HUNTER

THE LEGION PART ONE

ACT ONE

FADE IN:

EXT. FENWICK STATE PRISON - DAY #1

Establishing. We hear the din of prisoners and chatter. It's
early morning. The sounds roll over -

INT. CELL BLOCK - DAY #1

Inmates, black, white and hispanic are filing along the cell
block chattering. Several white inmates pause at an open
cell and wait.

IN THE CELL

FRANK LASSITER stands in front of a mirror bare from the
waist up combing his hair. He is tall, late thirties, close
cropped blond hair, with ice cold cruel eyes. His well
developed upper body is covered with tattoos (skulls,
swastikas, etc.) conjuring up images of death and racism.
The tattoos, we will learn later, state that he is in the
white supremist prison gang called the Aryan Legion. In
fact, he is the leader. He turns and we see -

SYKES

His cellmate.

SYKES
Looking good, real good, Frank.

Frank doesn't reply. Sykes holds out a neatly starched blue
prison shirt. Like a butler. Frank slips his muscular arms
into it, pulls it on. As he buttons it, a WHITE GUARD
stops at the door.

WHITE GUARD
What's today a special occasion?

FRANK
Isn't every day?

WHITE GUARD
Celebrate in the yard with
everyone else.

Frank walks out.

INT. THE CELL BLOCK - DAY #1

Frank starts down the cellblock, followed by his boys. The
waters part for them as the White Guard watches and shakes
his head.

INT. THE YARD - DAY #1

SEVERAL SHOTS of inmates filing into the yard. Some are
lifting weights. Others throw a ball around.

AND FRANK

standing with Sykes and a few of his men. They are talking.

ANGLE ON WASHINGTON

a black guard. He notices. He heads over to them.

WASHINGTON
Hey, no congregating.

SYKES
What'd you say, boy?

As Washington moves past Frank toward Sykes.

WASHINGTON
You heard me, Sykes.

During this, one of Frank's boys slips him a shank.

FRANK
Relax, Washington. The boys are
just taking up a collection to
send you on a vacation.

Washington turns back to Frank.

WASHINGTON
Oh yeah? Where am I going,
Lassiter?

FRANK
To hell.

Suddenly, Frank drives the shank into Washington's gut.
Washington's face goes ashen with shock. He can't believe
it. He hangs onto Frank.

FRANK
(whispers)
You'll like it. I've been there.

As Frank peels Washington off him:

FRANK
Only I came back.

Now everything happens fast. Whistles blow. A guard in the
tower takes aim. Two more guards race out into the yard.
Inmates peel away, including Sykes and his buddies.
Leaving:

FRANK

Who drops the shank before the guards subdue him. Another
guard checks Washington for vital signs. Then Frank,
without emotion...

FRANK
I wouldn't waste my time.

DISSOLVE TO:

1EXT. PRISON GATE - DAY #2

Three days later. A Department of Corrections van is
waiting. CORRECTIONAL OFFICER #1 and CORRECTIONAL OFFICER
#2 stand at the open door of the van. Beside them is a
silvered hair, dark-suited man in his fifties. Warden, DEL
JOHNSON, and MIKE MURDOCH, the uniformed Captain of the
guard. Murdoch is a hard rock disciplinarian type in his
early forties. His face is tight.

ANGLE

Frank, wearing a prison jacket now, is led out by TWO
CORRECTIONAL OFFICERS. He is cuffed and wears leg irons.
Murdoch hands CORRECTIONAL OFFICER #1 a clipboard.
Correctional Officer #1 signs the release sheet and hands
it back to Murdoch. Frank is handed over to Correctional
Officer #2. Then:

WARDEN
You want to tell me why, Frank?

FRANK
What can I say Warden. Some
people love a parade. I love an
arraignment.

Frank laughs cruelly.

MURDOCH
(hard)
Get this slime out of here!

The two Deputies hold Frank's head down and place him in the
van - slam the door. The window is open. As the Deputies
climb in -

FRANK
(mock concern)
Hey, Captain, did she get the
flowers?

Murdoch stares at him with utter hatred. As the van pulls
away -

WARDEN
(puzzled)
What's this about flowers?

MURDOCH
(bitterly)
He sent Washington's widow a
dozen dead roses.

