"DEATH MACHINE"

Written by Tom Lazarus

FADE IN:

EXT. MANSION - NIGHT (MAIN TITLES)

The face of a stone griffin leering into the darkness. WE
MOVE off the griffin through impressive wrought iron gates,
UP the gently sloping, expensively landscaped lawns to a
beautiful Georgian mansion in the heart of Beverly Hills.
There are lights on the trees, a Mercedes 500 SEL parked
in the gracefully circular driveway, and in the distance a
sparkling pool. A single light is on in the house. The
serenity is shattered by BREAKING SHRUBBERY. A FIGURE runs
from the bushes and disappears in the deep shadows near the
house.

INT. MANSION BEDROOM - NIGHT

The foot of an ornate antique bed. Ten toes with dark red
toenail polish stick out from under the corner of the silk
sheet.

LACY'S VOICE (MALE)
What's your name, honey?

SUNNY'S VOICE (FEMALE)
Sunny.

We DOLLY from the feminine feet to a not particularly attrac-
tive set of men's feet with too much dark hair sprouting
from the toes.

LACY'S VOICE
Well you're some kind of cupcake,
aren't you?

We CONTINUE over the hairy feet to another pair of feminine
feet.

CINDY'S VOICE
I'm Cindy...

LACY'S VOICE
I bet you are.

EXT. MANSION - THE GARAGE - NIGHT

BURT, a heavy set man about twenty-five, in a shirt, loosened
tie and shoulder holster, moves under the spotlight in the
driveway, stops, then lights up a cigarette. A NOISE. Burt
whips around.

BURT'S POV

A tall, muscular man in black leather pants, a muscle t-shirt,
a "Creature From the Black Lagoon" mask and a gun.

TIGHT ON BURT

real surprised.

BURT
What the hell...?

But before Burt can finish, the Creature puts his hand over
Burt's mouth and pulls him out of frame.

(END TITLES)

INT. MANSION BEDROOM - NIGHT

LUCKY LACY, SUNNY and CINDY in Lacy's kingsize antique bed.
Lacy turns out to be a desperately-trying-to-look-younger
man in his fifties, dark hair, overweight. In their skimpy
silk teddies. Sunny and Cindy can't be more than twenty.
Sunny's Oriental. Cindy's blonde. Lacy's loving every
second of his little adventure.

LACY
Now let me tell you what I like.

But before he can...

ANGLE ON PLATE GLASS WINDOW

EXPLODING in a million pieces.

Scared out of their wits. Lacy, Sunny and Cindy flinch as
one.

Out of the shower of glass emerges a wrought iron lawn chair
which was thrown through the window, then the man in the
Creature mask rushes in with his gun pointing at the people
cowering on the bed.

CREATURE
Come on, where's the safe?
Where is it?!

And he points his gun into the bed which sets Cindy and
Sunny SCREAMING.

CREATURE
Shut up!

That makes them SCREAM even louder.

CREATURE
(moving toward them
threateningly)
Shut up!!

The girls stop.

CREATURE
(to Lacy)
Where's the safe?

LACY
I don't got a safe...

The Creature presses the barrel of his gun into Lacy's gut.

CREATURE
Come on, man, the safe!

INSERT ON THE CREATURE'S BLACK GLOVED HAND

cocking the gun.

TIGHT ON LACY

cracking.

LACY
Okay, okay, I'll show you...

CREATURE
Now!

As Lacy leaves the two hookers clutching each other in fear,
he grabs a robe, pulls it around him and scrambles out of
bed.

CREATURE
Crawl...!

LACY
But...

The Creature kicks him flat on the rug.

CREATURE
Do it!

And Lacy begins to crawl across the room. The Creature
helps him by kicking him in the ass again.

CREATURE
Faster, dorkbreath or I'll
shoot your butt off.

Lacy crabs quickly out of the bedroom.

INT. MANSION SITTING ROOM - NIGHT

Lacy crawls in, followed by the Creature who switches on a
lamp.

CREATURE
(kicking Lacy again)
Come on, man, I'm running out
of time.

LACY
It's over there...over there.

And he scrambles over to the wall.

LACY
Behind those books.

INT. BEDROOM - NIGHT

Cindy and Sunny, both trembling for their lives, clutch
each other in fear.

The Creature stands in the doorway alternately looking at
them and what's happening in the sitting room.

INT. SITTING ROOM - NIGHT

Books all over the floor. Where they were: a wall safe.
Lacy spins the dial. The Creature moves right behind him,
gun pressed into his back. Lacy turns the handle and cracks
open the safe. The Creature pulls Lacy away and reaches
into the safe. It's jewels! Lots of them.

EXT. MANSION - NIGHT

The Creature bursts out the shattered plate glass window,
tramples through the flowers and sprints across the lawn.

EXT. RESIDENTIAL STREET - NIGHT

A car parked in the shadows on the otherwise deserted street,
The Creature breaks out of the high shrubbery. The lights
on the car flash on. The Creature runs to the car and jumps
in.

INT. CAR - NIGHT

BELINDA, an attractive young woman is behind the wheel.

BELINDA
How'd we do?

CREATURE
Drive! Just drive!

EXT. RESIDENTIAL STREET - NIGHT
The car ROARS away from the curb.

INT. MANSION HALLWAY - NIGHT

Barefooted, his gut hanging out the front of his robe, Lacy
barrels into the hallway.

LACY
(yelling)
Burt, dammit, Burt!

INT. BEDROOM - NIGHT
Cindy and Sunny are throwing on their clothes.

CINDY
(crazed)
This is it...no more...that
sucker had a gun!

EXT. MANSION - NIGHT
Lacy runs out the front door yelling.

LACY
Burt!

ANGLE ON

the corner of the garage.

LACY'S VOICE
Dammitall, Burt!!

Lacy roars around the corner then stops dead in his tracks

LACY'S POV

Burt on the driveway, his hands and feet tied, his mouth
wadded up with a rag and wrapped with an Ace bandage.

LACY
(crazed)
What happened? Who the hell was
that guy? You get a look at him?

Burt shakes his head. Lacy takes the bandage off Burt's
mouth.

BURT
Not with that damn mask.

LACY
(determined)

Listen good, Burt... I want to
find out who that guy was, I
wanta get those jewels back
and I want that guy put away.
You got it? I want the best
in the business to do that
job...the best.

SMASH CUT TO:

EXT. PUNK BOULEVARD - DAY (TELEPHOTO)

The EAR SPLITTING OPENING NOTE of a PUNK ROCK ANTHEM of
aggressiveness. A clear, bright day on the Boulevard,
alive with the usual underbelly of RUNAWAYS, THRILL SEEKERS.
HOOKERS, PIMPS, PUNKS, HANGERS-ON, UNDERCOVER VICE DETECTIVES,
STREET PEOPLE, POOR PEOPLE, CRAZY PEOPLE and UNIFORMED POLICE.
But we have no trouble FOCUSING on LINCOLN, the six foot four
monster, rippling muscles and a punker through and through,
walking right at us. His hair, striped blue, yellow and red,
is totally short on one side, carved into a checker board
pattern on the other. He's wearing black leather oversized
combat boots, skin-tight black pants with dozens of zippers.
His belt is heavy chrome chain. His torn black t-shirt is
inscribed: "SCRATCH 'N' SNIFF". As he walks toward us he
gets an occasional high five, some respectful nods and lots
of fear. No one even thinks of fuckin' with him. Lincoln
exudes power, evil, death.

CUT TO:

INT. INTERVIEW ROOM - DAY

TIGHT ON a very unhappy Hunter.

DAVID'S VOICE (O.C.)
What do you think of Captain
Wyler?

Hunter shakes his head. He's real uncomfortable.

DAVID'S VOICE (O.C.)
(supportive)
As I told you at the outset, your
answers are totally confidential.

HUNTER
(finally)
Captain Wyler's okay.

DAVID'S VOICE (O.C.)
Would you say in general you
respect those in authority?

HUNTER
(like pulling teeth)
Yeah...in general.

DAVID'S VOICE (O.C.)
And what are your feelings towards
criminals?

HUNTER
Oh, I love 'em.

DAVID'S VOICE (O.C.)
(after a beat)
I assume you're being sarcastic.

Hunter clearly is not having a good time and is getting
increasingly impatient with this turkey.

DAVID'S VOICE (O.C.)
Would you say in general you hate,
dislike, or tolerate criminals?

Hunter stares daggers at the off camera David, then answers.

HUNTER
I'd say...hate.

It's not clear if he's giving the answer or voicing his
feelings about David's dumb questions.

DAVID'S VOICE (O.C.)
Do you ever feel the criminals
do what they do against you
personally?

HUNTER
Do you?

There's a long silence.

