Written by Tom Lazarus

ACT ONE

FADE IN:

EXTREMELY TIGHT ON A FINGERTIP

moving slowly on naked skin. A throbbing HOT ROCK TRACK.
The lighting's stark and erotic and we're so tight and
flary the images are almost abstract. Lips press into
undulating flesh. Perspiration glistens. A woman's hand,
the fingernails perfectly glossy red, enter frame, there's
a high school ring and...

VINCENT'S VOICE

Cut!

TONY COCHRAN, a strong handsome six-footer leans into frame.

TONY
(to camera)
What the hell?!

REVERSE ANGLE ON

VINCENT, shorter and smaller than his older brother Tony,
stepping out from behind the video camera. It's a high-tech
one-man setup with five or six lights and sync sound shooting
in a corner set consisting of a satin sheeted bed, marble
night tables, modern Italian lamps and one of those posters
with dirty ballet slippers. Vincent talks to Tony, but his
eyes are on LIZ lying in all her blondness on the bed. She's
barely twenty but has enough street on her face to be twice
that.

VINCENT
Won't match. She didn't have
the ring on yesterday.

Tony stands.

TONY

What are you, Fellini, all of
a sudden? You think they're lookin'
at that stupid ring? We got one
more shot. Just shoot.

Vincent glances around at ANDREA, a tailored, handsome
woman in her late thirties, standing in the shadows
against the wall of Tony's small shooting stage, then
moves back behind the camera without a word.

LIZ
That's what I like about you,
Tony, you're a real class act.

TONY
(moving back onto
the bed next to her)
Right, and you're Princess Di?

ON VINCENT
finding focus.

VINCENT
Okay, rolling.

MONTAGE - EXTREMELY TIGHT SHOTS

of flesh against flesh cut to the MUSIC. It's sensual,
hot.

TIGHT SHOT OF ANDREA

expressionless, puffing slowly on her cigarette. She's
getting off.

TONY'S VOICE
Move in tight.

MOVING INTO TIGHT SHOT OF LIZ

in ecstasy.

TIGHT SHOT OF VINCENT

watching very intently through the camera,

TIGHT SHOT OF TONY

straining...tightening, then turning to camera.

TONY
Got it?

VINCENT'S VOICE
Yup.

LIZ
(dropping out of
frame)
Thank God.

TONY
Was it really that bad?

LIZ
(climbing off
the bed)
Whatever.

She pulls on her robe and reaches for her smokes. Vincent
turns lights off as Tony, bare-chested and in his jeans
moves to Andrea.

TONY
I look okay?

She runs her fingernail sexily down Tony's chest. Apparently
he did. Tony rubs his knuckles softly against her cheek.
Hot, she closes her eyes, then smiles invitingly up at him
and exits.

ANGLE ON LIZ

in her robe, her body silhouetted by the backlight. Vincent
heads toward her.

VINCENT
You were terrific.

Liz rolls her eyes.

VINCENT
(moving uncomfortably
close to her)
...I really mean it.

LIZ
Thanks.

VINCENT
(edging even closer)
Liz... I ...

Liz's face flashes concern.

TONY'S VOICE
Hey!

Vincent quickly steps away from Liz, Tony joins them.

TONY
What's the problem?

VINCENT
Nothin', no problem.

Tony checks Liz but she's working on her cigarette.

TONY
(dismissing him)
Okay bro, see you tomorrow.

Tony takes Vincent by the shoulder and ushers him toward the
door.

VINCENT
I didn't do anything.

TONY
(not believing him)
Right.

VINCENT
(whispering)
You don't think I know what
you do after I leave, that
you're taping stuff for your
personal collection?

Tony opens the door.

TONY
See ya tomorrow.

Seething, Vincent stares up at Tony, then slams out.

CUT TO:

McCALL

We get his gun into ballistics...
you're gonna be whistlin’ another
melody.

Hunter doesn't buy it for a second.

McCALL
You want to talk about some of your
classic screw ups?

HUNTER
I say we kick in that dump and drag
him outta there.

DEE DEE
And go up against his sawed-off
shotgun?
(motioning with a smile)
Be my guest.

DISPATCHER
(over radio)
All Frequencies: We have a report
of a possible 187 in progress
on the northbound connector road
between Santa Monica and San
Diego Freeways.

Hunter grabs the microphone as McCall starts the car and
jams it into gear.

HUNTER
This is L-Fifty-Six near Ohio
and Federal. We're rollin'.

As they speed off, we:

CUT TO:

EXT. MALIBU CANYON - NIGHT

An L.A.P.D. black and white and CHP units their mars lights
spinning, parked at odd angles on the shoulder. OFFICERS
are laying flares and directing snarled traffic around the
scene.

WORKER'S VOICE
(blown-out)
I've never seen somebody dead.
before.

TIGHT ON CAL TRANS WORKER

being interviewed by BLUE COATS as Hunter and Dee Dee
drive up.

WORKER
I mean...she was just lying
there...looking right up at me.

As a coroner's van arrives, Hunter and Dee Dee, their
badges pinned and visible, move toward the scene. An
over-eager REPORTER joins them.

REPORTER
Hey, Hunter, your response time
is awesome. You got here just
ahead of the sanitation department.

HUNTER
They're cute gags, Henderson.
Take 'em to the Carson Show.

He pushes past.

DEE DEE
(to reporter)
Excuse me, your vehicle is illegally
parked on an access road. It's a
thirty dollar greenie. I'd get
it outta there or watch it leave
on a hook.

She pushes past him and he turns to move his truck.

HUNTER
(to the blues)
Keep the press back. Okay?
(beat)
I thought this was an in
progress?

BLUE
She was gorked when we got here.
It looks about ten minutes old.

DEE DEE
You get anything out of the bushes?

INVESTIGATOR
She's a Jane Doe. Death by strangu-
lation. Looks like she saw it
coming and put up a little fight.
A Hollywood serenade in E-flat.

They move to the body. Hunter kneels down and we see that
it is Liz. Dee Dee lifts up her hand and looks at a ring
She reads the edge of the ornate ring.

DEE DEE
Treemont High...1979...

There is a long beat.

HUNTER
Okay, McCall, go ahead an' file
the case. Tell the Captain we're
on it.

DEE DEE
What about Bobo?

HUNTER
I'll get back an' sit on that
egg. You see if you can scare up
a yearbook of Treemont High and
find out who this is.

Dee Dee looks down at the corpse.

DEE DEE
There're always the same questions,
aren't there. Hunter? Who was she?
How did she end up here? Why did
it have to happen...

HUNTER
Don't open up a clinic here,
McCall.

She looks up at him.

DEE DEE
Yeah. It just gets me sometimes.

Hunter turns and exits as we:

CUT TO:

INT. ANDREA BURDEN'S OFFICE - DAY

Classic black-and-white Hurrell's of Garbo and Crawford
and one sheets for down'n'dirty low budget features line the
white walls. The furniture's white wicker. Andrea sits
behind her glass-topped desk strewn with 8x10's and port-
folios of hopeful actors and models. In front of her,
EVIE, a fresh-faced girl; she can't be more than eighteen.

EVIE
(theatrically)
..."And onward and upward they
flew 'til the sun was darkened
by their wings forever."

ANDREA
(after a beat,
gently)
Have you ever done any modeling?

EVIE
I starred in that play.

ANDREA
You have to pay your dues in
this town.

Andrea moves around the desk.

ANDREA
Stand up.

Evie stands. Andrea motions her to turn around. Evie
spins theatrically. Andrea studies her.

ANDREA
You've got something...

Evie smiles. Andrea motions to Evie's portfolio.

ANDREA
These pictures are killing you.
You need professional ones.

EVIE
With what money?