Off the warden's look -

EXT. DOWNTOWN LOS ANGELES - DAY #2

A FEW SHOTS of the Correctional Officer's van moving through
the city during the early morning hours. As the van passes

A SEDAN

with dark tinted glass. It pulls out. It begins to trail
the van.

A DOWNTOWN STREET

The van turns down a one way street. The sedan follows.

ONE WAY STREET

as the van moves along through light traffic. The sedan is
following. Suddenly, a light truck makes a skidding turn
into the one way street going the wrong way. It is roaring
straight toward the police van.

INT. CORRECTIONAL OFFICER'S VAN - TRAVELING - DAY #2

Correctional Officer #1, the driver, reacts. Slams on the
brakes.

EXT. THE STREET - VAN

tries to avert a collision, but it's too late. The truck
screeches to a stop bumper to bumper and, like lightning,
two Aryan types leap out. One of them is CARL BASS; As
they bring their machine pistols up -

INT. THE VAN

As Correctional Officer #2 draws his gun, Frank ducks down
behind the seat.

THE SCENE

Bass and the other Aryans, Wendell and Leroy open up with
Machine pistols and blast away the van's windshield killing
Correctional Officer #1 behind the wheel.

NEW ANGLE

Simultaneously, the sedan pulls up behind the van locking it
in. EDDIE SWEENEY, lean, ferret-faced Aryan, leaps out of
the sedan just as Correctional Officer #2 emerges with his
gun drawn. Sweeney aims his 9 millimeter and pumps three
rounds in the Correctional Officer's chest.

During this, everything moves fast. While Wendell and
Leroy spray the street with gunfire warding off any
onlookers, another searches the dead Correctional Officer's
pockets and finds his keys. SWEENEY reaches in and helps
Frank out of the van. As the Aryans unlock Frank's manacles
and leg irons.

SWEENEY
How you feeling buddy?

Frank doesn't reply. He just takes in his surroundings.
Bass races up.

BASS
Let's split, Frank.

They start off, but Frank just stands there.

FRANK
God, I love L.A.

Only then does Frank move. Frank calmly gets in. As he
slams the door, we hear the sounds of approaching sirens.
The sedan burns rubber. As the sedan cuts a sharp right
into an alley and disappears -

INT. PARKER CENTER - HOMICIDE SQUADROOM - DAY #2

Lots of activity. A mid-fifties bearish man in a rumpled
sports coat, wearing a visitors badge, enters. His name is
ANDY POLANSKI. He is smiling. As we will learn later, he
is a retired cop. As he drinks in once familiar
surroundings, a passing UNIFORM walks up.

UNIFORM
Can I help you, sir?

POLANSKI
I'm looking for Sgt. McCall.

UNIFORM
(he looks)
She's not at her desk. Can I take
a message for you?

Polanski looks over and recognizes Hunter writing a report
at his desk. He shakes his head, walks over and stands
behind Hunter staring over his shoulder. A few beats and
Hunter senses something. He turns to Polanski.

POLANSKI
Those booking forms were a lot
simpler in my day.

Hunter looks at him, puzzled.

POLANSKI
(extending his
hand)
Andy Polanski. Dee Dee McCall's
friend? We met a few years ago at
Dee Dee's house?

HUNTER
Oh yeah, sure. At your retirement
party. How are you?
(as they shake
hands)
I thought you were living in
Seattle?

Before he can reply

MCCALL (O.S.)
(excited)
Andy?

NEW ANGLE

to include McCall. Beaming, she rushes up to him.

POLANSKI
How are you, kiddo?

They hug and embrace. Beaming;

MCCALL
How long you in town for?

POIANSKI
Actually I'm here to stay.

MCCALL
(surprised)
You're kidding. What about your
daughter and those great grand
kids you always brag about?

POLANSKI
They're still great - I just got
a job offer I couldn't refuse.
Get this - chief of security at a
classy computer firm in the
valley.
(off her look)
Not bad for an old retired street
cop.

MCCALL
That's just great.
(to Hunter)
You see - there's still hope for
us.

POLANSKI
Come on, let's have lunch. We
got a lot of catching up to do.

MCCALL
Hunter?

HUNTER
Go ahead.
(holds up files)
I've got my own catching up to do,
too.

McCall takes her purse, places her arm in Polanski's and
they go. Hunter takes his files and starts across the
squadroom when Devane walks up.

