomores...We may need quite a
lot of talent sooner than you
think.
(re McCall)
Maybe even a gym teacher. Do the
usual background check on 'Miz
Myers'. She's already breaking
the rules. If she doesn't check
out she'll wish she never came
through the door.

Off McCall glancing up and seeing Youngblood, who smiles.

FADE OUT

END OF ACT TWO

***********************************************************

ACT THREE

FADE IN

INT. TRUMAN HIGH SCHOOL - LANDRY'S OFFICE - DAY (LATER)

Landry enters with McCall and he closes the door, shutting
out the din of the outer school administration area.

MCCALL
Okay, give me what you have on...

McCall pauses at Landry's urgent gesture to silence. He
unplugs the modular jack to his desk phone. Then:

LANDRY
The kids figured out a way to wire
open my intercom line and listen.

MCCALL
They bugged your office?

Landry shrugs. It's an old story to him. He turns to a
tall safe with digital lock (mechanical), thumbs in a code.

LANDRY
Haven't worked juvenile for a
while, have you?

MCCALL
I thought raiding the trash for
test copies was heavy stuff.
(re: safe)
File cabinet not good enough?

LANDRY
Three thousand of them, two
hundred of us, Sgt. McCall...
(beat)
You saw what went on out there...
they say the annual sale of
illegal drugs in L.A. schools tops
seven million bucks...it's
serious. It's deadly serious.

MCCALL
I know the figures...so we're
talking about dealers?

Landry fishes out a fat file from the safe, the "cume" for
Johnny Youngblood...school history, wallet photo attached.

LANDRY
No, we're taking about him.
(re: file)
John Thomas Youngblood...Johnny to
his friends...at Truman, you hope
he lets you call him Johnny.

MCCALL
(takes file)
If not drugs...what's his action?

LANDRY
Power...control...money. Every
angle you can think of. You want
to buy a grade, buy a gun, buy a
date, buy insurance -- and you
need it -- Johnny's the one.

MCCALL
(re: photo)
I think we've met.

LANDRY
I suspended him for gambling, like
a good teacher. So, now he's
smarter...runs his business
through a need-to-know chain of
command...beepers, message
centers...
(beat)
My point is, Sandra told me
Youngblood was hitting on her...
heavily. She turned him down.

MCCALL
I can't blame her. But what's the
connection? Sandra was killed by
an escapee from Texas.

LANDRY
Youngblood likes 'affairs' with
faculty...it's a power thing.

MCCALL
You think he put Iris up to it...a
hit, because Sandra Clements
wouldn't sleep with him?

LANDRY
Johnny gets what he wants...or he
gets even -- violence, feral
cunning...a gangster's brilliance.

MCCALL
Hold it...he's a high-school kid.
Does he even know Iris Smith?

LANDRY
I don't know who he knows...but he
doesn't think small...

Landry looks out the window. Students are laughing outside,
They sense his stare and glare back. He drops the blinds.

LANDRY
(continuing)
Our best teacher was the last to
confront him -- until the
Superintendent received photos...a
Mexican getaway weekend, a beach
resort, this teacher and another.
(beat)
Both men...
(beat)
I heard Youngblood paid a private
detective to follow the man around
for weeks. Our best teacher's now
pursuing a career in real estate.
(beat)
You want a handle on why this
neighborhood shivers in its sleep?
A megalomaniac punk like
Youngblood is a good start.

CUT TO

EXT. TRUMAN HIGH SCHOOL - PANNING LUNCH AREA - DAY

Camera pans a billboard featuring a sign: "Students, a safe
school is your responsibility... report any criminal
activity... guns, drugs...etc." Two students are making a
drug deal right in front of the sign. They hide their
actions as Hunter strolls past, stopping and looking off.
He consults a picture in his palm.

ANGLE - RACK FROM PICTURE TO TABLE

The 3X5 mug shot is of Youngblood, who is hanging out with
his two pals, Myerson and Land. Youngblood looks up as
Hunter's hand in the f.g. signals Youngblood to approach.

PAST YOUNGBLOOD - TO HUNTER

Youngblood does a cool "who me" take, and Hunter holds his
badge up for confirmation. Heads turn, following Youngblood
who strolls to Hunter, not thrilled at being summoned.

HUNTER AND YOUNGBLOOD

HUNTER
(showing badge)
John Youngblood?

YOUNGBLOOD
Yeah, what? I'm having my lunch.

HUNTER
I'm Sgt. Hunter.

YOUNGBLOOD
Of the Royal Canadian Mounted
Police?

HUNTER
Try Los Angeles homicide. I'm
investigating the Sandra Clements'
killing. I heard you hassled her,
threatened her. How about it?

YOUNGBLOOD
I asked her on a date!

HUNTER
She turned you down...it pissed
you off...you put the word out
you'd pay to teach her a lesson...

YOUNGBLOOD
Yeah, so who'd I pay?

HUNTER
(shows picture)
You know this lady?

YOUNGBLOOD
Who the hell is she?

HUNTER
Where were you Wednesday night
around ten?

YOUNGBLOOD
Around...cruising.

HUNTER
Anybody with you?

YOUNGBLOOD
Three girls...they'll remember, I
gave them plenty to remember...

HUNTER
Save it.
(motions)
Let's go to the office and you can
write me an essay...names,
places...

YOUNGBLOOD
(sighs; re: table)
Can I get my stuff?

Hunter nods.

ANGLE TABLE - INCLUDE EXIT

Youngblood crosses back for his briefcase, speaking sotto to
Todd and Alan. Landry watches in the b.g. near an exit.

YOUNGBLOOD
(continuing)
The Jolly Green Giant didn't come
after me on his own...
(re: Landry)
And, Roger Dodger over there looks
mighty happy with himself...
(beat)
Hit the bastard this weekend.

Johnny turns and heads back for Hunter. Todd and Alan stare
off at Landry who sees them, returns their stares until they
go back to eating.

CUT TO

EXT. SAVARINO'S SOUND SHOP - DAY - INSTALLATION BAY

Savarino's legs protrude over the seats of a Porsche
convertible, top down. Youngblood's custom van equipped
with mobile phone antenna and booming with a souped up
stereo system, swings into the lot and parks. Youngblood
steps down from the driver's door, admiring the Porsche.

YOUNGBLOOD
What're you droppin' in?

SAVARINO
(from under dash)
CD, phone and sub-woofer...dentist
from Encino. Poor guy had his
whole system ripped off last week.
Recognize it?

YOUNGBLOOD
Should I?

Savarino scoots out from under the dash with clippers and a
handful of colored wires snips.

SAVARINO
It looks like your work.

YOUNGBLOOD
Not personally, Gary...not any
more. I sub-contract.
(beat)
I'll give you a twenty for his
alarm code.

SAVARINO
You got it.

YOUNGBLOOD
So what's up?

SAVARINO
Big money from the East is
interested in your videos.
Johnny, these are heavy people I'm
talking about. They've got even
tougher customers on the food
chain.

YOUNGBLOOD
You don't think I can handle it.

SAVARINO
No, I think you can or I would be
fronting you.

YOUNGBLOOD
And you're getting your cut.

Now, it's Savarino's turn to crack the whip.

SAVARINO
Shut up...you don't know
everything...not even a little. I
can make big things happen for
you, but my butt's on the line,
too. I want you to understand...
you've got to deliver.

YOUNGBLOOD
Same as always, Gary...

Savarino puts a fatherly arm around Youngblood and turns him
toward the shop office.

SAVARINO
Not even close...come here, my
young friend, and let me explain
the facts of life.

ANGLE - TO MUSTANG

Parked across the street at a Taco stand. Iris and Billy
are watching as Savarino and Youngblood go inside. Iris is
behind the wheel, dark glasses and a scarf hide her face.

INT. MUSTANG - DAY
Billy hauls his shotgun up from beside the seat.

BILLY
Come on, lets hit 'em. Swing by
and I'll pop 'em through the
window...

Billy is avidly anticipating what's to come, and is pleased
when Iris obediently cranks the Mustang engine. Then:

IRIS
Later.

BILLY
Now. I'm sick of waitin'.

Billy hauls on the door handle, but freezes when Iris snaps
his head back against the seat and waves her spiked leather
wrist band in front of his eyes.