DAVID'S VOICE (O.C.)
Do you consider the criminal's
psychological condition when you
approach them?

HUNTER
(tuned out)
No.

Another silence.

DAVID'S VOICE (O.C.)
Do you believe there's a
significant role in police work
for a psychiatric approach?

HUNTER
(without hesitation)
No.

Still another silence.

DAVID'S VOICE (O.C.)
In general, what is your feeling
about psychiatry?

HUNTER
Generally I think psychiatry's a
bag a pig manure.

A very, very long silence. Hunter looks right at the off
camera questioner...finally --

DAVID'S VOICE (O.C.)
(distant)
You'll be given a copy of the
study when it's published.
(insincere)
Thank you very much, Sergeant.

As he stands, Hunter smiles.

HUNTER
My pleasure.

EXT. HOUSING DEVELOPMENT - DAY

A hotrodded-up Mustang drives around the corner and up the
block, past the similar looking modest homes with motorcycles
and motor homes parked in their driveways. The Mustang stops
at a house that looks like the houses on either side of it.
MATT, a tall, well-built guy, exits his car and moves to the
door and RINGS the bell.

After a beat, the door opens. It's Belinda.

MATT
(nervous)
Hey, babe.

Belinda smiles excitedly.

Without another word, they move to the garage, which Matt
lifts open. They move inside and close the door.

INT. BELINDA'S HOUSE - DAY

As soon as the door's closed. Matt and Belinda look at each
other. They're both bursting.

MATT
Have you looked?

BELINDA
(shaking her head)
I told you I wouldn't.

MATT
Let's do it.

Belinda moves to a Danish Modern credenza opens it and pulls
out a towel filled with the booty from the Lacy robbery.

BELINDA
Hey, how'd you know they'd have
a safe?

MATT
I didn't but in a house that big
I took a shot.

Belinda takes the bundle and lays in on the magazine and
candle cluttered coffee table.

BELINDA
This is so weird...

Matt opens the towel then pours the contents of a velvet bag
onto the newspaper...it's incredible...diamond bracelets,
sparkling rings, jeweled necklaces, a couple million dollars
of the most spectacular jewelry.

MATT'S VOICE
Holy hell...

ON THE FACES

of the two robbers. Their eyes sparkle with the jewels.
They can't believe it.

INT. SQUAD ROOM - DAY

Bustling with the usual circus of law enforcement: GOOD GUYS,
BAD GUYS, VICTIMS, INNOCENT BYSTANDERS. Finn, Hunter and
Dee Dee move quickly out of Finn's office.

FINN
You guy's did a great job. The
Commissioner's real busy or I'm
sure he'd be calling to
congratulate you himself...
(holding out his
hand)
Got the paperwork?

As one, Hunter and Dee Dee sag.

HUNTER
How come we don't have someone
to do that support stuff for us
while we're out in the trenches
keeping America's streets safe.

FINN
(splitting off from
them)
Get me that paperwork or I'll
see to it Wyler doesn't give
you another case.
(stopping again)
Oh, have you guys talked to the
shrink yet?

HUNTER
Yeah...

FINN
(to Dee Dee)
You?

DEE DEE
Yes, sir. It was really
fascinating...

HUNTER
"Fascinating"?!?

Finn nods and exits.

HUNTER
(to Dee Dee again)
"Fascinating"?!?

DEE DEE
Right. Fascinating.
(spelling it out)
F.A.S.C.

CUT TO:

EXT. GHETTO - DAY

The streets are deserted and littered. The buildings are
abandoned and boarded up. A large showroom clean, four-door
luxury car cruises in...a shark in new waters.

INT. LUXURY CAR - DAY

Lucky Lacy, now dressed in a six hundred dollar suit and
looking the successful, well-connected restaurateur he is,
is in back. Burt is behind the wheel, mid-hype.

BURT
They say he's the best, Mister
Lacy.

LACY
Then how come I never heard of
'im?

BURT
(shaking his head)
Can't answer that. The people I
got 'im from say he's guaranteed...
(smiling into the
back seat)
...guaranteed.

LACY
Yeah, well I never heard of 'im.

BURT
(laughing)
You know his trip? They said he's
a freakin' genius, makes everything
look like an accident.
(shaking his head)
Makes murders look like accidents?
Incredible, huh?

Lacy looks out the window at the abandoned city.

LACY
(impatiently)
Where the hell are we?

BURT'S VOICE
I think we're here.

ANGLE ON SLEAZOID

a scruffy-lookin' punker with a blue spiked Mohawk, stained
shirt, jeans torn at the knees and round at the heels boots

EXT. STREET - DAY

When the car stops, Sleazoid opens the driver's side door.

SLEAZOID
(to Burt)
Get in back.
Burt looks unsurely over at Lacy who nods. After Burt's
in back, the Sleazoid gets behind the wheel.

INT. LUXURY CAR - DAY

Lacy is repulsed by the punk.

LACY
Where we goin'?

SLEAZOID
See the man.

EXT. ANONYMOUS STREET - DAY

The car moves down the street.

EXT. ANONYMOUS STREET TWO - DAY

The car turns the corner and takes off.

INT. CAR - DAY

Lacy and Burt look lost.

EXT. GHETTO - DAY

The luxury car comes to a stop in front of the boarded-up
building. Lacy and Burt climb out. Sleazoid heads right
for an abandoned building. Lacy and Burt hurry after him.

Sleazoid disappears into a space between weathered boards.
Lacy and Burt move in after him.

INT. ABANDONED BUILDING - DAY

The sun streams through the cracks in the boards covering
vandalized windows. Burt and Lacy move into the darkness
and wait until their eyes adjust.

LACY'S POV

As his eyes adjust he can just make out that there are
figures hanging back in the shadows...after a moment he can
make out that these figures are mucho bizarro: They have the
eerily pale faces of Deathrockers, skin heads and tattoos.
They stare out of the darkness coldly. There're maybe a
dozen of them. They're in what appears to have been a court-
yard of a six story brick building. Burl's clearly spooked.
Lacy's not.

LACY
(puffing up to full
height)
What the hell is this?

ANGLE ON LINCOLN

all six foot four of him, walking into a spotlight shaft of
sunlight.

LINCOLN
It's our squat, man...we live
in here for the night.

TEEN VOICE FROM THE DARKNESS
If you call this livin'.

Cackling LAUGHTER echoes around the hard building.

BURT
I...ah spoke to you on the phone.
We're friends of Little Stevie
and Roxanne's,

There's silence. After a long wait,

LACY
(bristling)
Hey, look...

LINCOLN
(overriding with twice
the force)
You look!!

Lacy stares at Lincoln.

LINCOLN
You comin' to me 'cause you
need me. You got ripped off,
not me. You want to know who
did it, not me. So you do it
my way or I walk.

Lacy stares into Lincoln's frighteningly cold and intense
eyes for a moment, then nods...okay, your way. Lincoln, the
victor, begins pacing from one beam of sunlight to another.

LINCOLN
How much did they get?
(quickly)
Not your phony insurance numbers...
reality.

LACY
About two million worth of
jewels.

LINCOLN
Any of it hot?

Lacy gives him a half 'n' half sign with his hand.

LINCOLN
(to Burt)
You got the documentation?

Burt holds up a list which Lincoln grabs. Burt's clearly
intimidated by this weirdo.

LACY
You can get me the jewels back and
take care of the guy who did it.

LINCOLN
(looking over list,
cool)
That's my job.

VOICE
You tell him, big guy.

CACKLES echo around the walls again. Burt, spooked, looks
around nervously.

LACY
How much this gonna cost me?

LINCOLN
Hundred thousand dollars.

LACY
(in disbelief)
A hundred Gs?!

LINCOLN
(to his friends)
We're outta here.

Without missing a beat, Lincoln hands Lacy back the list,
but he won't take it.

LACY
(quickly)
No, no...it's fine...a hundred
Gs is fine.

There's a burst of LAUGHTER from the darkness.

VOICE
Man, you one cool sucker.

More LAUGHTER echoes around. Lincoln jams the list in his
back pocket and turns away out of the shaft of light.

LACY
How long?

LINCOLN
Long as it takes.

And Lincoln disappears into the darkness.

Burt and Lacy exchange glances, then Sleazoid appears from
the shadows.

SLEAZOID
Let's hit it...

And he starts out with Lacy and Burt.

INT. SQUAD ROOM - DAY

Hunter sits at his desk typing out a report with two fingers

HUNTER
Not only do I have to sit in
a room and answer that wimp
shrink's endless questions...

Dee Dee's across from him at her desk, checking her makeup
and readying to leave.

DEE DEE
He's not a wimp.

HUNTER
(still typing)
McCall, he's a wimp, trust me...