ANDREA
(after a beat)
I do know of a modeling job.
The photographer's looking for
a new face. It'll involve a
little nudity but you'll get
professional pictures out of it...
and three hundred dollars for the
day.

Evie's not sure.

ANDREA
Let me see your legs.

Evie hesitates, Andrea waits, then Evie lifts her skirt.
Andrea motions higher. Evie does it.

TIGHT ON ANDREA
looking at Evie admiringly.

ANDREA
Okay, take off your top.
(smiling)
It's okay, I do this a hundred
times a day.
(laughing)
—gotta see what I'm selling.

TIGHT ON EVIE
conflicted, then moving her hands to her blouse and
unbuttoning the first button.

TIGHT ON ANDREA
smiling.

ANDREA
Tony's going to love you,

EXT. ART DECO APARTMENTS - DAY

Panning off the apartments across the street to Hunter
hunched low in his car.

OMITTED

EXT. DEVELOPMENT - DAY

Even though the houses have different landscaping and paint
jobs, they're unmistakably identical. McCall's car parks on
the street, and with a large book under her arm, she heads
for DOC DUGGAN, who's trimming ornamental rose bushes. He's
in his early sixties, conservative, a man who had children
too late in life.

DEE DEE
Mr. Lawrence Duggan?

DOC
That's me.

DEE DEE
Do you have a daughter Elizabeth
Ann who graduated from Treemont
High School in nineteen-seventy-
nine?

Dee Dee's tone makes Doc hesitate, then he nods.

OMITTED

ANGLE ON THE HOUSE

and the front door where NELLIE DUGGAN stands behind the
closed screen on the front door.

NELLIE
Who is it dear?

Dee Dee pulls out her badge.

DEE DEE
Sargeant McCall. Metro P.D.

Doc and Nellie glance at each other with concern as Doc
ushers Dee Dee up to the door. Nellie Duggan stays behind.
the screen. Dee Dee takes the high school yearbook out,
opens it to the class pictures and points to Liz's photo.
She looks incredibly innocent.

DEE DEE
Is this your daughter?

DOC
(reluctantly)
Yes... ?

DEE DEE
(with difficulty)
I'm sorry to have to tell
you this...but your daughter
is dead.

Doc nods slowly. Behind the screen Nellie doesn't bat an
eyelash. Neither speaks nor looks at the other. Dee Dee
can't believe it.

DEE DEE
I...I'm terribly sorry.

Dee Dee still can't believe they haven't reacted to the
news of their daughter's death.

DEE DEE
(with difficulty)
Her body was found by the side
of the freeway this morning.
She was murdered.

Still the parents are silent. Doc can't take his eyes off
his daughters' picture in the yearbook.

DEE DEE
She was very beautiful.

Doc nods then turns away to hide his emotions. Dee Dee
looks over at Nellie, but she still shows no feelings.

DOC
(turning back to
Dee Dee)
Do...do you know who did it?

Nellie glances over disapprovingly at her husband. Dee Dee
picks up on it.

DEE DEE
That's why I'm here. I was
hoping you might have an idea...

Doc shakes his head. Dee Dee turns to Mrs. Duggan.

NELLIE
We hadn't seen or heard a thing
from her in three years.

DOC
We did get a card from her last
Christinas.

Dee Dee waits for more...but there's only silence.

DEE DEE
Do you know where she'd been
living or who her friends were?

NEILLIE
(bitterly)
We didn't even have her phone
number.

And she moves into the darkness of the house. Dee Dee
looks over to Doc for help, but he opens the door and starts
in.

DEE DEE
Mr. Duggan...

Doc hesitates and turns back to Dee Dee.

DOC
'Lizabeth's been dead for us
ever since she turned...
(suddenly, barely
audible)
...it was the drugs.

Doc looks at Dee Dee sadly, then enters the house.

DOC'S VOICE
Nell...?

On Dee Dee’s look of compassion, we:

CUT TO:

INT. UNDERCOVER CAR - DAY

The half dollar rolling across Hunter's fingers. Just as he's
finally about to accomplish the feat, McCall pulls open the
passenger door spooking him...and sending the half dollar off
his fingers on to the floor.

HUNTER
(shaking his head)
Ten years of hard work...

DEE DEE
Where's your tie Hunter?
(with a smile)
I'd hate to have to report
this to the Captain.

HUNTER
Yeah, well, see if you can
control yourself.
(after a beat)
What'd you get on that ring?

DEE DEE
Elizabeth Ann Duggan. Her
teachers hardly remembered her.
(shaking her head)
When I told her parents, they
didn't flinch...unbelievable.
They hadn't seen her in three
years. Apparently that's when
she got into drugs. Beyond that
nothing.
(after a beat, softer)
She's the spitting image of my
best friend in high school...
(smiling nostalgically)
... Shelly... it was like we were
joined at the hip or something. We
were closer than sisters...until she
got into drugs; first it was "only"
recreational, it ended with needles...
prostitution...I had to tell her
parents too.
(after a long pause,
beat)
What happens to people?

She freezes.

EXT. ART DECO APARTMENT - HUNTER & McCALL'S POV - DAY

The garage door rises up...a beat...then a maroon Porsche flies
up the ramp and heads up the street toward them.

UP ANGLE ON HUNTER AND McCALL

springing out of the car.

OMITTED

HUNTER'S POV

of the Porsche heading at them. Bobo leans his sawed-off shotgun
out the window and FIRES!

ON HUNTER AND McCALL

diving for cover as Bobo's Porsche ROARS by just missing them
and flies down the block.

BOBO'S POV

on huge RV lumbering out of a driveway. The Porsche SCREECHES
into a 180° and flies back up the street toward Hunter and McCall
who've climbed to their feet and were climbing back in their
car to pursue, but having heard the screech, are climbing back
out of the car and pulling out their weapons. They're forced
to dive for cover again as Bobo heads right for them. After
they roll to safety, the Porsche wails by them TEARING the
driver's side door off and heads away.

ANGLE ON HUNTER

reaching into the back seat of his car, pulling out his deadly
looking shotgun which he levels and FIRES!

OMITTED

ANGLE ON
The rear end of the Porsche EXPLODING!

OMITTED

ANGLE - ON HUNTER AND McCALL

rushing the Porsche which grinds to a halt. Bobo tries to make
a run for it but freezes when he sees Hunter's and McCall's guns
leveled.

HUNTER
(moving toward him)
You know why they call this a
standoff, Bobo? 'Cause when it's
over, I'm gonna be standing and
you're gonna be offed.

BOBO
(to Dee Dee)
Hey man, get him outta my face.
He's nutsed out!

DEE DEE
(cuffing him)
And he's the nice one.

OMITTED

INT. SQUAD ROOM - DAY

Hunter in his torn jacket and no tie and McCall push the
handcuffed Bobo into the squad room.

BOBO
I'm gonna file a complaint, man.
You can't push me around. I got
rights.

HUNTER
What you got is confirmed reserva-
tions at Casa De Hoosgow. Now,
shut up!

On that, the Captain moves past, Terwilliger following.

TERWILLIGER
Of course, operationally, A.I.D.
should have it's own telephone
and operations office. I know
we're cramped but, sir...if I
might...

BOBO
I'm filing a complaint. I wanna
file a complaint against this
officer!

Terwilliger and the Captain stop.

TERWILLIGER
What? Excuse me...I'm Sergeant
Terwilliger, Internal Affairs.
May I assist you?

HUNTER
Bernie, will ya just let me do this,
please?

CAPTAIN
Sergeant Hunter...got a minute?

HUNTER
Well, sir, I'm trying t'get this
suspect into detention...and I've
got a homicide I have t'get moving
on... and...

CAPTAIN
(hard)
Humor me and take a second.

Hunter and the Captain move off. Terwilliger stays with the
suspect.