IRIS
Later, Billy...according to plan,
when I tell you, see. You do like
to see?

He nods, swallowing drying, and she relaxes her grip.

EXT. STREET - DAY

Iris swings the Mustang into a U-turn across all six lanes
and continues. A beat later, a black and white police car
turns out of a cross street, going in the same direction.

EXT. VISTA MAR APARTMENTS - DAY (DUSK)

Helen Aaronson is walking her dog across the street. Two
drunk rowdies on motorcycles are forced to slow down because
of it, one immediately drives a tight circle around her, the
other follows suit. She's scared to death as they hoot and
honk at her, buzzing closer. She drops her purse while
trying to keep her little dog from getting run down.

ANGLE - TO CAR

A car slams up the curb and stops. Jack Small and three big
pals pile out. They immediately grab one of the bikers and
drag him off the bike. A few punches are exchanged, then
the guy runs for it. The second biker hesitates for a
second, then speeds off. Helen cowers beside Small's car,
scooping her dog into her arms.

SMALL AND BIKER

Small is closest to the biker on foot. The man turns around
at a fenced-in corner with a knife and catches Small a
glancing cut to the side. The other three men immediately
converge on the biker and overwhelm him, taking the knife.
All four men start pounding on the now defenseless biker.

CUT TO

INT. STARLITE MOTEL ROOM - NIGHT (OF DAY #5) -

CLOSE ON TV SCREEN

Jack Small talks to a REPORTER in front of Vista Mar
apartments, a big bandage conspicuous on his arm. SUPER:

Jack Small KNBC Live 6:13

SMALL
These are our streets, our homes,
we're taking them back.

REPORTER
Like vigilantes?

SMALL
I don't care what you call it...
it's better than waiting for the
damn cops, 'cause they're useless.
(beat)
We're sending a message...punks,
creeps, addicts, whores...all of
you, stay the hell out of our
neighborhood. It's ours, and
you'll be sorry you came here.

A figure sits up into the glare of the screen, Billy Joe
Powell. He wields a straight razor as if to cut Small's
video image, blade glinting in the electronic flicker. The
news camera pans neighbors applauding Small. The reporter
steps toward the camera. Small is framed out. The reporter
walks as the camera pans the block.

BILLY
(shouting)
You're the kind of dude who should
get wasted, you puke.

IRIS (O.C.)
Would you shut up.

ANGEL ROOM

Billy is sitting up in bed, bare chested, razor slashing
air. Beside him in tee-shirt and briefs, Iris noodles on
her calendar, using a calculator.

BILLY
I want to cut this ya-hoo,
honey...let's go find
him.

IRIS
(concentrating)
Let's don't...

BILLY
Why not...so you can count
up the number of blue moons
since you were ten...or
whatever in God's name
you're doing over there.
doing over there.

REPORTER
(from TV)
That's Jack Small...he's
not taking it any more,
nor are his North
Hollywood neighbors.
Yesterday a high
school teacher was
gunned down over there.
Today, a wild street
fight...Mr. Small
being stabbed and
needing thirty stitches
in his arm. People here
are screaming for
justice, John and Kelly,
and swearing to make
their own...as Angelenos
lock doors and wonder --
where are the police?

Billy delicately draws the blade across his forearm watching
a thin line of blood develop.

IRIS
Give me that, idiot.

BILLY
Make me.

Snake fast, Iris snatches Billy's wrist, squeezing his
little finger in half. In agony, he's forced back, razor
hand down, Iris lowering her face toward his an inch at a
time. The blade is out of frame when she licks his
grimacing lips and gives him an open mouthed kiss. When she
sits up, she has the razor. Chastened, Billy stands.

ANGLE - FAVOR IRIS

Billy's out of focus in the b.g. as he steps into his jeans
and boots which lie in a single pile.

BILLY
(continuing)
I'm gettin' a drink someplace.

IRIS
(tosses razor)
Keep that thing in your pants.

BILLY
That's not what you usually say,
is it, darlin'?

Billy throws the long haired wig at Iris in jest, then pulls
on his shirt, already buttoned, laughing to recover his
dignity. Iris puts her calendar aside and pulls on the wig.

IRIS
I'm walking over for a bucket of
chicken...
(beat)
If you're not back here in a hour,
Billy, you better hope you see me
comin". Hear me?

Billy kind of nods as he exits. Iris yawns, scratches, and
swings her bare legs out of bed. Morehead's voice leads
from the next scene.

MOREHEAD (O.C.)
You got an answer for him?

INT. CENTRAL DIVISION - TASK FORCE COMMAND CENTER - NIGHT
(OF DAY #5)

Morehead is standing next to a TV monitor with Devane.
Devane switches off the TV.

DEVANE
We've saturated that neighborhood,
we've shifted manpower until we're
short-handed in some of the worst
parts of town, which will probably
cost us more than it's worth.

MOREHEAD
You just saw what it's worth...
five minutes, ten seconds of
negative image. Jesus...I've
planted McCall right inside this
guy's building. What's she doing?
Lining her cupboards?

DEVANE
(raising voice)
What's she supposed to do?

MOREHEAD
(counter raise)
Use her imagination, break his
leg...doesn't anybody around here
know about 'damage control'? What
a bunch of half-assed woosies.

DEVANE
You're talking about my Division.

MOREHEAD
Shake things up Devane, get us
back in the game...or it'll be
somebody else's Division.

Morehead makes a strategic withdrawal before Devane grabs
back the last word.

INT. CENTRAL DIVISION - CORRIDOR - NIGHT

Devane enters the corridor from the Task Force Room as
Hunter crosses by in a hurry.

DEVANE
Where are you going?

HUNTER
Just got a tip on that
Mustang...Texas plates.

DEVANE
You get that Lazer Fax from Texas
I put on your desk?

HUNTER
Yeah. Nice photo of Billy Joe.

DEVANE
Armed and dangerous. Be careful.

Hunter takes off.

CUT TO

EXT. STREET - NIGHT - DOWN FROM STARLITE MOTEL

Hunter's car is parked in front of a patrol car. Hunter
stands from where he's been talking to the uniformed cop
driving the patrol car. He starts forward.

HUNTER'S POV

The green Mustang is parked next to the motel. Hunter turns
back and gestures toward the other cops.

CUT TO

EXT. STARLITE MOTEL - OFFICE - NIGHT

Hunter emerges from the office with a room key. He sends
one uniformed cop around back, the other accompanies him.

AT ROOM

We can hear the TV playing inside, room lights on. Hunter
draws his gun, positioning the other policeman opposite.
Quietly, Hunter inserts the key, turning it, and then:

INT. STARLITE MOTEL ROOM - NIGHT

Iris and Billy's room. Hunter bangs open the door, and
comes in, gun pointed, but the room is empty. Cautiously,
he crosses to the lit bathroom, takes a quick look. Also
empty. He motions the other policeman inside.

HUNTER
I want unmarked units to cover-
Magnolia and Van Nuys, one in the
lot. They can't be far.

The uniform moves out. Hunter gives the room a quick scan.

HUNTER'S POV - ITEMS

General mess...garbage...boxes of shotgun shells...on the
bed, a thick calendar we've seen Iris writing on.

EXT. STARLITE MOTEL - NIGHT

Hunter exits the room. Billy steps into view around a
corner at the end of the corridor, revealing his shock, he
turns and runs, Hunter in pursuit.

EXT. STARLITE PARKING LOT - NIGHT

Billy runs full tilt between cars. Hunter is a hundred feet
behind, drawing his gun. Just as Hunter might have gotten
off a clean shot. Billy vaults a low wall.

EXT. ALLEY - NIGHT

Hunter comes over the wall, looking for Billy. The alley
runs beside the wall in either direction. A clatter alerts
Hunter and he takes off. A huge stack of cardboard drums
cascades into his path, and he fights through them.

EXT. STREET - NIGHT - HUNTER'S POV

At the mouth of the alley. Billy skids around a corner, out
of sight. Hunter runs full tilt to discover:

IRIS

She's wearing her long duster, wig and dark glasses in
place, a bag of fast food in one hand, shotgun in the crook
of the other, pointed at him. Billy pants beside her. She
has Hunter dead to rights.

IRIS

Gun on the ground. Hands on your
head, fingers laced. Back
up...mouth shut.