DEVANE
Hunter.

HUNTER
Yeah, Charlie?

DEVANE
Didn't you bust an Aryan Legion
guy named Frank Lassiter a few
years ago?

HUNTER
Yeah. In eighty-four. Robbery
homicide. He's doing life at
Fenwick.

DEVANE
Not anymore.

Off Hunter's look:

EXT. PARKER CENTER - DAY #2

McCall and Polanski are laughing heading out when Hunter
comes running up.

HUNTER
Dee Dee.

She and Polanski stop.

HUNTER
Sorry to break up your reunion,
but we've got a bad one down on
Hope street.

POLANSKI
What's going on?

HUNTER
(good naturedly)
You're retired, remember.

Andy nods with a trace of sadness that goes unnoticed.

HUNTER
(to McCall)
Come on, I'll fill you in on the
way.

MCCALL
(disappointed)
Andy...

POLANSKI
(smiles)
I know the drill. We can get
together later.

MCCALL
Where can I reach you?

POLANSKI
I took a little place in West
Hollywood. I'll leave the address
and phone number for you at the
desk.

She starts away. Then turns back. Hunter waits, a little
impatiently as she gives him a big hug.

MCCALL
It's so good to see you. You're
still my favorite old blind bear.

As she and Hunter finally go off, Polanski's smile fades.

EXT. DOWNTOWN STREET - DAY #2

Hunter's car is driving down the street.

INT. HUNTER'S CAR - DAY #2

Hunter is driving. McCall, sitting beside him, seems lost
in her thoughts. Hunter notices.

HUNTER
You're pretty quiet.

MCCALL
I was just thinking about Andy.
(off his look)
I'm really surprised he's down
here. In his letters, he said
life in Seattle was great.

HUNTER
It's hard to turn down a good
job.

MCCALL
Yeah, I guess so.

HUNTER
What was that about him still
being the old, brown bear?

MCCALL
(amused)
Old blind bear.
(off his puzzled
look)
After I graduated from the
academy Andy was my T.O. He
taught me the street. At first, I
thought he was just this
over-the-hill cop. One day, he
just sat me down and set me
straight. He said, listen, kiddo.
Just think of me as the old blind
bear. I'm alone in the woods with
only the smell of my foul breath
for comfort. I'm too mean to die,
I'm too old to care - but show
some caution cause I'm still the
bear.

HUNTER
(laughs, then)
And was he?

MCCALL
He was the best damn street cop I
ever knew.

Off Hunter's smile -

EXT. HOPE STREET - DAY #2

McCall is talking to a UNIFORM and taking notes. She says
thanks and we pan with her over to -

HUNTER

who Is standing by the Correctional Officer's van which is
riddled, with bullets. In the b.g., body bags are being
placed into ambulances. The area is cordoned off with police
barriers.

MCCALL
All we have from witnesses are
vague descriptions. Not one
recalls seeing any of the shooters
with tattoos.

HUNTER
That figures. In the joint,
tattoos are a badge of honor. On
the street, they're an invitation
to a bust. They cover them up.

MCCALL
(looking at van)
It was a brutal.

HUNTER
Well planned and well executed.
That's Lassiter's style.

MCCALL
That's great - another sociopath
with a brain.

As Hunter and McCall go for their police unit.

DISPATCHER'S VOICE(V.O.)
1W156 Come in.

Hunter reaches in and takes the mike.

HUNTER
This is 156.

DISPATCHER'S VOICE (V.O.)
You have a patch through from
Captain Devane.

INT. SQUADROOM - DAY - INTERCUT

Devane is at the microphone.

DEVANE
What's the situation there,
Hunter?

HUNTER
A little strange, Charlie.
(a beat)
Lassiter's been in the joint for
more than four years. If he
wanted to, he could have pulled
this escape anytime. Why now?

DEVANE
What are you saying?

HUNTER
I'm not sure. Maybe I'll find
the answer at the prison.

DEVANE
I'll have our intelligence people
put together a rundown on all the
Aryans who are on the street.

HUNTER
There aren't any.
(a beat, then)
Charlie, Lassiter has a crazy
brother serving time at Joliet.
Maybe prison officials can get
something from him.

DEVANE
I'll check it out.