INT. CAPTAIN'S OFFICE - HUNTER AND CAPTAIN

CAPTAIN
Obviously my new dress code
regulations have failed to impress
you, Sergeant.

Hunter looks down at his t-shirt and jeans.

HUNTER

Well, sir, I was on a surveillance
in a part of town, tie and jacket
would've drawn a crowd.

CAPTAIN
Not much of a fan of the dress
code are you?

HUNTER
Uh...well, you really want my
opinion, sir?

CAPTAIN
Damn right. That's why I asked
you.

HUNTER
Well, yeah, I think dress codes
work good for the Boy Scouts and
the Marines...I think a little
leniency should be tolerated with
plain clothes detectives.

CAPTAIN
When I transferred in here, the
morale in this division was low.
There is a correlation between the
way people look and the way they
feel about themselves. This
division is going to look good
and then, maybe next month or next
year, it's gonna start feeling
good.

HUNTER
We could maybe organize a softball
league. I hear that's great for
morale.

There is a beat.

CAPTAIN
From now on, keep an extra jacket
in your locker.

HUNTER
Right.

He starts to leave.

CAPTAIN

And why don't you look into setting
up a softball league. That's a
good idea.

HUNTER
That was a joke, sir.

CAPTAIN
Not any more.

Hunter nods and exits.

INT. SQUAD ROOM

McCall is standing there as Hunter exits the Captain’s office.

HUNTER
Sometimes that guy makes me want
t'be a fireman.

DEE DEE
It may be a good career change.
Bernie is taking down a statement
from Bobo.

Hunter looks over at them and sighs.

HUNTER
I don't know, McCall. I got a
hunch about that girl on the
freeway. Something tells me we
got bigger problems.

DEE DEE
Crossed my mind too.

INT. TONY'S STUDIO - DAY

FUNKY HOT-ASS MUSIC WAILS AWAY. In one of those shiny
ultra-sexy, highcut swimsuits, Evie lies seductively on the
bed in the corner of Tony's 'studio'. The poster's been
changed, and now there's a leather couch. Vincent's shooting
with a 4 X 5 still camera. Tony's off to the side, directing.

TONY
You are one incredible-looking
woman.

Evie blushes. CLICK!

VINCENT'S VOICE
I've got to reload.

Tony moves in.

TONY
I'm tellin' you Babe, you've got
it. Stick with me an' one day
you'll be on top of the world.
(touching her
face gently)
The camera just loves you.
You're a goddess. (CLICK)
Incredible! (CLICK). That's
great. (CLICK).

She opens her mouth, her tongue wets her lips.

OMITTED

TIGHT ON TONY
into it.

TONY
(CLICK) Okay, kneel. Great!
Okay...more...more. (CLICK,
CLICK).

OMITTED

CUT TO

EXT. MALIBU CANYON NIGHT

deserted. SOUND of an exhaust. A VEHICLE DRIVING UP.
BRAKES SQUEAL. A DOOR slides open and heavy BREATHING of
effort then Evie's lifeless body is hurled OVER CAMERA and
lands in the ivy.

OMITTED

FADE OUT

END ACT ONE

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

ACT TWO

FADE IN

INT. MORGUE - DAY

Hunter and Dee Dee push through the door labeled METRO
COUNTY MORGUE. A BLAST ON A TUBA stops them in their
tracks. They exchange looks, then continue on.

INT. MORGUE - DAY

CARLOS, a heavyset Chicano in a white lab coat and large
floor-length heavy rubber apron, is PLAYING THE TUBA in
the middle of the stiffs. Hunter and Dee Dee enter.
Carlos continues to HONK on that thing 'til he sees them
and stops.

HUNTER
I like the rhythm, I could dance
to it...I'll give it an eighty-
five.

CARLOS
It is my lunch hour.

HUNTER
Our young ladies on the freeway...
same killer?

CARLOS
I don't have an M.E. on my pocket
do I? I just shove the stiffs
around, remember?

DEE DEE
Weren't you the guy saying you
were really the brains around
here?

CARLOS
(with a shrug)
Jane Doe One had two distinct
bruises on her neck eight and a
quarter inches apart. Jane Doe
Two's were precisely eight and a
half. Your killer or killers had
some big mitts. I'm relatively-
certain they were terminated then
dropped at the scene. Off the
top of my head...
Same killer, but quote me and
I'll deny it.

HUNTER
My man.

DEE DEE
(smiling)
Thanks Carlos.

CARLOS
Mi deposito de cadaveres, su
deposito.

And he picks up the tuba again.

HUNTER
Watch yourself with that thing,
they can be dangerous.

Hunter and Dee Dee head for the door. A SHORT TUBA
RIFF, then;

CARLOS' VOICE
By the way...

Hunter and Dee Dee stop and turn.

CARLOS
Both Jane Does had body
makeup on.

Hunter and Dee Dee aren't impressed.

CARLOS
I'm talkin' full body makeup.

Now they are.

INT. HIGH RISE APARTMENT – NIGHT

A spectacular view of L.A. at night.

ANDREA'S VOICE
(panicked)
It's more than a coincidence...
it has to be.

Museum-size art on the walls. Minimal modern furniture.
Andrea, in white slacks, a sexy loose fitting oversized
man's shirt, is pacing in front of Tony chowing down
at the dining room table. Andrea's food is untouched.
She picks up a newspaper with Liz's picture on the front.
There's a smaller picture of Evie's unidentified body.

ANDREA
(panicked)
Tony, you've got to tell me what's
going on. I mean I send you Liz
and she ends up strangled on the
freeway.
(waving the newspaper)
And I know this other body is
Evie! I've tried calling her
all day but no one's seen her.
(shaking her head)
What's going on here? If the
cops connect those girls to
your pictures, they'll end up
coming to me, to me!

Tony wipes his mouth with a linen napkin.

TONY
Hey Babe, relax. They aren't
comin' to you. No one's gonna
see those tapes...they're only
distributed in the Orient.

She sits across from him.

ANDREA
What's happening to those girls?

TONY
I don't know.

Tony averts his eyes and starts eating again. She knows
he's lying.

ANDREA
Please talk to me.

Suddenly real bummed out. Tony shakes his head. Andrea
puts her hand on his, but Tony pulls away and stands.

TONY
I gotta split.

ANDREA
Tony, don't hold out on me...
not me.

Tony shakes his head, then sits back down.

TONY
(with difficulty)
I'm gonna tell you something, but
if you tell anyone...1'll break your
neck.

Andrea nods.

TONY
About fifteen years ago this girl my
brother was going with, his girl-
friend,... she...was killed at
the beach...
(quickly)
...but they were never able to
prove it. Vinnie never went to
trial.

ANDREA
(in disbelief)
But they thought he did it?

TONY
Andrea, they dropped the charges
because of insufficient evidence.
He'd passed out...didn't remember
anything.

Tony picks up the paper.

TONY
I'm going to split.

Tony stands.

ANDREA
(shaken)
You think Vinnie killed those
girls, don't you?

TONY
I'll call you later.

And he's gone. Frightened and worried, Andrea double
locks the door.

INT. SQUAD ROOM – DAY

Dee Dee's on the phone as Hunter enters.

DEE DEE
(into phone)
Okay thanks a lot.

She hangs up then turns to Hunter.

DEE DEE
Still no I.D. on Jane Doe Two.

Hunter tears a piece of paper in two, then hands half to
Dee Dee.

HUNTER
Got this from Vice. They're the
'talent agencies' that supply
bodies for pornos and skin magazines.

And he heads for the door. Dee Dee's right behind him.

ANGLE ON TERWILLIGER

rushing across the squad room.

TERWILLIGER
Hunter I've got complaints about you
violating the civil rights of a
Sherwood "Bobo" Hayden.