DEE DEE
(shaking her head)
I don't think David's a wimp at
all.

HUNTER
(looking up for the
first time)
"David"?

DEE DEE
(nodding)
David.

HUNTER
Gimme a break. With those glasses
and everything, "David" is a
world class wimp if I ever saw one.

And he goes back to typing.

DEE DEE
(in disbelief)
He's a wimp 'cause he's wearing
glasses?

Dee Dee puts on her jacket. Hunter pulls his report out of
the typewriter.

HUNTER
(reading)
"In general, I thought the whole
interview was beyond a doubt the
worst...

DEE DEE'S VOICE
(a warning)
Hunter...

HUNTER
(continuing)
...waste of my time and the
taxpayers'...

DEE DEE'S VOICE
(loud)
Hunter!

Hunter stops and looks up to see DAVID, about thirty, in
his beard, tweed jacket and glasses, approaching.

DEE DEE
You remember Doctor David Anson?

Hunter and David exchange pained looks.

DAVID
(smiling to Dee Dee)
Ready?

Dee Dee stands.

DEE
Yes sir.

DEE DEE

DAVID
You don't have to call me sir,
Doctor or a simple "Master"
will do.

Dee Dee LAUGHS and she moves away with David, leaving a
totally flabbergasted Hunter sitting at his desk.

EXT. OLD SANTA MONICA MALL - ALLEY - DAY

A STREET PERSON picking through garbage, old boxes, and
crates. Lincoln's van grinds to a stop in front of BAY
CITIES JEWELRY.

INT. BAY CITIES JEWELRY - DAY

TIGHT ON a showcase filled with expensive watches and
jewelry. PULL BACK to reveal an OLD COUPLE being helped
by SOLLY HELD, in his fifties, as well as an OLD LADY yet
to be waited on.

OLD LADY
(to her husband)
How do you think it looks?

OLD MAN
What?

OLD LADY
(louder)
How do you think it looks!

OLD MAN
(shrugging)
It's a watch.

SOLLY
If you don't mind another
opinion...
(smiling)
I think it's absolutely stunning.

The Old Lady smiles as she admires her wrist in the mirror

OLD LADY
I kind of like it.

OLD MAN
What'd you say?

OLD LADY
I'm going to get it.

SOLLY
I think you're making the wise
choice.

WAITING WOMAN
Excuse me, but do you make
repairs.

SOLLY
(smiling)
Yes, I do. If you'd just wait
a second...

BELLS on the door jingle.

ANGLE ON THE DOOR

A huge figure fills the doorway. It's Lincoln. His punk
hair is covered with a black wool watch cap. He's wearing
his boots, black pants and a regular person's jacket. He
moves into the store.

LINCOLN
Mister Solly Held?

BACK TO SCENE

OLD MAN
What'd he say?

SOLLY
I'm Solly Held.

Lincoln moves up to Solly without warning and grabs him by
the sweater, yanks him out from behind the counter, knocking
a countertop display case over. The two women SCREAM and
the old man looks confused as Lincoln drags the shocked and
frightened Solly out the back door.

EXT. OLD SANTA MONICA MALL - ALLEY DAY

When Lincoln exits the door, he straightens the shocked
speechless Solly up and moves him quickly to the back of
his van and puts him roughly inside. He looks around.

There's only the street person who quickly averts his eyes
and walks on. Lincoln climbs in and drives off before the
general panic inside the center spreads outside.

As the van disappears into traffic, people begin calling out
for "Help!" to "Stop him?" and to "Get the license plate!"
But it's all too late...Lincoln and his victim are long
gone.

FADE OUT

END OF ACT ONE

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

ACT TWO

FADE IN:

EXT. POLICE STATION - NIGHT

A car parks on the street behind Dee Dee's car. David runs
around the car, opens the door for Dee Dee who smiles - she
likes being treated like a woman for a change, not just a
cop - and they start up to the door.

DEE DEE
Hey, the movie was really fun.
Thanks.

DAVID
My pleasure. Hey, what do you say
we get a night cap, I know this
place in the marina...
DEE DEE
(gently)
I had a great time, David, really,
but it's too late.

DAVID
(quickly)
No problem...1'll probably have
to go back into therapy but it's
fine...

Dee Dee LAUGHS.

DEE DEE
Night.

DAVID
(sincere)
Good night.

She enters her car as David drives away.

INT. CAR - NIGHT

Dee Dee's about to start the car when she notices a note
under her windshield.

EXT. CAR - NIGHT
Dee Dee opens the door, reaches out for the note.

INT. CAR - NIGHT
Dee Dee closes the door and reads the note.

INSERT ON NOTE
which reads, "He was a wimp, wasn't he?"

BACK TO SCENE
Dee Dee can't help LAUGHING affectionately.

INT. CELLAR - NIGHT

Dripping water. Two bare, glarry bulbs. No windows. Rat's
eyes peering out of the darkness. It's Lincoln's laboratory
of death. Solly is strapped into a strange polished chrome
armature device with handcuffs around his wrists and leather
bands around his ankles and neck. A large strap around his
middle effectively immobilizes him. A cabinet's doors are
open revealing scalpels and other strange tools for making
injuries, for bruising, for torture. Solly's eyes above the
tape over his mouth are wild with fear.

LINCOLN
You, of course, could make this
infinitely easier and less painful
by telling me what you know about
the jewelry theft at Lucky Lacy's
house.

Solly shakes his head as best he can.

LINCOLN
I don't think you understand...the
pain will be excruciating.

Again Solly shakes his head...

LINCOLN
Do you have a last request?
(sizing him up)
I can make you look like a victim
of a mugging. I do a bitchin' one
of them. Or a homosexual gang rape.
That's always a bit messy, but real
effective.

Solly closes his eyes. Lincoln reaches over and tears the
tape off his mouth. Solly SOBS in pain.

LINCOLN
I know you know every ice job in
town...now who broke into Lacy's
house?!

SOLLY
God, I don't know. Why don't you
believe...?

But he's cut off by Lincoln who slaps another strip of tape
over his mouth.

LINCOLN
You leave me no choice.

And he reaches into one of the cabinets and pulls out a pair
of doctor's surgical gloves. Solly shakes his head wildly
as Lincoln reaches for his first tool of torture...it's a
knobby steel meat tenderizer.

EXT. L.A. STREET - THE NEXT MORNING

Hunter's undercover car ROARS up the road.

INT. UNDERCOVER CAR - DAY

Hunter's driving. Dee Dee's in the passenger seat shaking
her head.

HUNTER
The Captain's got it in for us.
There's no other explanation.

DEE DEE
It's because we were late with our
paperwork...It's Finn.

HUNTER
It was that shrink...I know it.

DEE DEE
(looking over the
case file)
A mugging/homicide in Hollywood?
We did these when we were rookies.

HUNTER
Come on, McCall, you're holdin'
out on me. Was he a wimp or not?

Dee Dee ever so slowly turns to Hunter.

DEE DEE
You're like a child sometimes.

Hunter LAUGHS.

HUNTER
I knew he'd be a wimp. I'd'a
bet on it.

DEE DEE
For your information, David Anson
is a very bright, very interesting
and very funny person.

HUNTER
W.I.M.P. spells wimp.

Dee Dee stares at him angrily.

DEE DEE
I...ah don't think you understand.
What happens after I'm off duty
is my business, okay?

HUNTER
(loving it)
Touchy, touchy.

Dee Dee's about to snap his head off, but is just able to
control herself and looks out the window. After a long beat...

HUNTER
(trying to be good)
I hope you had a nice time.

Dee Dee turns and shoots daggers back at Hunter.

DEE DEE
I did.

HUNTER
Good.

DEE DEE
Thank you.

HUNTER
Think you'll be goin' out with
that wimp again?

DEE DEE
HUNTER!?!

As he LAUGHS they pull up to a stop at the crime scene.

EXT. FREEWAY UNDERPASS - DAY

Black and white units with their lights still throbbing are
parked at odd angles in the street. The coroner's van's
back door is open. There's a yellow plastic police tape
keeping back a score of morbidly curious ONLOOKERS. Hunter
and Dee Dee climb from their car.

DEE DEE
Think you can refocus your
interest from my personal
life to this case?

HUNTER
Hey, someone's gotta look after
you.

Dee Dee stops.

DEE DEE
No one needs to look after me,
Hunter.

HUNTER
(heading for the scene)
I'll be the judge of that.

In disbelief, Dee Dee follows after him.

ANGLE ON SOLLY HELD'S BODY

facedown in the ivy. The PHOTOGRAPHER takes his last shot
and the CORONER'S CREW steps in. Hunter and Dee Dee nod
at the photographer as they pass each other.