Hunter complies, backing into the darkness of the alley.
Iris drops her bag and follows, gesturing Hunter over to a
painted window covered with security bars. Iris moves
closer, so if she fires, the scatter won't hit Billy.

BILLY
You know this cop?

HUNTER
Haven't told this moron why you're
in L.A., Iris?

EXT. ALLEY - NIGHT

IRIS
Turn around, hands six inches
apart, head against the wall.
(beat)
Use your left hand, toss your
cuffs five feet aside. You cuff
him to the window. Billy.

Hunter turns, shotgun barrel in his back. He gently tosses
his handcuffs. Billy gets, threading chain through bars,
locking the bracelets on Hunter's wrists. He's helpless.

CLOSE - BILLY AND HUNTER
polished steel of a straight razor glints by Hunter's face.

BILLY
Moron, huh? Okay...you'll call me
a lot more names before I'm
through. I'm gonna do this slow
...they're gonna think somebody's
killing a cat down here.

Iris flicks Billy aside with her gun.

IRIS
Stand over there...

BILLY
I want this boy...

IRIS
Move or I'll kill you.

BILLY
(steps away)
Your damn plan again?

HUNTER
Why'd you hit Sandra Clements,
Iris? Business...or pleasure?

VERY INTIMATE - IRIS AND HUNTER
Iris raises the shotgun barrel to beside Hunter's ear.

IRIS
Didn't you get my message? Her
number was up...day of execution.
Now it's yours. I know you
believe in capital punishment.

She pulls the triggers, we hear a click. Hunter reflexively
shuts his eyes.

IRIS
(continuing)
Lucky you...stay of execution.

NEW ANGLE - PAST HUNTER

Hunter opens his eyes...alone. Somewhere in the night,
Iris' devilish laughter blends with approaching sirens.

FADE OUT

*************************************************************

ACT FOUR

FADE IN

EXT. STREET - NIGHT

Hunter's handcuffs hang empty from the barred window,
bracelets open. Camera adjusts as a forensic tech lifts a
print from one of them on a piece of tape. He nods, and
Devane takes the cuffs, turning up the alley.

EXT. STARLIGHT MOTEL - NIGHT - HIGH ANGLE

In one corner of the parking lot is a pool of hot TV lights.
Police emergency vehicles are crowded next to press cars.
Morehead is surrounded by reporters in mid conference.

DEVANE

Sidesteps the gaggle of newsmen, overhearing:

MOREHEAD
My officers put public safety
first...totally in sync with our
NET force commitment to turn the
criminal tide in L.A.

ANGLE - TO GREEN MUSTANG

Hunter is sorting through junk in the trunk, other lab types
checking it out stem to stern. Hunter looks up, and Devane
tosses him the handcuffs.

DEVANE
How long were you stuck?

HUNTER
Two minutes...three. Jensen and
Marcolli were backing me up. They
just missed the suspects.

DEVANE
Get anything?

HUNTER
(re: food wrappers)
Not much. If I had to bait a trap
for them, now I know what to
use...chicken and biscuits.

DEVANE
They've probably already boosted
another car. Trail's cold...

HUNTER
That's not how he's telling it.

Hunter gestures toward Morehead who has been fielding
questions in the b.g.

REPORTER
People are scared...what can you
tell them...what's the chance of
another murder around here?

MOREHEAD
Here? First, you have to presume
our killers aren't going to slip
past the kind of manhunt we're
mounting with my task force...
double shifts, triple patrols...
(beat)
Sandra Clements' killers will be
captured.

DEVANE
(to Hunter; sotto)
The master of saying nothing.

HUNTER
How about what he's not saying?

DEVANE
You mean, 'Be careful, lunatic
killers in town.'? Not a good
sound bite for the news at ten.
(beat)
Trust me...Morehead's done a
classic bureaucratic risk-benefit
analysis. Conclusion: publicity
benefit from saying that crap
outweighs the risk of being wrong.

Wagging his head, Devane continues toward the motel.

ON MOREHEAD

MOREHEAD
That's all the time I've got,
ladies and gentlemen. We're doing
the job, people can feel
safe...report that, you'll be
doing your community a service.

TV lights wink off, as Morehead shakes a few hands. Clear
of the press, he passes Hunter, who ignores him.

MOREHEAD AND HUNTER

MOREHEAD
(continuing)
Hold it...I saw you and Devane
pulling faces -- that dog and pony
show was for your benefit...

HUNTER
Am I supposed to thank you?

MOREHEAD
Somebody's got to blow a little
smoke. Want to read on page one
how you let yourself get hooked to
a wall with a ten gauge up your -

HUNTER
(anger in check)
Is that all, chief?

MOREHEAD
You think you're bullet proof,
don't you, Hunter? Here's my
scouting report; a hot dog who's
gonna get what he's got coming.

Morehead continues past.

INT. MOTEL ROOM - NIGHT

KEVIN DONNELY, S.I.D. specialist, ties off a plastic bag of
evidence. Donnely is 30, bright, with confidence to match
that doesn't quite slip over into cockiness. He hands the
bag to another S.I.D. man as Devane enters.

HUNTER
What's the lab got, Kevin?

DONNELY
Name it. More fingerprints than
tape in our budget to lift 'em.
Hair from the sink. Saliva from
bathroom tissues. We got ear wax.
Every bodily fluid imaginable from
the bed -- including blood.
Wouldn't be surprised if we found
a pineal gland in there somewhere.

DEVANE
Blood?

DONNELY
Let's call it heavy petting...very
heavy petting.
(beat)
I'm going back to the lab right
now. Drop by in a couple hours,
we'll try to make you happy.

Hunter enters. Donnely signals, selecting a particular
evidence bag continuing Iris' calendar and her calculator.

DONNELY
(continuing)
Hunter...check it out...I'll type
the paper and ink later, but dig
the lady's thing for numbers. If
you figure it out, let me know.

HUNTER
I will. Thanks, Kevin.

Donnely takes off. Devane again turns to Hunter.

DEVANE
You okay? In the light you look
pretty wound up...
(sarcastic)
I don't know why...

HUNTER
Can you get him off my back?

DEVANE
(doubtful shrug)
I've got a question...a rotten
question...but at least I can ask
it...'Why didn't she kill you?'

HUNTER
(re: calendar)
She's got a plan, Charlie...my
number wasn't up.

Hunter exits, leaving Devane to consider..

CUT TO

INT. MARGAUX RESTAURANT - NIGHT (OF DAY #6)

Johnny Youngblood approaches a table where Gary Savarino is
waiting. Savarino's at home, Youngblood is not. Youngblood
slides into his chair, and Savarino pours him some wine.

SAVARINO
You'd probably prefer a brew, but
I've got to educate you to better
class of pleasures...you're about
to earn them.
(shows bottle)
Chateau Margaux...

YOUNGBLOOD
What are we doing here, Gary?

SAVARINO
Celebrating.

SUPER: Saturday 8:12 P.M. Margaux Restaurant - Beverly
Hills.

Savarino produces a fat envelope and passes it over. No
stranger to discretion, Youngblood bends open a corner of
the envelope, table high. He reacts.

YOUNGBLOOD
What's this for?

SAVARINO
Good faith. We're in business. A
firm order for three 'items' by
the first.

YOUNGBLOOD
There's got to be five thousand
here.

SAVARINO
Try six. The local rep is a guy
named Lenny Pike. You'll meet
him.

YOUNGBLOOD
(re: money)
This is all mine?

Savarino starts laughing. He swills a good half glass of
wine and laughs some more. Youngblood's getting hot.

SAVARINO
Wake up, it's no dream, and we're
still talking small change. By
next year, you'll be a middle man
skimming the cream off five like
you. Just show the east coast
money you're responsible...
(re: envelope)
Put that in your pocket.

Youngblood does so, tests his wine, likes it, and takes a
deeper swig. Savarino gestures across the room.

SAVARINO
(continuing;
stands)
The waiter'll run down the
specials for you...I'll be right
back. They got this old man in
the bathroom handing out little
hot towels. I like that.

Savarino pats Youngblood's pocket, bulging with money.

SAVARINO
(continuing)
No more kid stuff, Johnny...
you're gonna grow up fast.