HUNTER
Not now Bernie.

TERWILLIGER
Hunter...

But he exits with Dee Dee.

INT. ANDREA'S OUTER OFFICE

A semi-attractive RECEPTIONIST sits at the desk putting
on makeup. The door to Andrea'a office
opens and an eager young MODEL-TO-BE carrying her black
portfolio walks out, smiles good-bye to the Receptionist,
then exits past Hunter, who's sitting on the too-small
cutsey couch and looking very pissed off.

HUNTER
It's been a real long day...
this is the seventh "establishment"
I've been to, so I'd appreciate if
I could see Miss Burden...
(standing)
...now.

RECEPTIONIST
(standing and
checking her watch)
Look I'm late for lunch already.
I told Miss Burden you were here,
but her calendar's just jammed
today. Would you like to make
an appointment?

Hunter moves for Andrea's office. As he passes the
Receptionist, he flashes his BADGE.

HUNTER
Say hello to my appointment
secretary.

INT. ANDREA'S OFFICE - DAY

Andrea stands in shock as Hunter enters and moves toward
her. The helplessly intimidated Receptionist stands in
the doorway.

ANDREA
(to the Receptionist)
Call the Police.

HUNTER
(showing his
shield)
That's me...good 'ol protect and
serve.

Andrea smiles, covers her shock, then she motions the
Receptionist out.

ANDREA
It's fine.
(to Hunter, fully
recovered and smooth
as silk)
I'm sorry, she's a temp. She
didn't say you were from the
police. I'd of seen you right
away.

Hunter pulls Liz's picture out of his pocket.

HUNTER
Sergeant Hunter, Miss Burden,
Homicide...you ever seen this
young woman? This was taken
about six years ago.

Andrea's hand covers her mouth, then she shakes her head,

ANDREA
I saw this picture in the paper.
(shaking her head)
Isn't that terrible? I'm telling
all my girls to be doubly careful,
but I mean it's horrible. Just
horrible. Did you catch the person
who did it?

HUNTER
Hot yet, ma'am.

ANDREA
(shrugging)
I wish I could be more help, I'm
sorry.

HUNTER
Well, thanks for your time.

Andrea accompanies him to the door.

ANDREA
It's really heartbreaking.

After Hunter exits, we hold on Andrea's troubled face,
then:.

CUT TO:

INT. ANDREA'S OUTER OFFICE - DAY

The Receptionist's gone to lunch. Hunter's alone. He
looks around at the desk, the file cabinets...nothing.
As he heads for the door, the light on the phone blinks
on. Instinctively, Hunter lifts the phone, covers the
mouthpiece...then hears: DIALING...RINGING...then:

VINCENT'S VOICE
(over phone with
noise of a video editor)
Hello.

ANDREA'S VOICE
(over phone, shaken)
Tony there?

The EDITING SOUND stops.

VINCENT'S VOICE
Hello?!

ANDREA
(losing it)
Is Tony Cochran there!?

VINCENT'S VOICE
Andrea?

ANDREA
I've got to speak to him right
away, okay?

VINCENT'S VOICE
He's not here. Any message?

Hunter waits for Andrea's response, but there is none.
Instead, the DOOR OPENS behind him. Hunter spins.

ANGLE ON ANDREA

standing in the doorway.

HUNTER
It's for you.

CUT TO;

INT. SQUAD ROOM - DAY'

PANNING with a POLICE WOMAN who's moving through the crowd of
cops and hookers with two pages of computer readout in her
hand.

POLICE WOMAN
(calling)
Sergeant Hunter!

ANGLE ON HUNTER AND McCALL

walking through the squad room and stopping as the Police Woman
catches up with them and hands Hunter the computer readouts.

HUNTER
Thanks a lot.

Hunter hands page two to Dee Dee as he scans page one.

HUNTER
(looking at the readout)
Tony Cochran's a bad boy...
seventeen warrants for pandering
and pornography...no convictions...
real cute.

DEE DEE
(reading off her
paper)
His brother Vincent's no prince
either- He was popped in sixty-
eight for the strangulation death
of a young woman.... charges were
dropped due to insufficient
evidence.

Intrigued, Hunter takes the paper from Dee Dee and looks it over

HUNTER
He works with his brother, no known
address...we're outta here.

DISSOLVE TO:

OMITTED

EXT. ANDREA'S BUILDING - LATE IN THE DAY

A SLOW PAN OF HOLLYWOOD, stopping on Dee Dee's car parked
with the sun setting into their faces.

INT. DEE DEE'S CAR - LATE IN THE DAY

Dee Dee and Hunter, dressed regulation, across from Andrea's
building. They've been there for a few hot hours and they
look it.

DEE DEE
Only thing worse than surveillance
is lima beans.

HUNTER
(tearing off
his tie)
Try the Captain's dress code.

EXT. ANDREA'S OFFICE - LATE IN THE DAY (THEIR POV)

Andrea's two-seater Alfa-Romeo pulls out of the parking structure
Behind the wheel, Andrea's got on her jewels.

DEE DEE'S VOICE
Looks like prom night.

IMT. DEE DEE'S CAR - LATE IN THE DAY

Dee Dee pulls away from the curb.

EXT. LOS ANGELES STREET - LATE IN THE DAY

The Mercedes drives among the trucks in the industrial
district. Dee Dee's car follows discreetly.

EXT. TONY'S STUDIO - NIGHT

An old brick industrial building. No signs. No number...
real anonymous. The Alfa pulls into the chain link fenced
yard. There's a limousine waiting in the street. Dee Dee,
driving without lights, stops down the street behind a truck.
Andrea moves to the building and rings the buzzer. After a
moment the door opens, it's Tony in a midnight blue tuxedo.
They kiss.

HUNTER'S VOICE
Hello.

INT. DEE DEE'S CAR – NIGHT

Dee Dee and Hunter looking at a mug shot of Tony Cochran.

DEE DEE
Don't you love it?

EXT. THEATRE - NIGHT

A cheapo old klieg light limps around in a circle shining
its noisy light up into the smog filled night. A banner
reading Hollywood Exotic Film Awards. TUXEDOED MEN
in their fifties with cheap STARLET TYPES looking like
their granddaughters on their arms, climb out of rented
limousines and make their way into the theatre. Three
deep of horny young MALE FANS crowded behind control
lines by RENT-A-COPS CHEER as Tony and Andrea climb out
of their limo.

ANGLE ON DEE DEE'S CAR

driving in between the limousines up to the theatre.
Hunter exits the car, can't help checking out the array
of exotic film actresses, then pushes through the crush
after Tony and Andrea.

INT. THEATRE LOBBY - NIGHT

Tony and a proud-to-be-on-his-arm Andrea, seem to know
everyone with the exception of the only man not in a tuxedo;

Hunter, who flashes his badge.

HUNTER
Tony Cochran?

ANDREA
(into Tony's ear)
This is the rude cop I told you
about.

Hunter smiles.

HUNTER
Nice seein' you again too.
(then to Tony)
Sergeant Hunter.

TONY
What's the bust?
(motioning around)
This is legit.

HUNTER
Lookin' for some information on
your brother Vincent.

Andrea's hand tightens on Tony's arm.

TONY
Information about what?

HUNTER
Homicide.

TONY
What?!

HUNTER
All I want to do is ask your
brother a few questions.

TONY
(shaking his head)
What'd you dredge up his juvenile
record?

Hunter doesn't answer.

TONY
Those charges were dropped.

HUNTER
All I want to do is talk with
him. Know where I can find him?

Tony shrugs.

TONY
He lives in the valley, on Boyer
Street.

Hunter makes a note of it.

TONY
But he's hardly ever there.

Hunter looks up.