PHOTOGRAPHER
Another day in Sodom and
Gomorrah-West.

HUNTER
Good morning to you too.
(to the coroner's man)
Watcha got?

The CORONER'S MAN, a heavyset man chewing gum a mile a minute
shakes his head.

CORONER'S MAN
Flat feet, Hunter, same as you.
John Doe, stiff number three oh
two seven. We could do this
one with our eyes closed.

Hunter goes down for a closer look. Dee Dee looks away.

HUNTER
'Bout a nine seven on the grisly
meter.

CORONER'S MAN
Relief checks musta been late.

Hunter turns away and stands, then moves to Dee Dee.

HUNTER
Let's get outta here.

DEE DEE
(in disbelief)
Might be nice to look around
for a little evidence.

CORONER'S MAN
Looks like the body was dumped here.

HUNTER
I rest my case. Shall we...

Dee Dee does a slow burn as they head back for the car.

DISSOLVE TO:

INT. POLICE LOCKER ROOM - DAY

Changing shifts. UNIFORMS are moving in and out and half a
dozen half-dressed DETECTIVES are changing clothes and
bullshitting.

DETECTIVE ONE DETECTIVE THREE
I'm telling you the Lakers She had a body on her
are hands down the quality you'd die for...
in the league...they may
never lose another game. DETECTIVE KAZERO
Make a move on her?

DETECTIVE TWO
I'll take that action. DETECTIVE THREE
You're not listenin',
Kazerowsky...she was a
stiff.

DETECTIVE GARCIA
(laughing)
You know why Finn wears those
two guns...?

ANGLE ON FINN
entering with Hunter.

FINN
Can't wait to hear.

Detective Garcia can't believe it.

DETECTIVE GARCIA
Just kiddin' around, Lieutenant.
I knew you were there.

FINN
Yeah right.

Hunter and Finn reach their lockers...near RAYMOND and
APARACIO and a bunch of other guys from Robbery.

RAYMOND
(to Aparacio)
You talk about karma... I love it.

They both LAUGH.

HUNTER
Laughin' on the job. Man I envy
you guys.
(sarcastic)
See our job's too important for
laughin', you know what I mean?

APARACIO
Yeah, you're savin' the world
single-handed, Hunter. We know
that.

RAYMOND
You hear about Lucky Lacy?

Taking off his shirt. Hunter shakes his head.

HUNTER
Don't even know who he is...

RAYMOND
Mob-connected guy from back East,
owns Lucky's Steak Joint in the
Valley...

HUNTER
Oh, right.

RAYMOND
He's always rumored to be connected
to some big time jewel heists,
Beverly Hills stuff, you know...
well, the Street says a guy knocked
him off to the tune of a couple
million bucks in rocks.

APARACIO
(laughing again)
Don't you love it?

FINN
(to Hunter)
One day we got to take a vacation
and work Robbery.

INT. SQUAD ROOM - DAY

Dee Dee stands with David at her desk.

DAVID
I'm having Mick Jagger and
Princess Di over to my place on
Saturday for dinner...would you
like to join us?

Dee Dee smiles.

DEE DEE
Since you put it that way...I
think I would.

David smiles.

DAVID
Oh good, I'm glad...
(starting away)
I'll talk to you before then.
(pointing to
his watch)
I'm late. I've gotta go.

Dee Dee waves and almost runs into CARLOS, from the Morgue,
out of his hospital whites and looking rather hip in an
oversized shirt, balloon pants and hipster's plastic sandals.

CARLOS
So this is action central. I'm
impressed.

Dee Dee smiles at Carlos.

DEE DEE
I didn't think you could come out
during daylight.

CARLOS
A morgue joke? Very bad taste.

A shapely UNIFORM walks by and Carlos glances her way
admiringly.

CARLOS
You know, I like women better
when they're up and moving around.

DEE DEE
(shaking her head)
Can I help you with anything or
are you just here to ogle the women?

CARLOS
(looking around)
How 'bout a little tour?

DEE DEE
(pointing as she
talks)
That's the Captain's office, Hunter
and my desks, the coffee, that's
about it.

CARLOS
(sarcastic)
A gracious host as ever.

HUNTER'S VOICE
Oh oh...Dr. Death.

ANGLE ON HUNTER

exiting the Locker Room and heading for Dee Dee and Carlos.
At the same time a UNIFORM escorting a handcuffed PRISONER
across the squad room turns his back and the prisoner begins
edging away. From out of nowhere. Hunter grabs him by the
scruff of the neck.

HUNTER
Hey Sergeant, you're losin'
something.

The Sergeant whips around to see Hunter and his catch.
The Sergeant grabs the prisoner roughly.

SERGEANT
Damn you.
(to Hunter)
Thanks, Sergeant, I really appreciate
it.

HUNTER
I get an assist on that collar.

SERGEANT
Yes sir.

Hunter joins Carlos and Dee Dee.

CARLOS
How nice...a little heroism staged
for my visit?

HUNTER
I don't even want to ask why
you're here.

CARLOS
(suddenly serious)
We got a place to talk?

INT. INTERVIEW ROOM - DAY

Hunter leads Dee Dee and Carlos into the room and closes
the door.

CARLOS
Off the record, okay? I got
enough problems with my boss,
you know what I'm sayin'?

Hunter and Dee Dee nod.

CARLOS
The latest stiff you sent me...
M.E. did his report...mugging...
(uncharacteristically
hedging)
...but I had to tell you guys, you
know, that there was something
else, something he missed.

Hunter and Dee Dee look intrigued.

CARLOS
That dude had red marks around
his wrists.

Carlos shows where he means.

DEE DEE
Handcuffs?

CARLOS
You got it.

DEE DEE
(to Hunter)
Handcuffs?

On Hunter's look we:

END OF ACT TWO

FADE TO BLACK

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

ACT THREE

FADE IN:

EXT. F.B.I. BUILDING (STOCK)

Establishing shot.

INT. F.B.I. CORRIDOR - DAY

Hunter and McCall move down the hall.

HUNTER
I love it. Wyler assigns us the
stinker boring case of the year
and it turns into one helluva
major question mark. Could be a
S and M homicide, a homosexual
murder, a sickie, or bondage freak
or...

DEE DEE
(in rhythm)
...someone who uses cuffs in the
line of work, like a security
guard...or a cop.

Hunter hesitates.

DEE DEE
Only makes sense.

Hunter nods and they head to an office.

INT. F.B.I. OFFICE - DAY

a card of fingerprints being thrown down on a Formica topped
desk. They're John Doe 13027.

DEE DEE'S VOICE
Like you to run 'em for us.

ANGLE ON AGENT JURGEN

JURGEN
("innocent")
You mean you don't have a new
CAL-I.D. fingerprint computer
like we have?

HUNTER
Hey, don't give us a hard time.

JURGEN
"Hard time"? You two? Our
favorites down at Metro?

DEE DEE
(pointing to
the prints)
They're off the body.

Jurgen grabs the prints.

JURGEN
I should throw you two out on your
keesters...

INT. F.B.I. HALLWAY - DAY

Identical looking white bread AGENTS move quickly in the
hall. Jurgen leads Hunter and Dee Dee out of his office
and down the hall.

DEE DEE
(whispering)
What's with you two?

Before Hunter can answer...

JURGEN
I got nothing personal against
either of you...
(to Dee Dee)
...especially you, but Hunter here
seems to go out of his way to bust
our humps.

HUNTER
Me? You gotta be kidding.

JURGEN
Yeah, Hunter. Right.

And Jurgen enters from the computer room.
Dee Dee, LAUGHING, follows Hunter.

INT. COMPUTER ROOM - DAY

Jurgen hands the fingerprint card to a COMPUTER TECHNICIAN.

JURGEN
Why don't you show our friends
here how it's done.

The technician slides the card into the machine.

TECHNICIAN
What variables are you certain
of?

DEE DEE
He's a male.
(the technician
types as she reels
them off)
Caucasian, maybe forty-five,
fifty...
(checking her card)
...five foot seven, a hundred and
sixty pounds, thinning hair, gold
crowns.

INSERT ON the technician's fingers
typing and punching SEND.

INSERT ON COMPUTER SCREEN
Digitalized image of fingerprints appears on the screen.

BACK TO SCENE

JURGEN
(to Hunter)
The next time we're working
together, I want you to remember
I saved you a pair of shoes worth
of investigating...okay?

HUNTER
Hey, we'll be forever in your
debt.

INSERT ON SCREEN

Information begins jogging across the screen as a set of
fingerprints are matched with one in the computer.

TECHNICIAN
It's a Solomon H. Held. These
are his World War Two Army prints.

INT. BELINDA'S HOUSE - DAY 7

TIGHT ON a maroon towel covered with two million dollars of
Lucky Lacy's gems.