CUT TO

EXT. CENTRAL DIVISION - NIGHT - ESTABLISH

INT. CENTRAL DIVISION - TASK FORCE ROOM - NIGHT

Hunter is studying a blackboard, while he talks on the
phone. He's plotting a flow chart: Iris, Billy, Sandra
Clements, the dead Texas ranger, Johnny Youngblood, himself,
He writes dates next to the names as he talks into the
phone.

HUNTER
Okay, doctor...I'll work out the
period...forty month cycles...
forty days, four days...I'll FAX
the calendar to you and maybe you
can give me a reading...thanks.

Hunter hangs up. Devane enters, checking out the board as
Hunter erases a line between Youngblood, Iris, and Clements

HUNTER
(continuing;
without stopping)
On the table, Charlie...her
calendar...

DEVANE
(picks it up)
The one we found in her room.

HUNTER
I just started with it...and her
calculator...ifs programmable.
She's got it loaded with formulas.

DEVANE
Formulas for what?

HUNTER
I was just on the phone to her
prison psychologist in
Brownsville. There's a pattern
here, a code, dates relating to
other dates. . .maybe it'll tell us
what she's planning, thinking...

DEVANE
(cross to board)
Numerology...like astrology and
phrenology... She wouldn't be the
first to get orders to kill from
another dimension. Remember the
Zodiac, or Son of Sam...
(looks)
You took off Youngblood...

HUNTER
He's a false lead...Iris isn't in
L.A. to pick up contract killings.

DEVANE
That partner of hers...he'd kill
you for reading his newspaper.

HUNTER
She needs him for something else.
She's got him on a choke chain.

INSERT - CALENDAR

Close on dates (no month or year). We see X's and
calculations with Greek symbols...

DEVANE (O.C.)
She's marked ahead...two more days
crossed off...

Hunter takes the calendar from Devane and begins to copy out
dates onto the board.

HUNTER
Maybe her hit list.

DEVANE
So who are they? It's a big city.

HUNTER
But there's a pattern here. We
figure it out and we could save
some lives...

DEVANE
We don't and it's gonna be a long
week...

CUT TO

EXT. VISTA MAR APARTMENTS - NIGHT - ESTABLISHING

INT. MCCALL'S VISTA MAR APARTMENT LIVING ROOM - NIGHT

McCall is unloading kitchen utensils from a packing box in
the living room when there's a knock on the door. She gets
up and goes to it.

MCCALL
Who is it?

DEBBIE (O.C.)
Debbie...
McCall opens the door to reveal Debbie.

DEBBIE
(continuing;
apologetic)
If this is too late or
something...

MCCALL
Absolutely not. Come on in.

Debbie steps in and McCall closes the door.

DEBBIE
That was pretty cool what you did
in the locker room today.

MCCALL
Yeah, well, I just don't want you
all to think I'm the enemy.

DEBBIE
Most of the kids follow the
rules...some of them you just have
to push a little harder...some you
might as well avoid all together.

MCCALL
Thanks for the tip.
(moves to kitchen)
Hey, I put some water on. How
about a cup of tea?

DEBBIE
Sure. Thanks.

They move to the kitchen.

INT. LANDRY'S APARTMENT - BEDROOM - NIGHT

Two figures enter the room, go straight to the bed. One
gets down on his knees and reaches under it, coming up with
a small, voice-activated tape recorder.

He rewinds for a couple seconds, then hits the play button.
They hear the taped sounds of carnal activity. He clicks it
off, they have what they want.

INT. MCCALL'S APARTMENT - KITCHEN - NIGHT

Debbie is helping McCall put the kitchen in order while
sipping her tea.

MCCALL
You see your mom much?

DEBBIE
Holidays mostly. She's back East,
remarried to a lawyer. He doesn't
like me.

MCCALL
How 'bout your dad?

DEBBIE
Yeah, how 'bout him? I mean I
barely see him. He's a fireman.
Two days on...three days off.
Mostly when he's off he's out
patrolling the neighborhood.

MCCALL
Don't see him much, huh?

DEBBIE
Only when he's yelling at me.

INT. VISTA MAR APARTMENTS - HALLWAY - NIGHT

The two intruders slip out of Landry's apartment into the
hall. HELEN AARONSON, rounds the corner returning from a
walk with her dog. Penny. The intruders see her and
instinctively run at her, knocking her down. She screams as
she goes down, the dog yipping, leash trailing behind her,
takes off in hot pursuit.

ANGLE - ON MCCALL AND DEBBIE

as they come out of McCall's apartment and see Mrs. Aaronson
struggling to her feet in the hall. They rush to her aid.

HELEN
They came out of Mr. Landry's
apartment. Penny went after them.

MCCALL
Penny?

DEBBIE
Her dog.

MCCALL
Debbie, take Mrs. Aaronson in my
apartment and call the police.

DEBBIE
My dad has a gun...

MCCALL
Just call 911.

INT. VISTA MAR APARTMENT - MAIN STAIRCASE - NIGHT

As the intruders race down the stairs to the front doors of
the apartment.

EXT. VISTA MAR APARTMENT - CONTINUOUS

as Small and several of his buddies arrive after a night of
patrolling, casually carrying baseball bats, and laughing it
up. They spot the ski-masked intruders racing down the
stairs. The intruders spot Small and his gang and make a
quick detour through a side door which leads to the
subterranean garage. Penny is hot on their heels, but the
door to the stairwell closes before she can get in.

SMALL
Cover the garage. Don't let them
out.

Two guys take off. Small has unlocked the front door and is
in pursuit, down the stairwell.

INT. VISTA MAR APARTMENTS - SUBTERRANEAN GARAGE - NIGHT

The two intruders fly around the corner -- and come face to
face with two of Small's cronies, all carrying baseball
bats. The intruders bolt the other direction, the men at
their heels.

INT. VISTA MAR APARTMENTS - MAIN STAIRCASE - NIGHT

as McCall comes down the stairs finding the yipping Penny at
the door to the garage. She ties the dog to the railing and
moves cautiously through the door.

INT. VISTA MAR APARTMENTS - GARAGE - NIGHT

The two intruders are cornered. The first intruder is half
way squeezed through a wall and a fence. Jack Small rounds
the corner, spots the two, and moves towards them, just as
the first intruder squeezes through to freedom. Jack grabs
the other intruder, but is struck by a blow to his knife
wound. He recoils in pain.

ANGLE - ON MCCALL

as she enters the dark garage. She sees the other men
racing toward the back. McCall races to catch up.

ANGLE - ON THE INTRUDER

as he rounds the corner facing the closing men. He turns to
face,

JACK SMALL

his bat raised.

ON MCCALL

a heartbeat off the pace.

MCCALL - POV

Before she can speak. Jack's bat is in motion.

MCCALL
No!

THE SCENE

Jack swings down hard with the bat, crushing the intruder's
skull. McCall pushes past the other two men in a flash. She
crouches down and takes hold of the intruder's head, pulling
his mask as the sound of approaching sirens fills the air --
it's the face of Youngblood's buddy, the sixteen-year-old
Alan Myerson. Everyone's stunned. McCall goes into action,
checking vital signs and starting emergency procedures.

MCCALL
(continuing)
Get an ambulance here now.

They men move.

MCCALL
(continuing)
Come on kid...come on breathe.

TO BE CONTINUED

*************************************************************
PART TWO

Story by Tom Chehak & George Geiger, Teleplay by Terry D. Nelson

ACT ONE

FADE IN

EXT. STREET - NIGHT

EXT. STARLIGHT MOTEL - NIGHT - HIGH ANGLE

In one corner of the parking lot is a pool of hot TV lights.
Police emergency vehicles are crowded next to press cars.
Morehead is surrounded by reporters in mid conference.

DEVANE

Sidesteps the gaggle of newsmen, overhearing:

MOREHEAD
My officers put public safety
first...totally in sync with our
NET force commitment to turn the
criminal tide in L.A.

ANGLE - TO GREEN MUSTANG

Hunter is sorting through junk in the trunk, other lab types
checking it out stem to stern. Hunter looks up, and Devane
tosses him the handcuffs.

DEVANE
How long were you stuck?

HUNTER
Two minutes...three. Jensen and
Marcolli were backing me up. They
just missed the suspects.

DEVANE
Get anything?

HUNTER
(re: food wrappers)
Not much. If I had to bait a trap
for them, now I know what to
use...chicken and biscuits.