TONY
He stays at his girlfriend's a
lot. Pat Simons, she lives in
Carson. Sometimes he stays at
my place in town. If I see him,
I'll tell him to call you...but
really, I think you're wasting
your time...I guarantee you, he
hasn't done anything.

Hunter closes his notebook.

HUNTER
Thanks a lot for your help. I
appreciate it.

And Hunter heads back through the crowd toward the street.

OMIT

EXT. THEATRE STREET - NIGHT

Dee Dee's parked in the lot across from the theatre. Hunter
moves past the kleig light, over to the car and leans down to
Dee Dee.

HUNTER
Not sure but I think I spooked
our friend. If I was takin' book,
I'd bet he's gonna reach out for
his brother. You watch the front,
I'll go around back...

DEE DEE
(looking over his
shoulder, overlapping)
Hunter!

Hunter whips around.

HUNTER AND Me CALL'S POV

Toward the theatre where Tony Cochran on a second floor balcony
heads down a stairway toward the back alley.

ON HUNTER

taking off back toward the theatre, weaving through cars, running
past the kleig light, fighting his way through the awards throng
and heading into the alley.

THEATRE ALLEY - NIGHT

Hunter races into the alley and stops.

HUNTER'S POV

No one. He listens...but hears nothing, then takes off back
toward the street.

OMITTED

EXT. THEATRE STREET – NIGHT

Hunter runs up to Dee Dee's car and jumps in.

HUNTER
Fire it up. I lost him.

Dee Dee's car pulls away from the curb and flies out of the
lot.

INT. SLEAZY BAR – NIGHT

Tony in the corner phone booth dialing.

INT. TONY'S STUDIO - NIGHT (INTERCUT WITH SLEAZY BAR).

Vincent's working at a video editing machine.

WOMAN'S VOICE
(from editor)
It's my first time.

THE PHONE RINGS. He answers it.

VINCENT
Hello.

TONY
(high energy)
I just got hassled by the cops.
They're lookin' for you, hot
'n heavy.

VINCENT
For what?

TONY
Murder...

Vincent gasps.

TONY
...those girls on the freeway.

VINCENT
Are you kiddin' me? Me?!

TONY
You see the papers? One of 'em
was that girl Liz we just shot
with.

VINCENT
But I didn't do it!

TONY
Vinnie, they knew about the thing
with Libby.

VINCENT
How'd they know?

TONY
They're cops.

VINCENT
(crazed)
I didn't do anything then or now.

TONY
Just sit tight, I'll be right there,

VINCENT
But...

TONY
(overlapping)
We'll figure it out when I get
there.

And Tony hangs up Shaken, Vincent slowly puts down the
phone. He shakes his head...what a bummer... then he stops,
thinks for a long beat, then a look of suspicion slowly
crosses his face followed by a look of determination...
and he heads out.

INT. TONY'S OFFICE - NIGHT

One-sheets on Tony's hits: TEEN DRUG SLUTS and BROTHEL
2000, Vincent enters and moves to the bookcase filled
with video cassettes. He looks through the titles but
doesn't find what he's looking for. He stands for a
moment, then moves to the door of the small closet.
He opens the door and looks down.

HIS POV

To a grey metal safe with a heavy combination lock.
Vincent pulls a revolver from his waist, aims, then fires
Twice, When the smoke clears, the safe door is open
revealing film negatives, proof sheets and two cassettes:
one labeled 83-84, the other label is blank. Vincent
grabs the cassettes.

INT. EDITING ROOM - NIGHT

Vincent plugging the 83-84 cassette into the VCR.
Vincent fast forwards, takes another look then pulls
it out and puts in the unlabeled cassette.

ON TV MONITOR

FINDING FOCUS which reveals Evie cowering on the bed.

Her negligee's torn, tears run her mascara down her cheeks,

She's scared to death.

TONY'S VOICE
(threatening)
Just stay put, honey.

Tony moves in front of the camera on his way to joining
Evie on the bed.

TIGHT OM VINCENT

his eyes widen. The sound of STRUGGLING.

EVIE'S VOICE
Don' t...

MORE STRUGGLING.

EVIE'S VOICE (FROM TV)
Please...no...

There's a horrible SCREAM!

OMIT

INT. TONY'S STUDIO - NIGHT

Vincent's watching the tapes in disbelief. A CAR DOOR
SLAMMING. Vincent turns off the tape and pulls out his
revolver. The studio door opens. Tony enters then freezes.
Looking crazed, Vincent is tensed with a .380 semi-automatic
pistol trained between Tony's eyes.

VINCENT
(wired)
Close the door.

Tony does.

TONY
Vincent...

VINCENT
(overlapping)
If you came here because you think
I killed these girls, just stuff
it. I didn't have anything to
do with it and you know it.

TONY
Buddy what are you talking about?

VINCENT
This time I know I didn't do it...
(smiling)
You know why?

Vincent lifts the cassette off the table.

VINCENT
(continuing)
‘Cause I saw you kill them! And
Tony, I know, I know you killed
Libby that night...right? Right
Tony?!

Tony doesn't answer.

VINCENT
(barely audible)
And you let everyone think I
did it.

TONY
(beaten)
I'm gonna level with you, okay?

VINCENT
Yeah, sure.

TONY
You're right about Liz and Evie...
I did kill them, but I don't want
you thinking I killed Libby...
'cause I didn't, Vinnie, I wouldn't
have done that to you...ever. That's
why I came back here, to tell you
I'd killed those girls and to ask
you to help me.
(shaking his head)
I didn't want to involve you in
this...but when the cops started
asking about you...well I had to
tell you myself, before the cops
came.

Vincent doesn't understand. Tony shakes his head.

TONY (Cont'd)
See I told 'em I'd meet them here...
to give myself up. Vin, I'm sorry.
Hey buddy you don't need that gun...
(after a beat)
I need a beer. Want one?

After a beat Vinnie shakes his head. Tony heads for the re-
frigerator diagonally behind his brother. As he passes next to
him, Vincent lowers his gun. Tony strikes out at him, knocking
the revolver across the floor. Vincent's quicker and reaches the
gun first. But Tony grabs his arm. The stronger Tony forces
Vincent's hand with the gun slowly upward toward Vincent's shoulder...
his neck...cheek...eye...temple...then Tony forces his finger
over Vincent's trigger finger...A SHOT!! Vincent looks at Tony
in absolute disbelief then collapses back against him. Tony
lays the lifeless Vincent down on a Victorian chaise lounge,
places his hand with the revolver near his bleeding temple, then
stares down at his dead brother for a long moment then moves to
the phone and dials.

TONY
(into phone 'with
difficulty')

Yes...I'd...I'd like to report a
suicide.

OMITTED

FADE OUT

END OF ACT TWO

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

ACT THREE

FADE IN:

OMITTED

INT. MORGUE - DAY

DOLLYING with an ID tag tied to a corpse's big toe. Crossing
with the moving body. Hunter and McCall head for the far end
of the cold room. Carlos stops at the last compartment.

CARLOS
(reading the label)
Cochran, Vincent Alan.

He opens the door, slides out the slab and pulls back the sheet.

CARLOS
He's all yours.

Hunter studies the body.

DEE DEE
How tall was he?

CARLOS
Five three and seven sixteenths,
still is.

HUNTER
What about the span between his
thumb and forefinger?

CARLOS
(losing patience)
Hey, I'm good, but...

DEE DEE
(explaining)
They closed our case. Said this
was our killer. Our problem is
you said he'd have big hands.

Carlos nods, pulls out his measuring tape, pushes back the
sheet revealing Vincent's hand, pries the icy fingers apart,
and measures,

CARLOS
Six and three sixteenths.

Hunter and McCall look at each other then back at Carlos.

HUNTER
This our man?