BELINDA
(jittery)
We gotta find someplace to sell
this stuff. I got commitments.

MATT
Screw your commitments. We gotta
just sit on im, and that's what
we're gonna do.

BELINDA
(angrily)
We haven't seen anything from our
"big robbery"...I mean, what's
the point? I'm hurtin'.

MATT
(overriding)
Your nose is hurtin'. You start
partyin' and we'll get busted.
Don't you see? We got bread here,
real bread...We gotta do the right
thing with it.

BELINDA
(pissed off)
What a rip off.

Matt grabs her. He's had enough and slams her up against
the wall.

MATT
Look, we're in trouble, big trouble.
The guy we took this from, whoever
the hell he was, had a guy workin'
for him with a gun...a gun! I
guarantee you he misses this
stuff bad. What if he sends that
dude with the gun after us, right?
You see what I'm talkin' about?
We gotta sit on it real quiet for
awhile. Okay...? Okay...?

Reluctantly, Belinda agrees.

INT. SQUAD ROOM - DAY

Sergeants Raymond and Aparacio are LAUGHING as they pour
themselves coffee.

RAYMOND
He's always telling me he can
do it like five or six times a
night.

APARACIO
(laughing)
I'd be in the hospital.

HUNTER'S VOICE
You buyin'?

They turn as Hunter and Dee Dee join them.

APARACIO
(in awe to Raymond)
Hey lookit this, the heavies right
here with us regular folk.

Raymond tightens his tie around his neck and straightens up

DEE DEE
It's Laurel and Hardy.

Everybody LAUGHS and shakes hands.

HUNTER
You guys still workin'?

RAYMOND
They haven't found us out yet.

DEE DEE
Hey we won't tell.

APARACIO
(curious)
I know this visit's business...

HUNTER
Solomon H. Held?

DEE DEE
(explaining)
We got 'im as DB two days ago.
We've seen his sheet, stolen
property...but for a jeweler...
no big deal. You guys have
anything?

RAYMOND
His sheet's clean 'cause he's
good...he's the number two, three
fence on the east side. In the
late sixties, seventies, he was
moving a hundred g's a month in
stone...handled all the big heists

HUNTER
(to Aparacio)
You know any reason anyone'd want
to kill him?

Aparacio shakes his head, as does Raymond.

INT. ART STUDIO - DAY

A large piece of wall sculpture, a trompe 1'oeil effect of
angled pieces of wood on the wall. GRETA HELD, a blonde-
haired woman in her fifties with a SWEDISH ACCENT is sanding
down a work in progress.

GRETA
Solly was the rarest of men...a
good husband, a good father...a
provider, a lover, an artist with
gold...

She turns. Hunter and Dee Dee are standing nearby watching
her sand the wood.

GRETA
The Little League field over on
Riverside...The Solomon Held
Field...

She turns to them and removes her plastic protective goggle
Suddenly her eyes well with tears.

GRETA
(barely audible)
How could this...?

She doesn't finish.

DEE DEE
(empathetic)
Mrs. Held...the witnesses described
the man as in his early thirties,
six foot three or four with a wool
cap on...Can you think of anyone
like this who knew your husband...?

Greta shakes her head again. Dee Dee's about to ask another
question but Hunter motions her off.

HUNTER
(to Greta)
We're really sorry about your
husband.

GRETA
Me too...

She turns back to her sculpture and begins sanding again.

EXT. VENICE ART STUDIO - DAY

Hunter and Dee Dee emerge into the glary sunlight. Hunter
puts on his sunglasses and they move for the undercover car.

DEE DEE
How come we didn't ask her about
her husband's other more illegal
interests?

Hunter opens the car door.

HUNTER
She didn't know...

And he climbs in the car.

INT. CAR - DAY
Dee Dee also climbs in.

HUNTER
You could tell in her eyes...she
had no idea Solly was a fence.

Hunter turns the car on. Dee Dee nods...he's right.

HUNTER
Plus, she'll find out soon enough.

And they drive off as the television van from Channel 8
News stops in front of the studio.

INT. FINN'S OFFICE - DAY

RIGHT ON Finn checking.

FINN
(displeased)
You're still on that mugging?

REVERSE ANGLE ON HUNTER AND DEE DEE

doing a little softshoe.

HUNTER
It's happening.

FINN
Don't jerk me around.

DEE DEE
Well, we're not sure it's a
mugging...

Finn looks up at her suspiciously.

HUNTER
Wrists had handcuff marks.

Finn checks his file.

FINN
There's nothing in here about that.

DEE DEE
We saw it ourselves.

Finn this time looks up at Dee Dee even more suspiciously.

HUNTER
The DB was a major fence. Our
present hair-brain theory is
somebody offed him and tried to
cover it up as a mugging-related
homicide.

Finn turns to Dee Dee.

DEE DEE
I think something's there.

After a beat Finn nods reluctantly.

FINN
Okay...keep on it.

INT. SQUAD ROOM - DAY

As Hunter and Dee Dee exit Finn's office.

DEE DEE
(out of the
corner of her
mouth)
It'd better be there.

HUNTER
Hey, what do I know?

As they move toward their desk, Dee Dee looks at Hunter in
disbelief.

INT. FAMILY DINING ROOM - NIGHT

A small dining room right off the kitchen. Seven people
are crowded around the table filled with delicious looking
food. Everyone's eating, drinking, having a good time.
There's HAMMOND, a little scrawny guy about fifty-five,
in an L.A. Dodger's T-shirt; his wife LINDA; her MOTHER, a
clucking old lady about eighty-five in a housedress and a
little too much makeup; Linda's daughter BECKY, about
nineteen; her brother NICKY, about seventeen; and the twins,
JOHNNY and TOMMY, about fourteen.

HAMMOND
(mid rap)
So the clock's running down the
Knicks have the ball...

JOHNNY
Dad, you've told us this a million
times.

Linda SHUSHES him.

HAMMOND
Walt "Clyde" Frazier throws the inbound
pass to "Dollar" Bill Bradley who
came back to help out.

Johnny rolls his eyes.

JOHNNY
This is so dumb.

Nicky punches Johnny on the arm.

NICKY
Shaddup.

ANGLE ON THE DOOR

exploding into a thousand splinters as Lincoln powers
through the door and bulls his way through the small living
room and reaches for Hammond before anyone can react.

Nicky and Tommy instinctively go to their father's aid, but
Lincoln Judo chops as fast as the eye can see, sending
Nicky and Tommy crumbling in pain to their knees. Lincoln
grabs the cringing Hammond off his chair and starts for
the door with him. With Becky and her mother SCREAMING,
Johnny moves to stop Lincoln, but Lincoln brings him to
his knees with a single punch.

As Lincoln reaches the door with the struggling Hammond,
Nicky makes one more try, but again he's downed with
ease. As he's falling to the floor, Nicky pulls off
Lincoln's cap revealing his tri-colored hair. Lincoln
flees with Hammond.

DISSOLVE TO:

EXT. HAMMOND'S - LATER THAT NIGHT

Black and white units and undercover vehicles parked at odd
angles in the street.

INT. HAMMOND HOUSE - NIGHT

Hunter and Dee Dee interview the Hammond family. Nicky is
being examined by PARAMEDICS. The others are bruised but
otherwise alright.

JOHNNY
He just came in here like some
kind of monster or something...

HUNTER
What'd he look like?

BECKY
He was about your size, a punker
with the freaked out technicolor
hair.

DEE DEE
"Freaked out hair"?

JOHNNY
He had blue hair or something.
No, it was yellow.

DEE DEE
Think carefully. Exactly what
color hair did he have?

White the kids look at each other, their mother steps in.

LINDA
It was blue and yellow.

HUNTER
Anything else?
(after a beat)
I'm sorry, isn't that enough?

DEE DEE
Do you have any idea why this
could've happened?

Linda and the kids shake their heads.

DEE DEE
What does your husband do?

LINDA
He's unemployed.

HUNTER
And when he does work?

LINDA
(emotional)
He's a truck driver, but he's
got a bad back...please find
him for us...please.

INT. CELLAR - NIGHT

TIGHT ON Hammond's hand then PANNING DOWN his handcuffed
wrists to his full body strapped into Lincoln's diabolical
armature. Hammond can't believe this is happening.

HAMMOND
I'm telling you I don't know
nothing.

LINCOLN
I know you know who knocked
over Lacy's house...it's your
business to know...

Hammond shakes his head wildly.

HAMMOND
I swear I don't know, I swear!

LINCOLN
I was told you know everything,
every job that goes down.

HAMMOND
I asked around about Lacy's....
just for my own curiosity.
Nobody knows nothin', I swear to
God. Must've been some guy from
out of town, or an amateur.