As Hunter clicks off -

OMITTED

OMITTED

EXT. FENWICK PRISON - DAY 2

Establishing.

INT. WARDEN'S OFFICE - DAY 2

Hunter, McCall are with Warden Johnson and Captain Murdoch.
Murdoch is not happy.

MURDOCH
It's my fault. I should have
known that Washington's murder was
a set up for Lassiter's escape.

JOHNSON
It looked like just another racial
killing. You can't blame
yourself.
(to Hunter and
McCall)

You've got to understand that
Lassiter and his boys have
assaulted black guards before.

HUNTER
But has Lassiter ever done the
dirty work himself?

MURDOCH
No, and that should have been the
tip off.

HUNTER
Have you talked to his boys?

MURDOCH
It's like talking to cement. We
could put them on the rack and
they wouldn't open up.

HUNTER
If they did, they wouldn't last
five minutes in this place.

MURDOCH
The fact is, wherever Lassiter
is, he still runs the legion,
inside and out. And he does it
with an iron hand.

HUNTER
I've seen him in action.

MURDOCH
I don't understand.

HUNTER
I put him in this place.

MURDOCH
(sighs)
Then I don't have to tell you it's
not going to be easy to put him
back.

Off Hunter's nod -

INT. DEVANE'S OFFICE - DAY #2

He's at his desk, working on something when Hunter enters.

HUNTER
You wanted to see me, Charlie?

DEVANE
We checked on Lassiter's brother
at Joliet. He was paroled last
month.

HUNTER
I'll call his P.O. in Chicago.

DEVANE
I already have. He jumped parole
a few days ago.

HUNTER
(a beat, then)
Then we've got an even bigger
problem. He's probably on his way
out here. And he's certifiable.

Off Devane's look -

EXT. FARMHOUSE - DAY #2

A beat up farmhouse and barn. It would look abandoned if it
weren't for the van and several autos parked around the
house, including the van used in the shoot-out downtown.
Several of the gang members are standing around. And:

BASS

standing guard, shirtless, his tattoos glistening in the
sun, a shotgun perched in his arms. He looks up and sees.

HIS POV

of an old blue Camaro heading toward the house trailing a
cloud of dust.

BACK TO SCENE

BASS
(shouts)
Hey, Frank. We got company.

NEW ANGLE

Frank, his shirt off, emerges from the house, followed by a
group of others, including Sweeney and two men we will later
know as WENDALL and LEROY. Frank's face is ice - as:

THE CAMARO

it's radio blasting rock-and-roll, roars up to the house.
It looks like it's heading right for Frank, when it suddenly
breaks and slides into a blood-curdling 180 degree skid -
coming to a dusty stop within five feet of Frank. Frank
doesn't flinch.

The driver, RUDY LASSITER, stares at Frank. He is lean,
early thirties, has a body armored with tattoos (including
"Weiss Macht" emblazoned on his chest) and the craziest look
in his eye. Two young girls, about seventeen, are giggling
in the front seat. Rudy climbs out of the car and stares at
Frank.

ON FRANK

he meets his stare. It looks like a showdown. Suddenly,
Rudy leaps on him and the two men tumble to the ground in a
fierce struggle that at first looks like a fight. They slug
each other a few times - and then, they break out into
laughter and ad-lib hellos.

RUDY
I drove straight through - forty
eight hours without a single
break.

FRANK
(looking at the
girls)
Except for a little entertainment.

RUDY
(cackles)
I picked 'em up in a little curio
shop outside of Albuquerque. The
redhead's mine. The blonde's for
you.

FRANK
Later. Business first.

Rudy cackles. Frank puts his arm around Rudy's shoulder and
as they head for the front door -

RUDY
You look great.

FRANK
I look lousy. But a little fun
like a five million dollar score
will help.

RUDY
Five million bucks. I can't
believe it. Where'd this deal
come from?

FRANK
Someone dropped it in my lap.

Whereupon the front door opens and Murdoch, in civvies,
emerges.

FRANK
Captain, meet my little brother,
Rudy.

Murdoch takes his time sizing him up. Then;

MURDOCH
Are you as crazy as Frank says?

RUDY
Crazier.

As Rudy cackles with laughter -

END OF ACT ONE

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

PART ONE - ACT TWO

FADE IN:

EXT. OUTDOOR CAFE - DAY #3

McCall and Polanski sit under an umbrella table finishing up
breakfast.