Carlos shrugs.

DEE DEE
Come on, Carlos.

CARLOS
Hey, you're the detectives.

EXT. POLICE STATION - DAY

Hunter and McCall drive up in the undercover car and head for
the door. Hunter continues in the t-shirt.

DEE DEE
All our cases should solve this easy.
I'm tellin' you we must be livin'
right.

HUNTER
(shaking his head)
That guy couldn't put his hand
around an eightball...

Dee looks at Hunter curiously as they move inside.

INT. SQUAD ROOM - DAY

McCall and the jacket-less Hunter enter and stop to listen to
the Captain. He's into it.

HUNTER
Damn!

A PHONE RINGS. Dee Dee moves for her desk. Hunter looks around
for help.

HUNTER'S POV
of the Captain in his office disciplining a DRESS CODE VIOLATOR

Then on -DUKE, a huge man in a lime green suit and matching
hat being questioned by two DETECTIVES.

HUNTER
Hey, Duke..........how's my favorite
one trick pony rider?

DUKE

turns around,

DUKE
No more ponies, Hunter... I've
gone straight. But try and tell
this bullet headed box a'rocks...
Run me in 'cause my old hostess
with the mostess was selling her
charms on Addison Boulevard... and
happened to lay half her dust on
her old handler.

HUNTER
Tough being a retiree, isn't it?

CAPTAIN'S VOICE
That's three hacks...no tie and
see the Watch Commander, you're
working on the weekend.

DUKE looks at Hunter's lack of a jacket and smiles.

DUKE
Looks like we both in trouble.

HUNTER
That's why I'm gonna borrow your
jacket.

DUKE
Hunter, it ain't a world that caters
to borrowers.

HUNTER
I'll rent it...ten bucks.

He peels off a bill.

DUKE
Fifty.

HUNTER
Ten or during my slow times, I'll
stake out the Good Times Bar and
Grill.

DUKE
Man, I'm retired. I just go there
to listen to the juke.

Hunter holds out the ten. Duke grabs the money and Hunter
takes the coat.

HUNTER
(putting it on)
How can you go through life dressed
like an after dinner mint?

Dee Dee walks by.

DEE DEE
(re the jacket)
Very nice.

ANGLE ON CAPTAIN

Moving out of his office.

CAPTAIN
Hunter, McCall.

ANGLE ON HUNTER

Turning around as he slips on the too-large jacket.

TIGHT ON CAPTAIN

looking at Hunter's t-shirt and shaking his head.

CAPTAIN
Don't even bother Hunter... I don't
want to hear it. You're working
this weekend. Happens again, you're
working weekends for the next
month.

He holds out a case folder.

CAPTAIN

Your next case.

Hunter doesn't take it.

HUNTER
We're still workin' a case,

CAPTAIN
The Freeway Killer case is closed,
your killer committed suicide.

HUNTER
(shaking his head)
Our killer didn't commit suicide...
another murder maybe, but not
suicide.

CAPTAIN
(patiently)
Hunter, the man not only had the gun
in his hand but the M.E. says that's
where it was when it was fired. It's
his gun, he was just informed we were
looking for him and you're telling
me it's the wrong man. What more
do you want?

HUNTER
Bigger hands.

The Captain doesn't understand.

DEE DEE
The bruises on the two victims'
necks indicated the killer had a
very big hand.

CAPTAIN
(shaking his head)
Come in here.

OMITTED

INT. CAPTAIN'S OFFICE - DAY
The Captain, Hunter and McCall enter.

CAPTAIN
You think I didn't ask about that?
The M.E. said measurements from a
strangulation victim are at best
inexact...too many variables: angle,
force, strength. Let me give you
something that is exact: If a homicide
isn't cracked in the first forty-eight
hours, there's a ninety percent chance
it'll never be solve.

The Captain motions to his CASES board — it's jammed with
unsolved cases.

CAPTAIN
I don't have nearly enough manpower
as it is. The most efficient use of
your time is on a new case.

The Captain holds out the new case folder again. McCall glances
over at Hunter, then takes it.

INT. SQUAD ROOM - DAY

Hunter and McCall exit the Captain's office and head for
their desks.

HUNTER
Even though the case is technically
closed...

DEE DEE
(overlapping)
Hunter, it's not technically closed....
it's officially closed.

Hunter nods.

DEE DEE
(shaking her head)
I know that look...

HUNTER
Vincent Cochran is not the guy.

DEE DEE
Hunter...

Hunter stops.

HUNTER
I talked to Tony Cochran. I looked
into that sucker's eyes...you know
what? He's a liar...a good one...a
real good one.
(shaking his head)
I shoulda picked up on it...All the
time he was tellin' me it wasn't
Vincent, he was really tellin' me
it was...And it worked...for a while.
He had access to the girls, he's got
a real big hand...and best of all:
he had a brother to take the fall
for him.

Dee Dee paces while she thinks.

DEE DEE
There's gotta be something, prints,
negatives, tapes, something to tie
him to those girls.
(stopping and turning
to Hunter)
...I'm going to have to get to know
Mister Tony Cochran.

OMITTED

INT. HEALTH SPA - DAY

HARD DRIVIN' ROCK AND ROLL. SANDY, a mega-cheerful, incredibly
in-shape blonde instructor leads a work-out class. In the
back row, trying to stay young along with the others is a designer
outfitted Andrea. Two ladies to her left. Dee Dee is working
it out.

SANDY
That's it!... Keep it up!...
Eight ... Seven...you're doing
it now!...Five...four...three...
more...two, one, and relax...
stretch it out...feel your body...
relax...breathe deep...okay. You
were the greatest!

The women CHEER and CLAP.

INT. WOMEN'S LOCKER ROOM - DAY

The women pile into the locker room. Dee Dee watches Andrea
then follows her.

INT. STEAM ROOM - DAY

Steamy white tiles. A few towel-wrapped ELDERLY WOMEN. It
isn't a pretty sight. Andrea sits on the redwood bench. Dee
Dee enters and sits next to her.

DEE DEE
What a workout, I'm wasted.

ANDREA
Sandy's a sadist.

DEE DEE
I'm Dee Dee.

ANDREA
Andrea. New here?

Dee Dee nods as the other women exit.

DEE DEE
(Chatty Cathy)
I really needed that. Haven't
been getting enough "physical
exercise" if you know what I
mean. Every guy I meet is either
gay, has nine kids or is hung up
on being sensitive. I mean, what-
ever happened to a good old fashioned
roll in the hay?

Andrea laughs.

DEE DEE
These just gorgeous guys turn out
to be world class wimps in the
sack.
(looking up for help)
Give me a man!

ANDREA
(laughing)
Honey, I got just the man for you.

INT. TONY'S STUDIO - NIGHT

A THROBBIN' SAM AND DAVE TRACK. Booze, weed, two dozen
Hollywood hangers-on dancing their buns off, a party. Andrea
talks with Dee Dee in the corner.

DEE DEE
This is hot.

ANDREA
It's still early.

TONY'S VOICE
Hey, babe.

Tony gives her a passionate kiss.

ANDREA
Tony Cochran...Dee Dee Simpson.

Dee Dee shakes his hand. Tony looks right into her eyes.

TONY
You're incredible looking.

Dee Dee smiles. Tony makes a frame with his hands and moves
around her. Andrea gets off watching Tony in action.

TONY
Where've you modeled?

DEE DEE
Actually...I never have.

TONY
(impressed)
A natural.

DEE DEE
Well, I have fooled around a
little with a video camera.

Tony smiles.

TONY
"Fooled around"?

Dee Dee smiles sexily. Tony's hooked.

TONY
You're fantastic. Would you
consider doing some modeling
for me?

DEE DEE
Far out, I'd love it.

TONY
All right.