LINCOLN
Come on...you think I'm a fool?

HAMMOND
Man, I swear...I swear!

Hammond breaks down into DEEP SOBBING, but Lincoln stops him
with a quick slap across the mouth. Lincoln studies him...
then reaches for his rubber gloves.

LINCOLN
Now let me see...

And his eyes examine him as a sculptor would look at a fresh
piece of marble...

FADE TO BLACK

END OF ACT THREE

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

ACT FOUR

FADE IN:

EXT. STREET - DAY

Real early morning. The streets are deserted. Hunter's
undercover car barrels over camera.

INT. UNDERCOVER CAR - DAY

Hunter drives while Dee Dee puts on her make-up.

HUNTER

Can't remember when you've been
so late. I hate to think of you
out partyin' all night.

DEE DEE
Well, you may hate to think it,
Hunter, but I do have a life
other than riding around in
this crummy heap with you.

HUNTER
(sarcastic)
You mean there's someone else?

DEE DEE
You betcha.

HUNTER
Well, who's the lucky hunk?

DEE DEE
(a warning)
Hunter...

HUNTER
(suddenly realizing)
Oh no.

Dee Dee turns to him with daggers.

HUNTER
It's that wimp shrink?!

DEE DEE
(icy)
I trust you mean David.

HUNTER
You "trust" correctly.
(seriously)
Dee Dee, you can do better
than that.

Dee Dee shakes her head in disbelief.

DEE DEE
You better shut up and drive.

HUNTER
Good idea.

EXT. INDUSTRIAL DISTRICT - DAY

Hunter's car turns the corner and drives up to the Coroner's
wagon, three black and white units and an undercover car a
lot like Hunter's. As Hunter stops and climbs out, he's
met by a CORONER'S MAN with a green plastic CORONER jacket on

CORONER
When I saw those wrists again
I called you.

DEE DEE
We appreciate it.

And they move to the scene.

CORONER
Looks like another dump 'n'
run.

DEE DEE
We take a look?

CORONER
You can take him home with you
if you want.

And the Coroner leans down and pulls the plastic sheet off
Hammond, who looks very beat up. Hunter lifts the left
arm and examines the wrist...sure enough, there are more
red handcuff marks.

CORONER
(to an aide)
Okay, yank 'im.

HUNTER
Hold on, we got some people
meeting us here for a look see.

ANGLE ON RAYMOND AND APARACIO
driving up and moving to the crime scene.

HUNTER
You know 'im?

The Coroner nods to his aide who pulls back the plastic sheet

ANGLE ON RAYMOND AND APARACIO

Both flinch. They're not used to stiffs like the rest of
us. Aparacio turns and staggers away, while Raymond nods
as he fights to get a hold of himself.

RAYMOND
It's a guy named Hammond...

CORONER
(putting the sheet
back)
Was.

RAYMOND
(turning away)
He's a petty jewel thief.

DEE DEE
(intrigued, to Hunter)
Jewels again...

RAYMOND
Been around a while, done time,
chronic crook, does most of his
work for Lucky Lacy.

HUNTER
(adding it up)
The guy who got robbed the other
Day.

RAYMOND
The very one.

INT. PAWN SHOP - DAY

Guitars, wedding rings, and binoculars, and REX, a heavyset
man smoking a cigar and wearing a shoulder holster housing
a monster .357 Magnum. He's reading the racing form as he
puffs on his cigar. Belinda and Matt enter. They look
around nervously for a couple seconds then move to the
counter.

MATT
You buy jewelry?

REX
(without looking up)
Let's see it.

Matt and Belinda look at each other anxiously, the Matt
reaches inside his jacket, pulls out an envelope and opens
it. He dumps out three pieces from the Lacy haul.

Rex shrugs, as if it were paste, as he reaches for his
jeweler's lupe. He picks up the bracelet, studies it, then
studies the rings.

INSERT ON GOLD RING

with interlocking LL's inscribed on it.

TIGHT ON REX

popping out the lupe

REX
Get out of here with this junk.

MATT
What are you talking about?
This stuff is good.

REX
You mean good 'n' hot...

BELINDA
Let's go.

MATT
What'll you give us for it?

REX
You gotta be out a your mind.

BELINDA
(grabbing the jewels)
Come on!

And they flee.

INT. SQUAD ROOM - DAY

Hunter and Dee Dee trail Finn through the usual bustle of
the law enforcement circus.

HUNTER
And I don't care what the
Medical Examiner says...we got
two bodies with similar marks
on the wrist and they're both
involved in jewelry scams.

DEE DEE
It's more than a coincidence,
Lieutenant.

Finn stops.

FINN
Meaning?

DEE DEE
We want to hit the streets, shake
some informants out of the trees.

CUT TO:

EXT. L.A. STREET - DAY

A scorcher. PEOPLE in the streets. There's a GROUP hangin'
out outside the liquor store. PETEY's holding court.

PETEY
So this chick walks in, right.
She was...

He stops mid-word. The eyes of the people he's talking to
have gone wild. Petey spins around as Hunter's hand falls
hard on his shoulder.

HUNTER
(with a great big
smile)
Hi, Petey.

All of Petey's friends beat a hasty retreat as Hunter throws
him against the wall.

PETEY
Hey, I ain't done nothin'.

HUNTER
Just relax, Petey boy, it's
information time.

PETEY
Man, you guys gotta stop doin'
that... freaks me the hell out.

HUNTER
Good for you, keeps your heart
pumpin'.

PETEY
Ain't my heart I'm worrying about.
I nearly sh...

DEE DEE
Thank you, Petey, we can do
without the graphics.

Petey looks around nervously.

PETEY
What do you guys want?

DEE DEE
Want to know what the street says
is going on...

PETEY
What are you talkin' about?

HUNTER
We're homicide, remember?

PETEY
Just some weird vibes...

DEE DEE
What does that mean...?

PETEY
I don't know, man...weird vibes
out there.

DISSOLVE TO

EXT. STREET CORNER - DAY (TELEPHOTO LENS)

Hunter stands in the shadow with the NEWSMAN, buying a paper

HUNTER
People are gettin' knocked
off from the jewelry bussiness...
why?

NEWSMAN
I ain't got it, Hunter, sorry.

The Newsman moves back to his stand.

INT. HOLE IN THE WALL DINER - DAY

DISSOLVE TO:

GLENN MILLER on the radio. A tiny, maybe a dozen seat,
horseshoe shaped dining counter. An ELDERLY MAN, sipping
his soup a bit too loud is at one end and a young, obviously
in love LATINO COUPLE is on the other side. They're
WHISPERING and GIGGLING over Cokes. Hunter and Dee Dee
enter. BOSCO, the proprietor, in a grease stained white
apron is doing a crossword puzzle.

BOSCO
A six letter word for criminal?

HUNTER
Scumball.

BOSCO
That's eight.

DEE DEE
Bad guy.

Bosco smiles.

BOSCO
A kewpie doll for the little lady.
(after filling in
the word)

What can I get you from our
internationally famous kitchen?

HUNTER
Unfortunately we just ate...
(a stage whisper)
Thank God.

BOSCO
Now don't you go poor mouthin'
the cookin' around here.

DEE DEE
Heard anything 'bout the freakout
in the jewelry business?

BOSCO
Anybody who's anybody has taken
a fast ten in Florida.

HUNTER
What's goin' down?

BOSCO
Somebody got knocked off for
mucho rocks...

HUNTER
Lucky Lacy.

BOSCO
You don't need me on this. You
got it.

HUNTER
The murders?

BOSCO
I gotta tell you about revenge?

Dee Dee's surprised and impressed by Hunter.

HUNTER
(starting for the
door after laying a
twenty on the counter)
Hey, Bosco...you're my man, don't
you forget it.
(as he heads out
the door)
I promise we'll eat something
next time.

BOSCO
You been sayin' that now for
seven years. Hunter.

EXT. HOLE IN THE WALL DINER - DAY

Hunter and Dee Dee walk toward their car.

DEE DEE
How is it you knew about Lucky
Lacy and I didn't?

HUNTER
You don't hang out in the right
places.

DEE DEE
It doesn't make sense that those
two men are connected with this
robbery. As far as we know, they
didn't even know each other.

INT. LUCKY LACY'S RESTAURANT - DAY

Between rushes. WAITERS arrange settings on tables. At the
bar is the BARTENDER and a MAN reading the newspaper spread
out on the bar. Lucky, who's adding up figures with a
calculator and two PALOOKAS sitting in a booth playing cards
with Burt.

HUNTER'S VOICE
Lucky Lacy?

Lucky turns.

HIS POV
at Hunter and Dee Dee flashing their I.D.'s.