DEVANE
They've probably already boosted
another car. Trail's cold...

HUNTER
That's not how he's telling it.

Hunter gestures toward Morehead who has been fielding
questions in the b.g.

REPORTER
People are scared...what can you
tell them...what's the chance of
another murder around here?

DEVANE
(to Hunter; sotto)
The master of saying nothing.

HUNTER
How about what he's not saying?

Wagging his head, Devane continues toward the motel.

ON MOREHEAD

MOREHEAD
That's all the time I've got,
ladies and gentlemen. We're doing
the job, people can feel
safe...report that, you'll be
doing your community a service.

TV lights wink off, as Morehead shakes a few hands. Clear
of the press, he passes Hunter, who ignores him.

MOREHEAD AND HUNTER

MOREHEAD
(continuing)
Hold it...I saw you and Devane
pulling faces -- that dog and pony
show was for your benefit...

HUNTER
Am I supposed to thank you?

MOREHEAD
Somebody's got to blow a little
smoke. Want to read on page one
how you let yourself get hooked to
a wall with a ten gauge up your -

HUNTER
(anger in check)
Is that all, chief?

MOREHEAD
You think you're bullet proof,
don't you, Hunter? Here's my
scouting report; a hot dog who's
gonna get what he's got coming.

Morehead continues past.

INT. MOTEL ROOM - NIGHT

HUNTER
What's the lab got, Kevin?

DEVANE
Blood?

DONNELY
Let's call it heavy petting...very
heavy petting.
(beat)
I'm going back to the lab right
now. Drop by in a couple hours,
we'll try to make you happy.

Hunter enters. Donnely signals, selecting a particular
evidence bag continuing Iris' calendar and her calculator.

DONNELY
(continuing)
Hunter...check it out...I'll type
the paper and ink later, but dig
the lady's thing for numbers. If
you figure it out, let me know.

HUNTER
I will. Thanks, Kevin.

Donnely takes off. Devane again turns to Hunter.

DEVANE
You okay? In the light you look
pretty wound up...
(sarcastic)
I don't know why...

HUNTER
Can you get him off my back?

DEVANE
(doubtful shrug)
I've got a question...a rotten
question...but at least I can ask
it...'Why didn't she kill you?'

HUNTER
(re: calendar)
She's got a plan, Charlie...my
number wasn't up.

Hunter exits, leaving Devane to consider..

CUT TO

INT. MARGAUX RESTAURANT - NIGHT (OF DAY #6)

Johnny Youngblood approaches a table where Gary Savarino is
waiting. Savarino's at home, Youngblood is not. Youngblood
slides into his chair, and Savarino pours him some wine.

SAVARINO
You'd probably prefer a brew, but
I've got to educate you to better
class of pleasures...you're about
to earn them.
(shows bottle)
Chateau Margaux...

YOUNGBLOOD
What are we doing here, Gary?

SAVARINO
Celebrating.

SUPER: Saturday 8:12 P.M. Margaux Restaurant - Beverly
Hills.

Savarino produces a fat envelope and passes it over. No
stranger to discretion, Youngblood bends open a corner of
the envelope, table high. He reacts.

YOUNGBLOOD
What's this for?

SAVARINO
Good faith. We're in business. A
firm order for three 'items' by
the first.

YOUNGBLOOD
There's got to be five thousand
here.

SAVARINO
Try six. The local rep is a guy
named Lenny Pike. You'll meet
him.

YOUNGBLOOD
(re: money)
This is all mine?

Savarino starts laughing. He swills a good half glass of
wine and laughs some more. Youngblood's getting hot.

Youngblood does so, tests his wine, likes it, and takes a
deeper swig. Savarino gestures across the room.

SAVARINO
(continuing;
stands)
The waiter'll run down the
specials for you...I'll be right
back. They got this old man in
the bathroom handing out little
hot towels. I like that.

Savarino pats Youngblood's pocket, bulging with money.

SAVARINO
(continuing)
No more kid stuff, Johnny...
you're gonna grow up fast.

CUT TO

EXT. CENTRAL DIVISION - NIGHT - ESTABLISH

INT. CENTRAL DIVISION - TASK FORCE ROOM - NIGHT

HUNTER
Okay, doctor...I'll work out the
period...forty month cycles...
forty days, four days...I'll FAX
the calendar to you and maybe you
can give me a reading...thanks.

Hunter hangs up. Devane enters, checking out the board as
Hunter erases a line between Youngblood, Iris, and Clements

HUNTER
(continuing;
without stopping)
On the table, Charlie...her
calendar...

DEVANE
(picks it up)
The one we found in her room.

HUNTER
I just started with it...and her
calculator...ifs programmable.
She's got it loaded with formulas.

DEVANE
Formulas for what?

HUNTER
I was just on the phone to her
prison psychologist in
Brownsville. There's a pattern
here, a code, dates relating to
other dates. . .maybe it'll tell us
what she's planning, thinking...

HUNTER
He's a false lead...Iris isn't in
L.A. to pick up contract killings.

DEVANE
That partner of hers...he'd kill
you for reading his newspaper.

HUNTER
She needs him for something else.
She's got him on a choke chain.

INSERT - CALENDAR

Close on dates (no month or year). We see X's and
calculations with Greek symbols...

DEVANE (O.C.)
She's marked ahead...two more days
crossed off...

Hunter takes the calendar from Devane and begins to copy out
dates onto the board.

HUNTER
Maybe her hit list.

DEVANE
So who are they? It's a big city.

HUNTER
But there's a pattern here. We
figure it out and we could save
some lives...

DEVANE
We don't and it's gonna be a long
week...

CUT TO

EXT. VISTA MAR APARTMENTS - NIGHT - ESTABLISHING

INT. MCCALL'S VISTA MAR APARTMENT LIVING ROOM - NIGHT

McCall is unloading kitchen utensils from a packing box in
the living room when there's a knock on the door. She gets
up and goes to it.

MCCALL
Who is it?

DEBBIE (O.C.)
Debbie...
McCall opens the door to reveal Debbie.

DEBBIE
(continuing;
apologetic)
If this is too late or
something...

MCCALL
Absolutely not. Come on in.

Debbie steps in and McCall closes the door.

DEBBIE
That was pretty cool what you did
in the locker room today.

MCCALL
Yeah, well, I just don't want you
all to think I'm the enemy.

DEBBIE
Most of the kids follow the
rules...some of them you just have
to push a little harder...some you
might as well avoid all together.

MCCALL
Thanks for the tip.
(moves to kitchen)
Hey, I put some water on. How
about a cup of tea?

DEBBIE
Sure. Thanks.

They move to the kitchen.

INT. LANDRY'S APARTMENT - BEDROOM - NIGHT

Two figures enter the room, go straight to the bed. One
gets down on his knees and reaches under it, coming up with
a small, voice-activated tape recorder.

He rewinds for a couple seconds, then hits the play button.
They hear the taped sounds of carnal activity. He clicks it
off, they have what they want.

INT. MCCALL'S APARTMENT - KITCHEN - NIGHT

Debbie is helping McCall put the kitchen in order while
sipping her tea.

MCCALL
You see your mom much?

DEBBIE
Holidays mostly. She's back East,
remarried to a lawyer. He doesn't
like me.

MCCALL
How 'bout your dad?

DEBBIE
Yeah, how 'bout him? I mean I
barely see him. He's a fireman.
Two days on...three days off.
Mostly when he's off he's out
patrolling the neighborhood.

MCCALL
Don't see him much, huh?

DEBBIE
Only when he's yelling at me.

INT. VISTA MAR APARTMENTS - HALLWAY - NIGHT

ANGLE - ON MCCALL AND DEBBIE

as they come out of McCall's apartment and see Mrs. Aaronson
struggling to her feet in the hall. They rush to her aid.

HELEN
They came out of Mr. Landry's
apartment. Penny went after them.

MCCALL
Penny?

DEBBIE
Her dog.

MCCALL
Debbie, take Mrs. Aaronson in my
apartment and call the police.

DEBBIE
My dad has a gun...

MCCALL
Just call 911.

INT. VISTA MAR APARTMENT - MAIN STAIRCASE - NIGHT

As the intruders race down the stairs to the front doors of
the apartment.