Tony moves to Andrea and hugs her.

TONY

As usual, the best eye in town.

EXT. TONY'S STUDIO - DAY

A male, mid-twenties SLEAZOID picks over spilled garbage. Down
the street, Hunter slouches down in the undercover car with no
door as Dee Dee drives into Tony's parking lot.

INT. TONY'S STUDIO - DAY

Tony moves around the studio turning on the lights. The bed's
been replaced by the chaise lounge with heart-shaped satin
throw pillows and a gold framed mirror on the wall. There's
a freestanding column, a coffee table, a few magazines and a
phone. Tony moves to Dee Dee who enters in a robe.

TONY
You look fantastic.

DEE DEE
You don't look so bad yourself.

TONY
Okay, we're only gonna shoot one
roll, as a test.

Dee Dee nods. Tony turns on a HOT PERCUSSION TRACK. He moves
behind the camera, then motions to Dee Dee who nods and takes
off her robe. She's in a knockout floor length lace and silk
peignoir. CLICK.

TONY
Amazing.

DEE DEE
Thank you very much.

CLICK. CLICK.

TONY
Okay, lean against the column.

Dee Dee does. She looks great. CLICK.

TONY
Okay, babe, this camera here is
magic. CLICK. It can see inside
you, see your feelings, your desires...
CLICK. CLICK. Great. Okay...let's
see the goods.

Dee Dee unbuttons the top button of her peignoir. CLICK.

TONY'S VOICE
I love it!

Dee Dee unbuttons another. CLICK. CLICK.

TONY'S VOICE
Fantastic...you're incredible.
CLICK. You're on fire.

TIGHT ON DEE DEE'S FACE
a mask of passion.

TONY'S VOICE
Okay, look at the camera. CLICK.
More...

Dee Dee looks hungrily into the camera. CLICK. CLICK.
CLICK. CLICK. CLICK.

TIGHT ON TONY
Turned-on, but out of film.

TONY
Damn!

Dee Dee pulls the robe around her quickly. Tony moves to her,
gently clasps her shoulders and looks directly into her eyes.

TONY
That was amazing.

Dee Dee allows him to hold her.

TONY
I'll develop these, then we'll
do a full session tomorrow...
(smiling)
...And pull out all the stops.

He moves to kiss her, but Dee Dee slides away.

DEE DEE
Let's wait for tomorrow...
(dirty)
...for the camera.

CUT TO

OMITTED

EXT. POLICE STATION - THE NEXT DAY

Hunter and McCall exit the police station.

HUTTER
You should be wearing a bug.

DEE DEE
So he can find it?

Hunter shakes his head...he's worried.

HUNTER
McCall, you're not going in there
without a wire.

DEE DEE
Look Hunter, if I get in trouble
I'll let out a scream...
(smiling)
And I've got a good one.

HUNTER
What happened to "I'm not going
to be a sitting duck for anyone
anymore?"

McCall points to the photos on Hunter's clipboard of Evie
lying next to the road and Liz.

DEE DEE
This is different.

Dee Dee moves to her car and climbs in.

HUNTER
Hey be careful, huh.

Dee Dee smiles and drives off. As Hunter moves for his car,
Terwilliger exits the police station and heads after him.

TERWILLIGER
Hunter...we've got to talk,
right now.

HUNTER
Great Bernie, but I'm late for
a surveillance.

Terwilliger follows him into the police parking lot.

TERWILLIGER
You can't run away from this.
That's why they put me in I. A.,
I'm a bulldog.
(seeing the doorless
car)
Where's your door?

HUNTER
Getting fixed.

Hunter climbs in.

HUNTER
I'm outta here.

TERWILLIGER
You leave me no choice.

And Terwilliger jumps in too.

HUNTER
Hold on, Bulldog.

And Hunter floors it out of the parking out.

INT. TONY'S STUDIO - DAY

ROCK MUSIC PLAYS. Tony's packing his camera gear into cases. Dee
Dee enters and is surprised that the set's been broken down. When
Tony sees her, he smiles.

TONY
(hot)
I've been thinkin' about you.

DEE DEE
What's happening?

TONY
Goin' on location.

He moves to her and embraces her.

TONY
You turn me on.

DEE DEE
(sexy)
Wait...

Tony LAUGHS then goes back to moving equipment into his van.

TONY
I've got about fifteen minutes
here, why don't you go put on your
makeup.

Dee Dee nods and exits.

INT. TONY'S HALLWAY - DAY (ROCK MUSIC CONTINUES)

Dee Dee moves past the dressing room and slips in to Tony's
office.

INT. TONY'S OFFICE - DAY (ROCK MUSIC CONTINUES)

Dee Dee looks around, sees proof sheets on the desk, leafs
through them - nothing - then moves to the VCR and starts
looking through tapes. They're real hardcore titles. She
plugs one into the TV and sees a second of the tape then
pushes EJECT, then opens a file cabinet...it's his photo files.
Dee Dee starts through them.

TONY'S VOICE
(crazed)
Hey?!

Dee Dee whips around.

TONY
What are you doin?

DEE DEE
Just...just looking at the
kind of stuff you've been doing.
You do really nice work...

TONY
(overlapping)
You're a cop.

DEE DEE
NO...I,

TONY
(overlapping, crazed)
A cop!

And he grabs her. Dee Dee tries to struggle away but Tony
throws her up against the wall knocking the stereo unit off
the shelf and stopping the music.

OMITTED

INT. UNDERCOVER CAR - DAY

Hunter looks over the studio with concern, then he checks his
watch and shakes his head.

TERWILLIGER
Okay, Complaint Number Five:
your alledged unwarranted attack
on the same Sherwood "Bobo" Hayden.

HUNTER
I don't know about you Bernie, but
I consider being fired at with a
sawed-off shotgun...and a missing
door due cause.

TERWILLIGER
There's nothing in here about a
sawed-off shotgun.

HUNTER
Check my report.

TERWILLIGER
What report?

HUNTER
Gave it to the Captain.

TERWILLIGER
(suddenly less sure)
I'll have to check that.
(looking at his file)
Complaint Six...

But Hunter's not paying attention. He's looking over at the
studio and he's real worried.

OMIT

Unable to wait any longer. Hunter pulls out his gun and steps
out of the car.

HUNTER
I gotta see someone. Stay put.

And he heads across the street.

TERWILLIGER
Hey Hunter...

But he's gone.

INT. TONY'S STUDIO HALLWAY - DAY

Somewhere in the building WATER DRIPS. His gun ready. Hunter
moves cautiously down the hallway to the door with TC Pro-
ductions taped on it. He waits a beat, hears nothing, then
kicks down the door.

INT. TONY'S STUDIO - DAY

Hunter bursting through the door.

HUNTER'S POV

The studio's deserted, then ZOOMING in to see Tony's blue van
pulling away.

CUT TO:

OMITTED

EXT. TONY'S STUDIO - DAY

Hunter runs over to the undercover car and jumps in.

INT. UNDERCOVER CAR - DAY

Hunter fires it up.

TERWILLIGER
You're working on a case that's
closed, that's a clear violation
of...

HUNTER
Out Bernie.

TERWILLIGER
But...

But...

HUNTER
Out!!

And Hunter shoves Terwilliger out.

EXT. TONY'S STUDIO - DAY

Hunter's car races up to the intersection.

HUNTER'S POV

Bothways. No blue van.

INT. UNDERCOVER CAR - DAY

Hunter slams the steering wheel in frustration.

FADE OUT

END ACT III

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

ACT FOUR

FADE IN

INT. ANDREA'S OUTER OFFICE - DAY

The Receptionist chewing her gum, doing her pinky a deep
purple around a glued-on 'diamond' and talking on the phone

RECEPTIONIST
(mid-gossip)
I think she's making a fool of
herself. Jenny told me the whole
story...