HUNTER
Homicide, like to ask you a
few questions.

LACY
You got a warrant?

DEE DEE
Want us to get one...?

LACY
(breaking into a
smile)
Hey, I'm legit...come on in...

Hunter and Dee Dee move over to the bar.

LACY
Can I get you anything? Wine,
a brandy, a piece of meat?

DEE DEE
Mister Lacy, we're here concerning
a robbery that took place at your
house.

Lacy looks at them suspiciously.

LACY
I didn't report any robbery.

HUNTER
Didn't say you did.

LACY
I think you're gonna need that
Warrant.

DEE DEE
We'd like to talk to you about
the.. .

LACY
(interrupting, to
Burt)
Get 'em outta here.

Hunter pulls his gun and aims it right below Burt's belt.

HUNTER
One more step, you're singin'
soprano.

EXT. VENICE WALK - DAY

The usual BEACH CRAZIES populating the crowded walk area.
ANGLE ON Lucky Lacy's four-door car parking in a "No Parking*
zone and Lucky, Burt and the two Palookas getting out and
moving over to the kiosk and looking around.

LACY
(to Burt)
Where the hell is he?

BURT
(looking around)
This is where he said.

A number of PUNKS seem to gather out of nowhere and hang out
menacingly at the kiosk. The other people at the kiosk get
the point and quickly move away. Then from nowhere Lincoln
appears, all six-foot four of him.

LINCOLN
(annoyed)
What's the big emergency?

He studies Lacy as he talks.

LACY
We gotta talk.

LINCOLN
We are.

LACY
Okay...ya gotta put a hold on
what I asked you to do.

LINCOLN
Oh?

LACY
The heat's comin' down on me.
Somehow they found out.

LINCOLN
I didn't tell 'em.

LACY
What difference does it make?
They know, and we gotta call
it off.

LINCOLN
(after a beat)
A deal's a deal.

LACY
What are you talkin' about?

LINCOLN
I got a reputation to protect.

LACY
What are you, outta your mind?
I'm callin' it off.

Lincoln smiles and starts off down the boardwalk.

LACY
Hey.

But Lincoln doesn't stop.

LACY
Hey!!!!

But Lincoln disappears in the beach crowd.

LACY
(to Burt)
This is not good.

Burt nods...he understands.

INT. JEWELRY STORE - DAY

There are six sparkling rings on a maroon velvet display
tray. In suits and ties, Matt and Belinda stand in a very
upscale shop. MR. ALESANDER is waiting on them.

BELINDA
They belonged to my father. He
just passed away.

MR. ALESANDER
I'm sorry.

Mr. Alesander gives the rings a quick look.

MR. ALESANDER
Let me get our appraiser, Mister
Brooks. Excuse me.

And he heads to the back of the store.

MATT
This is happening...we're gonna
be into some heavy bucks here.

BELINDA
I hate this...

MATT
Just be cool...damn.

BELINDA
What...?

They turn and look back through the mirror.

THEIR POV

to Mr. Alesander talking to a MAN who's obviously his
superior. The man looks out at Matt and Belinda and picks
up the phone.

TIGHT ON MATT'S HAND
grabbing up the rings and moving quickly out of the store.

INT. SQUAT - NIGHT

A fire sending sparks up through gaping holes in the building
They're in the 'courtyard' of their squat. They can see up
in the sky...the living quarters are back in somewhere away
through the rubble. The smoke is thick in the air. There's
a ghetto blaster pounding out MUSIC. A few of Lincoln's
friends hang back on the carcass of an overstuffed couch.

MOON MAN
No, he's a guitar player with
The Unclaimed. That's his
brother...

But before Moon Man can finish, Burt puts his hand around his
mouth.

BURT
Where's the big guy?

LINCOLN'S VOICE
(calm)
Right here.

Everyone turns as Lincoln appears.

LINCOLN
You came for me, you have me.
Let them go.

Burt points his gun at Lincoln.

BURT
(smiling)
Mister Lacy wants to see you.

EXT. SQUAT - NIGHT

Lincoln walks out with Burt behind him and the Palookas on
either side. As they move down the steps, Lincoln attacks.
With a series of spins and kicks he terminates the two men
at his sides and in a matter of seconds, Burt lies in a
heap...Lincoln pulls him off the ground.

LINCOLN
(too close, into
Burt's face)
Tell 'im a deal's a deal.

INT. LUCKY LACY'S RESTAURANT - DAY

While the rug is being vacuumed by a JANITOR, Lacy talks
with Hunter and Dee Dee.

LACY
Look, I found out something
about those murders you was
talkin' about. Sometimes I
got connections, you know what
I mean?

HUNTER
Get to it!

LACY
I'm gonna level with you 'cause
I wanta cooperate with you people.

HUNTER
Forget the song and dance, Lacy...

LACY
Okay, I heard there's this guy
out there, he's doin' this
craziness, not me. He's lookin'
for the thief. It was his stuff
that was stolen from me...part
of a legitimate gemstone purchase.
(smiling)
I'm a collector.

Hunter and Dee Dee aren't convinced for a second,

LACY
(serious again)
My men ran into this guy yesterday
...I'm tell in' you this as a
public service, you gotta stop him.

DEE DEE
"Public service"? You're jerkin'
us around.

LACY
Hey, I lost two guy's. This guy's
a freakin' nut case. We met him
in some abandoned building in
Hollywood. I have no idea where
it was. But you better bring
some buddies, this guy's a death
machine.

HUNTER
What does he look like?

LACY
(shaky)
You're not gonna believe this...

DISSOLVE TO:

INT. LT. FINN'S OFFICE - DAY

Hunter and Dee Dee, looking exhausted, are with Lieutenant
Finn.

HUNTER
We've looked, Finn, all over
this damn city...nothing.

FINN
(shaking his head)
If the media gets hold of this...

HUNTER
What are we gonna do?

FINN
I don't know...
(after a beat)
What's the description of the
jewel thief.

Dee Dee opens the file.

DEE DEE
(reading)
Six two or three, muscular,
heavy metal leathers.

FINN
(breaking into a
smile)
This killer's lookin' so hard
for the jewel thief, why don't
we deliver him to this punk
maniac...
(to Hunter)
I want you to go undercover.

HUNTER
As?

DISSOLVE TO:

INT. LT. FINN'S OFFICE - DAY

The STING OF THE PUNK ROCK THEME as we TILT UP from the full
force black combat boots, skin tight jeans, a black leather
studded belt, skin tight pink shirt with "KILL 'EM ALL,
LET GOD SORT 'EM OUT" on the front, leather wrist bands
and sunglases. It's Hunter and he's amazing looking.

TIGHT ON HUNTER

not sure about this at all,

REVERSE ANGLE ON DEE DEE

She's tactfully nodding and trying to keep a straight face.

DEE DEE
I think...it's...

She looks over to Lieutenant Finn. He looks over at Hunter
again but can only nod...positively.

FINN
Sure is.

HUNTER
Gimme a break here.

Dee Dee finally LAUGHS. Hunter shakes his head.

HUNTER
I hate this...

DEE DEE
(laughing)
How many times have you given me
a hard time about dressin'
undercover...

She loves it.

HUNTER
Havin' a good time, McCall?

FINN
(getting serious)
Look, fun's fun, but remember
this guy's killed four people and
didn't even bat an eyelash. This
guy's a butcher. Hunter, don't
forget it.

It suddenly gets real serious again. Hunter and Dee Dee look
at each other...no more smiles now.

ANGLE ON DOOR
David Anson enters.

FINN
(continuing)
I asked Doctor Anson to come
by.

David studies Hunter. Dee Dee has to look away before she
cracks up.

DAVID
(after a beat,
enjoying himself)
Very effective...I wouldn't have
recognized you.

FINN
(to Hunter)
I want to give you as much
information about this as
possible...
(to David)
Tell him who he's dealing with.

DAVID
There's not much to tell really.
You know who punks are, you
probably were one when you were
a kid. They're young people
rebelling... same as young people
down through time...they're
unfortunately a reflection of
their times...they're violent,
scared, angry, disenfranchised.
They care nothing for human life.
They're very dangerous. Be very
careful.

INT. PUNK HANGOUT - RECORD STORE - NIGHT

LOUD MUSIC, cigarette smoke, groups of DEATHROCKERS and the
like hanging out and bullshitting. A few PEOPLE buy records.
Hunter in all his punkness enters. He's walkin' tall and
causes a major ripple through the store.

PUNKER ONE
Well lookee here.

Like a flash. Hunter's on him and has him pressed up against
the wall.

HUNTER
Look pus for brains...I'm
lookin' for someone...he's a
big dude with tricolor hair.
(letting the
paralyzed-with-
fear punker down)
Tell him I want him...now you
go tell him.