EXT. VISTA MAR APARTMENT - CONTINUOUS

SMALL
Cover the garage. Don't let them
out.

Two guys take off. Small has unlocked the front door and is
in pursuit, down the stairwell.

INT. VISTA MAR APARTMENTS - SUBTERRANEAN GARAGE - NIGHT

The two intruders fly around the corner -- and come face to
face with two of Small's cronies, all carrying baseball
bats. The intruders bolt the other direction, the men at
their heels.

INT. VISTA MAR APARTMENTS - MAIN STAIRCASE - NIGHT

as McCall comes down the stairs finding the yipping Penny at
the door to the garage. She ties the dog to the railing and
moves cautiously through the door.

INT. VISTA MAR APARTMENTS - GARAGE - NIGHT

ANGLE - ON MCCALL

as she enters the dark garage. She sees the other men
racing toward the back. McCall races to catch up.

ANGLE - ON THE INTRUDER

as he rounds the corner facing the closing men. He turns to
face,

JACK SMALL

his bat raised.

ON MCCALL

a heartbeat off the pace.

MCCALL - POV

Before she can speak. Jack's bat is in motion.

MCCALL
No!

THE SCENE

MCCALL
(continuing)
Get an ambulance here now.

They men move.

MCCALL
(continuing)
Come on kid...come on breathe.

TO BE CONTINUED

************************************************************

ACT TWO

FADE IN

EXT. SAVARINO'S SHOP - DAY

Establishing with lots of police and emergency vehicles
crowded around the front of the place.

SUPER: Monday 1:30 P.M. - L.A. - GARY SAVARINO'S STORE

INT. SAVARINO'S SHOP - BACK ROOM - DAY

Coroner's men lift a body bag containing Gary Savarino's
corpse onto a gurney. From the looks of the place, Gary
Savarino put up a struggle. S.I.D. men mull around,
searching the area which is filled with shelves of stolen
merchandise. Devane is talking to DONNELY, an S.I.D. man,
who's holding a loose car stereo amplifier.

DONNELY
We're booking everything in the
place. Most of it's been stolen.

DEVANE
Make sure I get a copy of the
property report. We might be able
to tie some of this stuff to
Johnny Youngblood.

Donnely nods and walks off as Hunter steps up carrying Billy
Joe's razor in a plastic bag.

DEVANE
(re: razor)
Billy Joe Powell's?

HUNTER
That's what I'm guessing. And if
it is, I may be onto something
else pretty interesting.

DEVANE
Like what?

HUNTER
Let me check a couple more leads
and I'll let you know. For now,
we got to figure out why Iris
targeted Gary Savarino. What's
the connection?

An officer interrupts them by escorting an 11-year-old
SKATEBOARDER with vehicle under his arm up to them.

SKATEBOARDER
I saw the getaway car.

DEVANE
How do you know?

SKATEBOARDER
Cause this car is all -
(makes peel out
sounds)
And you guys got here.

HUNTER
What kind of car was it?

SKATEBOARDER
'73 Lincoln, puke yellow.

HUNTER
Did you get the license?

The kid holds out his hand - a license number is written on
his arm.

SKATEBOARDER
I didn't have any paper.

EXT. OLIVERA STREET - PLAZA PARK - DAY

SUPER; MONDAY 1:45 P.M. - PLAZA PARK

Dep. D.A. Edgar Clayton sits on a park bench eating a
sandwich from a brown bag, enjoying the fresh air and
sunshine. He watches as Morehead approaches.

MOREHEAD
A little peace and tranquility?

CLAYTON
A little color. My wife thinks I
look like I spent the summer in
solitary confinement.

Morehead forces a smile and sits next to Clayton.

CLAYTON
(continuing)
How's the new crime czar?

MOREHEAD
Not happy. Some of my colleagues
have allowed the city to come
apart at the seams and the Deputy
Mayor expects me to turn it around
overnight.

CLAYTON
Atherton's a reasonable man,
you're talented...manufacture some
favorable crime stats, he'll run
to the press and everyone's a
winner. Remember, the man's a
politician. It's all politics.

MOREHEAD
(smiles)
Speaking of which, you're going to
run for City Attorney in November.

Clayton, suddenly suspicious, stuffs the remainder of his
sandwich into the bag, faces Morehead.

CLAYTON
I've been approached by several
responsible civic leaders.

MOREHEAD
Including the Deputy Mayor?

CLAYTON
Make your point.

MOREHEAD
The Valley Voice survey showed
that 65% of those polled think
Small acted in self-defense while
defending his property and should
be released.

Off Clayton's look,

MOREHEAD
(continuing)
It was a burglar he killed, after
all.

CLAYTON
One, Small wasn't defending his
property. Two, the burglar was
sixteen.

MOREHEAD
His release would defuse the
issue. Ease a lot of tension in
that community.

CLAYTON
I can't help you.

Morehead stands, faces Clayton.

MOREHEAD
Should I tell the Deputy Mayor you
said so?
(beat)
It's all politics...

Off Clayton's blank expression,

CUT TO

EXT. HIGH SCHOOL TRACK - BLEACHERS - DAY

McCall is sitting on the first row of bleachers as her gym
class runs laps. Follow SPORTY JAMES as he eyes the girls
and sits next to McCall.

SPORTY
Any chance you can keep this job,
McCall? I like it here.

MCCALL
I got your message, what did you
find out about Savarino's latest
doings?

SPORTY
You helping Vice out on some big
investigation?

MCCALL
No, why do you ask?

SPORTY
While looking into Savarino, I
came across a name, could be worth
a lot to your Vice department.
Should be worth at least an extra
bill for me.

MCCALL
I left my wallet in the locker
room. What's the name?

Sporty pauses, decides not to push for the bonus.

SPORTY
Lenny Pike.

MCCALL
Never heard of him.

SPORTY
He fronts for east coast operators
-- acts as their enforcer and
bagman.

MCCALL
What's he doing here?

SPORTY
Rumor has it that Gary Savarino
was in heavy with Pike.

A beat.

MCCALL
(thinking aloud)
Now that Savarino's gone, maybe
Lenny Pike's looking for a new boy
to do business with...

The girls finish up their laps. McCall stands. Sporty
again checks out the class.

SPORTY
I would be perfectly amenable to
following you back to the locker
room...
(off McCall's
scowl)
...only in my dreams...

CUT TO

EXT. VICTORY TRAILER HAVEN - DAY

A trailer park that was past its prime twenty years ago. We
find Johnny's van parked next to an old single-wide trailer.
Nearby we see a Mercedes SL.

SUPER; Monday. 3:00 P.M. - Victory Trailer Haven

INT. YOUNGBLOOD'S TRAILER - DAY

Close on a can of beer as the top is popped, off. Adjust
angle to reveal Johnny Youngblood handing the can to LENNY
PIKE, late 20's, superficial and slick, sitting at a table
in the tiny kitchen.

PIKE
You know how often I fly out here?
(off Johnny's look)
Twice a year...maybe three times
if somebody puts a gun to my head.

YOUNGBLOOD
Look, Mr. Pike, I'm just saying
we should be careful.

PIKE
I don't have a problem with that.
My problem is with delivery dates.

YOUNGBLOOD
Look a friend of mine was killed.
Savarino was blown away. The cops
are crawling all over the place.

PIKE
I was under the impression that
what you did...you did very
discreetly.

YOUNGBLOOD
Yeah, sure but...

Pike reaches into his pocket, pulls out a packet of hundred
dollar bills -- a total of ten thousand dollars held
together by a bank wrapper.

PIKE
Johnny, you made a decision. The
wheels back East started turning.
I've got a lot of interested
parties in your product...

Pike shoves the stack of money over toward Youngblood.
Youngblood slides the money back to the middle of the table.

YOUNGBLOOD
Just a couple of weeks.

PIKE
(intense)
One thing I want you to
understand, Johnny...in this
organization you don't tell
someone you can't produce. You
don't tell someone you're worried
about the pressure. You don't
tell someone you're afraid...or
you don't last long. Is that
clear?

YOUNGBLOOD
Yes. I'll deliver.

PIKE
Of course you will. Or I might
have to make a third trip out
here.