The door opens and Hunter enters and heads straight for
Andrea's office.

RECEPTIONIST
Hold on!

But Hunter walks right past her into Andrea's office.

INT. ANDREA'S OFFICE - DAY

Andrea's not there. Hunter turns. The Receptionist's in
the doorway.

RECEPTIONIST
Would you mind please leaving?

HUNTER
Where is she?

But the Receptionist is playing some whole other game and
doesn't answer. Hunter grabs the appointment calendar off
Andrea's desk.

INSERT OF CALENDAR

handwritten at 10:00 is the word "WORKOUT".

INT. BLUE VAN - DAY

A revolver's on the passenger's seat. Tony drives.
Dee Dee's tied up in back. Her mouth is bound tight.

INT. HEALTH SPA - DAY

SEMI-THROBBING MUSIC. Sandy, is working out the class of
NEAR-GREATS.

SANDY
That's the way...you're doing it
now...keep it up...those pounds
are just pouring off.

Hunter moves through the exercisers to Sandy, holds his
shield up to her bobbing face, stopping her mid-aerobe.

HUNTER
Lookin’ for Andrea Burden.

SANDY
She took the early class.

HUNTER
Her car's still outside.

SANDY
She's probably still in the locker
room.

Hunter heads for the locker room.

SANDY
(to Hunter)
Hey, you can't go in there.

INT. LADIES' LOCKER ROOM - DAY

Hunter SLAMS open the door and moves down the row of
lockers. When the half-dressed ladies see him, they
SCREAM and cover up. No Andrea.

INT. SHOWERS – DAY

Hunter checks the showers. More SCREAMS. Still no Andrea.

OMIT

INT. LOCKER ROOM – DAY

Hunter follows the signs for the STEAM ROOM.

INT. STEAM ROOM - DAY

Andrea sits wrapped in a towel, eyes closed, sweating. Hunter
enters, two other LADIES shriek upon seeing Hunter, then flee.
Andrea pulls her towel tight.

HUNTER
Where's Tony Cochran?

ANDREA
Look what do you want from me?
I don't know anything.

HUNTER
You're in trouble lady, big
trouble. We know you've been
supplying him with girls...girls
that end up dead. Now your pal
Tony's got my partner...where is he?

ANDREA
(confused)
I thought Vincent...

HUNTER
Vincent didn't do anything! Tony
killed those two girls...

Andrea shuts her eyes.

HUNTER (Cont'd)
...and odds are he shot his brother.
Now where the hell is he?!

ANDREA
(after a beat,
in shock)
The beach...Malibu. He rented a
house to shoot in.

HUNTER
Where?!

ANDREA
Malibu Beach Road, the last house.

EXT. PACIFIC COAST HIGHWAY - DAY

His cherry on the roof and his SIREN BLARING, Hunter flies up
the center line.

UNDERCOVER CAR
Hunter's on the radio.

HUNTER
(into mike, mid-call)
The last house...and hurry !

OMITTED

EXT. BROAD BEACH - DAY

The last house...A perfectly private location.

INT. MALIBU HOUSE - BEDROOM - DAY

PULL BACK off the crashing surf, back through the window to Dee
Dee lying on the bed her wrists bound together with silk scarves.

DEE DEE
You'll never get away with this.
Back up units are on the way.

Tony's readying the camera.

TONY
Who're you kidding, honey. This
case is closed...my brother's the
killer.

Dee Dee tries to pull free, but can't.

EXT. PACIFIC COAST HIGHWAY - DAY

Hunter drives through traffic, siren BLARING.

INT. MALIBU BEACH HOUSE - DAY

Tony sets up his video camera. It's aimed at Dee Dee on the
Bed. Tony moves to her, looks down and smiles. He's turned
On.

TONY
Babe, we're gonna make history;
the ultimate moments...life...
death...opposites together, as
one... captured forever on tape.

TIGHT ON DEE DEE

terrified.

EXT. PACIFIC COAST HIGHWAY - DAY

Hunter's car nearly sideswipes a van as he weaves through
traffic.

INT. MALIBU BEDROOM - DAY

Dee Dee struggling to free herself. It's no use. Tony
turns on the camera.

DEE DEE
You can't get away with this.
They know I'm with you.

Unconcerned, Tony moves to the bed. His fingertips play
up her arms to her shoulders. Dee Dee tries to pull away
from him, but can't. He kisses her shoulder. She
stiffens in fear.

DEE DEE
Please don't.

His huge hands encircle her neck.

EXT. PACIFIC COAST HIGHWAY - DAY

The undercover car SCREECHES to a stop next to Tony's
blue van and Hunter flies out of the doorless car.

INT. MALIBU BEDROOM - DAY

Tony's eyes are crazed. As he moves onto the bed. Dee Dee
kicks out catching him in the chest and knocking him back-
wards

INT. MALIBU HOUSE - LIVING ROOM - DAY

Hunter explodes through the front door, rolls and ends up
on his feet, gun leveled.

HUNTER
Police!

OMITTED

INT. BEDROOM - DAY

Panicked, Tony heaves a chair CRASHING through the glass
doors.

OMITTED

EXT. LIVING ROOM – DAY

Hunter rushes into the bedroom.

INT. BEDROOM - HUNTER'S POV - DAY

Tony disappearing out the shattered glass door. Hunter
runs to Dee Dee.

DEE DEE
Go get him! I'm fine!

And Hunter's after Tony.

OMITTED

EXT. BEACH HOUSE - DIRECTOR'S SEQUENCE - DAY

Tony running across the expanse of lawn heading to the
bluffs and ultimately two hundred and fifty feet below
to the beach and ocean.

Hunter moves after Tony, who stumbles, looks back, then
and FIRES WILDLY.

Hunter keeps coming.

Tony scrambles frantically for the white wood stairway
leading down to the beach.

Hunter keeps coming.

Tony reaches the top of the stairs.

TONY'S POV

A seemingly endless white wood stairway.

Tony whips around.

Hunter closing in.

Tony raises his gun.

Hunter FIRES.

Tony's blown back down the stairs.

ANGLE FROM THE BEACH

Tony rolling and tumbling down the stairs. After he
finally sprawls lifelessly in front of the camera; Hunter
appears at the top of the stairs.

EXT. BEACH HOUSE – DAY

Hunter runs back across the lawn, toward the house.

OMITTED

INT. BEACH HOUSE - BEDROOM - DAY

Hunter rushes to Dee Dee and hurriedly unties her. Neither
speaks. When she's finally free, they look at each other,
then he takes her comfortingly in his arms and holds her.
After a long touching moment, we:

OMITTED

FADE OUT

END OF ACT FOUR

TAG

INT. CAPTAIN'S OFFICE - DAY

The Captain's listening to Terwilliger citing from his small
notehook.

TERWILLIGER
...for a total of seven complaints
against Hunter on this one case
alone. In addition, there's an
internal matter: Sergeant Hunter
abandoned another officer...

He’s interrupted by the DOOR OPENING and Hunter and McCall
entering. Terwilliger lights up.

TERWILLIGER
I was just telling the Captain
about the little incident...

CAPTAIN
(overlapping)
Thank you Sergeant.

TERWILLIGER
But...

CAPTAIN
Terwilliger, get out.

Terwilliger stops, smiles uncomfortably, looks over at Hunter,
folds up his notebook, pockets it, then exits.

CAPTAIN
You two deliberately disobeyed
my instructions. Luckily for you,
you were right...but don't let it
happen again.

Hunter and Dee Dee turn and head for the door.

CAPTAIN
Oh Hunter...

Hunter stops and turns.

CAPTAIN
Like the tie.

FREEZE FRAME

FADE OUT

THE END