DISSOLVE TO;

EXT. L.A. STREET - NIGHT

Dee Dee stands with Mandy and a few of the other GIRLS.

DEE DEE
This new guy's put the word
out...he wants to eat him up.
Pass it around, okay?

The hookers nod. Dee Dee heads back for her car.

EXT. L.A. PUNK HANGOUT - NIGHT

A groups of PUNKS are passing a joint. On the last pass an
alien hand takes it and puts it out.

HUNTER
Tell your punk friend I'm
lookin' for him.

PUNKER
What you talkin' 'bout?

Hunter grabs him.

HUNTER
You tell him he's a dead man.

EXT. MANSION - DAY (the same shot as the opening)

Lucky Lacy's mansion looks great by day. Lacy's having
breakfast and looking through the mail. He flips catalogue
after catalogue in the trash.

LACY
I'm gonna kill whoever put my
name on this damn mail order
list...

He stops as he comes across a bulky manila envelope. He
begins to open it.

LACY
(continuing)
I mean, we must get every
catalogue ever...

But he stops again as his jewels, millions of dollars worth
of them, cascade out of the envelope onto the table. Lacy
picks up the enclosed note.

INSERT ON NOTE

"WE'RE SORRY."

Lacy can't believe it.

INT. DEE DEE'S CAR - MOVING

moving along the road into Hollywood. Dee Dee drives. Hunter
still dressed undercover, is riding beside her.

DEE DEE
Finn says you should wear a
wire.

HUNTER
You can tell Finn what he can
do with it.

DEE DEE
He's right.

HUNTER
Can't risk it.

DEE DEE
It's too dangerous without it.

HUNTER
You can let me off here.

DEE DEE
I'm going to stay near you.

HUNTER
McCall.

DEE DEE
I'm doing it.

HUNTER
You better not blow my cover.

DEE DEE
Thanks for the vote of
confidence.

HUNTER
See ya.

DEE DEE
What if he doesn't move on you?

HUNTER
He will. Now I gotta go out
and stomp some punks.

DEE DEE
Be careful.

HUNTER
I'm just afraid someone I know
is going to see me.

As Dee Dee LAUGHS, he climbs out and heads up toward
Hollywood Boulevard.

EXT. HOLLYWOOD BOULEVARD - NIGHT

Again Hunter moves down the street to the beat of the PUNK
ANTHEM. After he walks about a block, three punkers,
Lincoln's friends, move in front of him blocking his way.
Hunter smiles.

HUNTER
Who do I waste first?

The three punkers smile back.

PUNKER
Oooo-eeeee!

PUNKER TWO
Just relax, dude,'word's on the
street you want to see the man.

HUNTER
I'll be the judge if he's a man.

PUNKER TWO
Come on.

The punkers LAUGH then head up one of the Boulevard's many
side streets. Hunter moves after them.

EXT. HOLLYWOOD BOULEVARD

Dee Dee, in her car, searches for Hunter...seems she can't
find him. She slams the wheel.

EXT. HOLLYWOOD ALLEY - DAY

Hunter moves with the three punkers deeper into the nether
world of Hollywood.

EXT. ABANDONED NEIGHBORHOOD - DAY

Hunter and the three punkers move through the rubble of an
abandoned building and move across the deserted street to
the building where Lincoln was before. Hunter hesitates
before climbing up the steps and walking out the split in
the board.

INT. LINCOLN'S BUILDING - DAY

Again the shafts of light beam through the boarded up window
and the holes in the walls. The three punkers move ahead
and disappear into the shadows. Hunter moves into the center

LINCOLN'S VOICE
(ominous)
You're an old dude, aren't
you?

Hunter turns.

HUNTER'S POV

Lincoln, his blue and yellow hair, chains and black leather,
moves into a shaft of light.

LINCOLN
You wanted to see me?

The two of them stand there sizing each other like gladiators
of old.

HUNTER
Yeah you...not your band of
crazies.

There's CHUCKLING and DERISIVE LAUGHTER O.S.

LINCOLN
Shut up.

They do.

HUNTER
I'm here...alone...mano a mano.

LINCOLN
(over his shoulder)
Later.

PUNKER'S VOICE
(unsure)
Hey Lincoln...?

LINCOLN
Later.

The three punkers move back across the area past Lincoln,
then past Hunter...they take one last look at Lincoln, for
him to change his mind, but he and Hunter are locked in a
stare-down.

LINCOLN
Where'e the jewels?

HUNTER
You think I'd have 'm on me?

Lincoln doesn't respond for a beat, then

LINCOLN
What's your game, old man?

Hunter's only answer is a smile. He leans down.

LINCOLN
Hey...

HUNTER
(straightening up)
You want to see a sample of the
goods?

Lincoln waits. Hunter leans down again, reaches under
his pantleg and pulls out a revolver from his boot.

HUNTER
My game's Homicide. Undercover,
Metro P.D.

Lincoln remains impassive.

HUNTER
I want to talk to you about
the deaths of Soloman Held
and Ralph Hammond.

Lincoln breaks into a smile.

LINCOLN
So, talk.

HUNTER
I want to take you down to the
station for questions.

Again Lincoln smiles.

HUNTER
(moving for him
slowly)
I take it you'll come quietly.

Hunter slows when he reaches him.

HUNTER
Turn around and put your hands
over your head.

Hunter moves behind Lincoln, takes out his cuffs and is
about to put them on when, in a flash, Lincoln spins and
catches Hunter's gun with his hand, knocking it into the
shadows, then he THUNKS Hunter in the ribs with his boot.

LINCOLN
(reaching down to
grab Hunter)
Partner, you're in deep
trouble.

Lincoln goes for the gun and is about to get it when
Hunter catches Lincoln with a surprise left on his chin,
knocking the punker back into the shadows. The gun falls,
lost forever, into a gutter grate. When Hunter gets to
his feet he searches in the darkness for Lincoln but he
can't find him. . .Hunter lowers himself, ready for anything,
then he hears a NOISE and he spins.

HUNTER'S POV

Out of the darkness a length of pipe conies hurtling at him
like a spear...just missing him.

Hunter runs for the shadow but when he gets there, Lincoln's
gone. Hunter moves through an interior door.

INT. FORUM - DAY

Debris, garbage...but no Lincoln. Hunter heads across the
room and out.

INT. HALLWAY - DAY

Decrepit. Hunter enters and sees Lincoln disappearing down
by the end.

Hunter races down the hall and pulls to a cautious stop at
the end. ANGLE ON a heavy old iron radiator coming crashing
down from above just missing Hunter.

Hunter listens, hears FOOTSTEPS, then takes off down the hall
to his left.

INT. LARGE INTERIOR SPACE - DAY

Lincoln bursts through a door and races across the room...
Hunter runs after him.

EXT. BUILDING - DAY

Lincoln races out onto the fire escape and begins scrambling
down. Hunter's out the window and right behind him.

THEIR POV

down the fire escape...instead of being an exterior wall,
they're in a large air shaft...Lincoln's escape is blocked.

EXT. COURTYARD - DAY

When Lincoln hits the bottom he looks around...he's trapped,

ANGLE ON HUNTER

leaping off the fire escape and onto Lincoln.

FIGHT SCENE

A "Road Warrior" gladiator fight in an enclosed arena using
chains, garbage cans and assorted debris. Both men are
equally matched and it's the match of Hunter's life. At
different times in the fight Lincoln has the upperhand, other
times Hunter does... Each man is pressed to his limit, then
in one final superhuman effort. Hunter wins out and subdues
Lincoln for good.

FADE OUT

END OF ACT FOUR

TAG

INT. SQUAD ROOM - DAY

Dee Dee is sizing up Hunter whose appearance has returned to
normal.

DEE DEE
You know, I think I like you the
other way.

HUNTER
You would.

Dee Dee smiles.

DAVID'S VOICE
Hi, you guys.

They both turn. It's David

DAVID
(to Dee Dee)
A little lunch?

DEE DEE
Maybe some other time.

DAVID
Hey...so you said 'no'? I
can handle rejection.

Hunter smiles. Dee Dee doesn't.

DAVID
See ya.

And David leaves.

HUNTER
You still goin' out with
him?

Dee Dee shakes her head.

HUNTER
How come?

DEE DEE
(shaking her head)
Hunter...

HUNTER
Hey, if you can't trust
Me...

DEE DEE
(reluctantly)
I don't know... He wasn't
my type.

HUNTER
What does that mean?

DEE DEE
(finally)
I don't know. A little too
wimpy.

Hunter looks "shocked".

HUNTER
No kidding.

As Dee Dee throws her pencil at Hunter, we

FREEZE FRAME
AND
FADE TO BLACK

THE END