CUT TO

EXT. L.A. CRIMINAL COURTS BUILDING - ESTABLISHING - DAY

SUPER: Monday 4:10 P.M. - L.A. CRIMINAL COURTS BUILDING

INT. L.A. CRIMINAL COURTS BUILDING - COURTROOM - DAY

We are at the arraignment for Jack Small, who is flanked by
his attorney, the PUBLIC DEFENDER. Dep. D.A. Clayton stands
with Devane as he addresses the JUDGE.

DEVANE
Your Honor, the Department's
position is to oppose bail in this
case. I've also been asked by the
parents of Alan Marshall to
express their vehement opposition
to Small's release on bail. They
feel it would be a travesty of
justice and send a clear signal
that brutal vigilante-style
homicide is no worse than a
traffic violation.

JUDGE
Very well, Mr. Trent?

The Public Defender stands, eager to argue his case.

PUBLIC DEFENDER
Thank you, your Honor. As you
know, bail is not meant to be
punitive, but only to insure the
appearance of the accused for
trial. Since Capt. Devane has
gone on record so strongly
opposing bail, may I ask him a few
questions?

The Judge gestures for the Public Defender to proceed.

PUBLIC DEFENDER
Did Mr. Small cooperate completely
in your investigation?

DEVANE
Yes.

PUBLIC DEFENDER
Did Mr. Marshall's death occur as
a result of his fleeing a
burglary?

DEVANE
(uneasy)
Yes.

PUBLIC DEFENDER
Did your investigation tie
Marshall to other burglaries?

DEVANE
Yes.

PUBLIC DEFENDER
(smiling)
How many?... approximately.

DEVANE
Twenty.

PUBLIC DEFENDER
Do you have any
information...anything...that
would indicate Mr. Small would
leave the jurisdiction of the
Court?

DEVANE
No.

The Public Defender, satisfied, turns back to the Judge.

PUBLIC DEFENDER
Your Honor, I would ask a
reasonable bail...say in the sum
of $5, 000 be set.

Devane reacts to the request as the Judge entertains the
motion. He turns to Clayton.

JUDGE
What's your position, Mr. Clayton?

CLAYTON
I have no objection, your Honor.

Devane reacts, fighting to control his rage.

JUDGE
Very well, bail is set in the sum
of $5,000.

We hear a stirring from spectators and media as Devane turns
and faces Clayton briefly before leaving.

CUT TO

EXT. PIERCE HIGH SCHOOL - ESTABLISHING - DAY

SUPER: Monday 5:15 P.M. - No. Hollywood - Pierce High
School

INT. PIERCE HIGH SCHOOL - LANDRY'S OFFICE - DAY

It's the end of the day and ROGER LANDRY is loading a few
things into a briefcase, preparing to leave. He snaps the
case shut, heads for the door and opens it. Leaning in the
doorway we find Johnny Youngblood. He walks into the
office, brushing past Landry. Youngblood looks around the
office, avoiding eye contact with Landry.

YOUNGBLOOD
Nice office you got, Landry. Old
desk, worn out chair, faded paint
-- what I call atmosphere. You
must really love it here at old
Pierce High.

Landry doesn't like the condescending tone in Youngblood's
voice.

YOUNGBLOOD
That new gym teacher, Miss Woods,
what's her racket?

Landry stops, offended by Youngblood's presumptive attitude.

LANDRY
Don't waltz in here acting like
you run the place, because you
don't. The personal lives of our
teachers is none of your business.

Landry heads for the door again. Before he can make it,
Youngblood pulls a cassette recorder out of his pocket,
clicks it on. From the recorder we hear the sound of a man
and woman making love. The squeaking of a bed and their
passionate breathing is counterpointed by the moans of
sexual delight emanating from the woman. Landry stops in
his tracks. From the recorder we hear the woman gasp the
name, "Roger", several times in succession. Landry firmly
shuts the office door, gives Youngblood a pained look.

LANDRY
(continuing)
Turn it off.

Youngblood snaps the recorder off, gives Landry an admiring
smile.

YOUNGBLOOD
For an old guy, it sounds like you
still know how to get it on. Too
bad it was with one of your
students -

Landry takes a step toward Youngblood.

LANDRY
(re: the recorder)
Give me that.

YOUNGBLOOD
Let's not jump to conclusions.
I'm not here to take this
wonderful office away from you.
I'm here strictly for research.
Miss Woods -- is she a cop?

Landry hesitates, gives Youngblood a narrow look.

YOUNGBLOOD
(continuing; gently
warning)
Roger, I know the young lady and I
can prove you were with her. If
the school board ever finds out,
you'll never teach again...

CUT TO

INT. CENTRAL DIVISION - CORRIDOR - DAY

Morehead is walking through the corridor as Hunter emerges
out of the Records and Identification Office carrying
several thick files, a "Wanted" bulletin of Iris on the top
of the pile.

MOREHEAD
Any closer to Iris Smith?

HUNTER
(a bit guarded)
Getting there...

MOREHEAD
Great. I knew you would be.
You're a hell of a good cop.

Hunter senses that Morehead is about to give him a grease
job, looks impatient.

HUNTER
Thanks. I'm in sort of a hurry.

Morehead moves closer to Hunter.

MOREHEAD
This won't take long. It has to
do with Captain Devane and the
miserable job he's doing on the
NET Force. Frankly, if I allow
him to continue, I'm putting my
own head in a noose. Do you
understand what I'm saying?

HUNTER
No, I don't.

MOREHEAD
I want to take Charlie out of the
driver's seat and put you in it.
Could mean a hell of a promotion
if you do the job right.

Hunter knows Morehead is dangling a carrot and the idea
makes him angry.

MOREHEAD
(continuing)
Think it over. Give me an answer
later today.

Hunter pauses for a beat.

HUNTER
I've thought it over and I have an
answer right now --
(intense)
Stick it.

Hunter takes off, leaving Morehead to do a slow burn.
CUT TO

EXT. CITY STREET - SHOPPING DISTRICT - NIGHT (OF DAY #7)

Billy Joe Powell walks down a street enjoying the sights,
eyeing any pretty young women passing by and enjoying life.
He sees something approaching in the street, stops by a
store, presses his nose into the showcase.

ANGLE - OVER BILLY JOE'S SHOULDER

as he looks into the showcase, back to camera. In the
reflection of the plate glass we see a black and white
patrol car move down the street. After the police unit
passes, Billy Joe turns to look as the patrol continues
moving away. Billy Joe smiles to himself, mulls something
over, enters the store of the showcase he was staring into.
Adjust angle to the store's display window. Inside, we see
sporting goods, including camping gear, and a rack of
knives, the six to ten inch variety favored by outdoorsmen
and hunters. Tighten on the knives before we:

CUT TO

EXT. VISTA MAR APARTMENTS - ESTABLISHING - NIGHT

INT. VISTA MAR APARTMENTS - HALLWAY - NIGHT

McCall comes down the hallway carrying a bag of groceries in
her arms. She passes by Jack Small's apartment, the doors
open, loud music playing. Apartment dwellers filter in and
out of the place - there's a party going on inside.

INT. JACK SMALL'S APARTMENT - NIGHT - OM THE FRONT DQQRWAY.

as McCall sticks her head inside and sees a dozen or more
people celebrating Jack Small's release from jail. A
"Congratulations" banner adorns one wall and the place has
been festively decorated. Small spots McCall, hurries to
her, a drink in hand. She reacts to the celebration.

MCCALL
(annoyed)
You obviously made bail.

SMALL
(smug)
I'm two for two...
(beat, concerned)
Have you seen Debbie? I'm a
little concerned. It looks like
she didn't come home last night.

MCCALL
You should be, she skipped school
today. I think you should notify
the police.

SMALL
She's a little skittish about
being alone, probably spent the
night with Alice. Come on, join
the party.

MCCALL
(re: groceries)
No thanks, I've got to put these
away.

Snail grabs McCall by the arm.

SMALL
You can do that later -

Small hauls McCall into the apartment, taking her to an
informal bar that's been set up on a table in the living
room. McCall sets the groceries down.

SMALL
(continuing; re:
the bar)
What do you want?

MCCALL
I'll pass.

SMALL
Come on, this is an event for
once. The righteous have
prevailed.

Small grabs a bottle of whiskey, pours some into a plastic
glass, forces it to McCall. Small raises his glass in a
toast.

SMALL
(continuing)
Here's to taking another criminal
off the streets.

McCall sets the drink down.

MCCALL
My God, have you lost all sense of
morality?

SMALL
(smug)
Morality? Alan Marshall was
responsible for half the
burglaries in this neighborhood,
he got what he deserved.

Small hoists his glass and drinks. McCall looks
incredulous.

MCCALL
So you just eliminate him, he was
meaningless. No chance at
rehabilitation, just execute him?

SMALL
Lady, rehabilitation is the
problem! Fear of punishment is
the glue that keeps our society
together. We've lost it. The
crooks know all you screaming
liberals will keep them out on the
streets.

McCall is appalled by Small's attitude. Even though she's
undercover, she can't help but react. During the course of
the following, their voices rise attracting the attention of
a few party goers. McCall, pissed, glares at Small.

MCCALL
Yeah, damn liberals, they just put
another killer back on the
streets.

McCall walks out of the apartment.

INT. VISTA MAR APARTMENTS - MCCALL'S APARTMENT - NIGHT

A telephone rings in a darkened apartment. The front door
opens spilling light inside and McCall rushes inside. She
flicks on a light, sets her groceries down, grabs for the
phone.

MCCALL
(into phone)
Hello?

Intercut with:

EXT. PHONE BOOTH - NIGHT

Debbie Small is in a phone booth, talking on the telephone.
She looks panicky and scared.

DEBBIE
(into phone)
Miss Woods? -- it's Debbie Small.
Can I talk to you? I'm in a lot
of trouble.

MCCALL
Where are you?

DEBBIE
Near school - can you meet me at
the gym? I'm afraid to come home.

CUT TO

EXT. PIERCE HIGH SCHOOL - GYMNASIUM - NIGHT

SUPER: Monday 9:50 P.M. - Pierce High School

McCall walks outside the gymnasium looking for Debbie.
McCall checks her watch, she's been waiting at least a half
hour. Inside the gym, McCall hears a thudding sound, like
something heavy hitting a hardwood floor. McCall goes to a
double door, tries it, and somewhat to her surprise, finds
it unlocked. She opens the door and enters the gym.

INT. PIERCE HIGH SCHOOL - GYMNASIUM - NIGHT

McCall enters the darkened gymnasium, a backlit figure seen
only in silhouette. McCall calls out tentatively:

MCCALL
Debbie?

McCall reaches the midway point of the gym when she's hit by
the bright beam of a halogen flashlight. McCall shields her
eyes from the light, blinded. More lights blink on -- a
total of six or seven, lasering through the darkness from
various points around the gym.

We get the impression that McCall is trapped in a web of
light beams. A disguised voice booms out from over a P.A.
system - the voice might belong to Johnny Youngblood, but
McCall can't be totally sure.

P.A. VOICE
And now here's the star of our
show -- Miss Dee Dee Woods!

We hear a dozen pairs of hands applauding eerily in the
darkness. Suddenly a basketball flies out of the darkness,
nearly hits McCall, bounces harmlessly away.

P.A. VOICE
(continuing)
Doesn't she have great reflexes,
ladies and gentlemen? Just your
average gym teacher by day -- but
by night...she's a cop!

A trash can flies out of the darkness, hits the floor in
front of McCall followed by baseball bats, football pads,
helmets, shoes - half the gear found in any high school's
equipment room. Some of the stuff grazes McCall, but the
display is meant to scare, not to hurt. Suddenly the attach
ceases. A figure walks down the bleachers, silhouetted by
flashlights from behind.

P.A. VOICE
(continuing)
Sergeant Dee Dee McCall, badge
number 358, Central Division,
Robbery Homicide Division -
welcome to Pierce High! Now for
our final number of the evening,
something we know you'll enjoy -

The silhouetted figure raises an arm and clasped in its hand
is the distinct outline of a gun. As this registers on
McCall, and before she can do anything about it, the gun
fires with an ear deafening concussion. The instant the
shot explodes, the gymnasium is plunged into total darkness.
A beat in the dark, then a set of double doors opens up at
the end of the gym, three figures dash outside.

ANGLE ON MCCALL

running for the doors. She reaches them.

EXT. GYM - NIGHT

McCall runs out of the gym doors, gun drawn. A car is
squealing away form the distant lot. She checks around -
nothing else.

ANGLE - DEBBIE SMALL

hiding in the shadows, watching McCall, sorry that she
betrayed her.

FADE OUT

END OF ACT TWO

***********************************************************

ACT THREE

FADE IN

EXT. CENTRAL DIVISION - ESTABLISHING - DAY #8

SUPER; Tuesday 8:00 A.M. - Central Division

INT. CENTRAL DIVISION - DEVANE'S OFFICE - DAY

McCall, Devane, and Morehead are gathered. Morehead has
worked up a full head of steam and is laying into McCall.

MOREHEAD
Can you tell me how a trained,
experienced, homicide detective is
outwitted by a high school punk?

MCCALL
Roger Landry was the only person
at that school who knew I was
working undercover.

MOREHEAD
No, half the student body knew it.

DEVANE
I don't think this is necessary.

MOREHEAD
I do. The press will have a field
day if it's leaked out.

DEVANE
I could have had a seriously
injured officer.

MOREHEAD
In case you don't realize it,
Captain, the press is determining
today whether or not a few careers
around here are gonna bite the
dust tomorrow.

Morehead storms out of the office, brushing by Hunter.

HUNTER
(to McCall)
Anything on last night?

MCCALL
Just a lecture from Morehead.

HUNTER
When's this guy going to go away?

DEVANE
(frustrated)
Look, I spend ten hours a day
keeping Morehead off your backs.
I do what I can, but he's pushed
me into just about every corner he
can find.

MCCALL
Charlie, you're doing a good job.

DEVANE
So are you two. Thanks. What do
you have working, Hunter?

HUNTER
The prints we took off the razor
it's definitely Billy Joe Powell.
And I know what they were driving.

DEVANE
Good.
(hands him report)
Stay on it.
(to McCall)
Stay on Youngblood and let me know
what turns up on those computer
disks.

MCCALL
Will do.

The two of them are up and heading out the door.

DEVANE
Hey. I'll get us back to normal
around here as fast as I can.

CUT TO

EXT. PIERCE HIGH SCHOOL - PARKING LOT - DAY

ALLISON, a pretty, 16 year old cheerleader walks to class
from the parking lot where she's left her car. Johnny
Youngblood enters frame, hurrying to catch up with her.

Allison sees Johnny, waits for him to catch up with her,
continues walking with him. She is obviously pleased and
excited by his attention.

YOUNGBLOOD
Haven't seen you for a few days.

ALLISON
I've been here. Where've you
been?

YOUNGBLOOD
Not close enough to you.
(pause)
Wantta do something tonight?

Allison plays it coy, though she's dying to go out with
Youngblood.

ALLISON
Like what?

YOUNGBLOOD
Take a ride in my van.

Allison tries to be cool, but responds with a too eager edge
in her voice.

ALLISON
Yeah...sure.

Youngblood and Allison continue walking, exiting frame.
Adjust angle to find a figure emerging from behind a parked
truck, watching Youngblood and Allison stroll off. It's
Debbie Small and she looks miserable. She stares off after
the happy couple, devastated.

CUT TO

INT. CENTRAL DIVISION - S.I.D. LAB - DAY

McCall enters the S.I.D. lab with Donnely. They cross to a
desk where a computer system is hooked up.

DONNELY
The computer disks you gave us are
software for a computer
information service called
CompuSource in Phoenix, Arizona.

MCCALL
Why's Youngblood plugged into
something like that?

McCall and Donnely sit behind a desk where a computer is set
up and ready to go.

DONNELY
For one thing, CompuSource offers
its clients a data storage
service.

Donnely begins typing on the computer keyboard, entering
CompuSource and Johnny Youngblood's file.

DONNELY
(continuing)
I got a warrant to check out
Youngblood's files, but I ran into
a problem.

CLOSE ON - COMPUTER SCREEN

Line after line of seemingly random letters, numbers, and
programming symbols appear on the screen. The display is
meaningless.

MCCALL (O.C.)
(dismayed)
What's that?

DONNELY (O.C.)
Apparently Youngblood used an
encoding program to scramble his
records. All we get is page after
page of hash.

BACK TO SCENE

MCCALL