POLANSKI
(laughing)
... so I round the corner and what
do I see? You're hanging onto the
perp's belt while he's trying to
scale the chain link fence and
your little feet are dangling six
inches off the ground. You know
how funny you looked?
(as she laughs)
You ever tell Hunter that story?

MCCALL
I have not. And you better not,
either.

POLANSKI
(laughs, then)
We sure had some good tines.

MCCALL
Oh yeah.

POLANSKI
So this Hunter's a pretty good
partner, huh?

MCCALL
The best. He's almost like a
brother.

POLANSKI
That's how it should be.

MCCALL
Hey - tell me about your new job,
Mr. Chief of security.

POLANSKI
No big deal. I just sit around
telling a lot of stuffed shirts
how to protect their computer
secrets.
(beat)
I'd trade it all for just one more
year in uniform chasing the bad
guys.
(a trace of
sadness, then)
So tell me about this case you and
Hunter got yesterday?

MCCALL
Two Sheriff's Deputies were gunned
down transporting a convict to
court for an arraignment -

POLANSKI
Frank Lassiter.
(off her look)
I read about it.
(then)
You guys coming up with anything?

MCCALL
Not yet.

POLANSKI
I busted some of those white
supremacist crazies years ago.
You know, I got all my old files,
Maybe I could come up with
something.

MCCALL
That's not necessary.

POLANSKI
I just thought I could help.

MCCALL
Hey, Andy, that's my job these
days.
(glancing at watch)
I've got to go. I'm late for a
briefing session.

She gets up and kisses him on the cheek.

MCCALL
I'm glad you're back.

He watches her go, a trace of sadness in his eyes.

INT. PARKER CENTER - CONFERENCE ROOM - DAY #3

A big bulletin board displays eight-and-a half by eleven
photographs of eleven Aryan Legion members in all their
tattooed glory. Hunter stands at the board. Devane stands
over to the side. A number of detectives are listening,
including SGT. LOU DANIELSON, black, mid-thirties. In the
middle of this, McCall enters and stands at the back.
Hunter's eyes meet hers. She shrugs a little apology.

HUNTER
According to our best
intelligence, there are 21 of
these Aryans on the streets in
California. Most of them prefer
San Francisco. These nine losers
are ours. You each have a packet
of these photos, including their
sheets and possible whereabouts.
Find them and bring them in for
questioning. Captain?

DEVANE
Remember, these guys are well-
armed and extremely dangerous.
You locate one - you call back
up.

HUNTER
Any questions?
(no questions)
Good luck.

As the detectives break up and start out.

HUNTER
Lou.

Danielson walks up and Hunter takes him aside.

HUNTER
(delicately)
You know the score on these guys.

DANIELSON
You'd like me to pass on this
case?
(off Hunter's nod)
Some days it really pays to be
black.
(grins)
No problem.

HUNTER
Thanks, pal.

He goes and McCall joins him.

MCCALL
Sorry I'm late.

HUNTER
Lemme guess. You were with the
old blind bear.
(she grins)
Here's an address on Lassiter's
long lost ex-wife, Rita. They've
been divorced for years. It's a
long shot, but check her out.

EXT. RITA LASSITER'S HOUSE - DAY #3

A woodframe house, pleasant with a small yard. McCall's car
is parked in front.

INT. RITA LASSITER'S LIVING ROOM -- DAY #3

Lower middle class, with modest furniture. None of the
trappings of what you'd expect of a woman involved with the
Aryan Legion. McCall is with Rita, a somewhat pretty woman
in her mid-thirties.

RITA
Look, Sgt. McCall, I haven't seen
Frank in more than seven years -
and I don't want to.

MCCALL
Can you prove that?

RITA
Why should I have to? I got a
whole new life now. A good job, a
decent place to live.

MCCALL
You were married to the guy.

RITA
And I'm still paying for it.
(beat, then)
I met that animal when I was
seventeen. I was nothing but a
runaway doing the streets with no
one who gave a damn about me.
Along comes Frank and he gives me
lots of lovin' and I thought I had
it made. But he also gave me
this.

She pulls up the bottom of her blouse revealing a big scar.
McCall grimaces.

RITA
Cause he didn't like the Christmas
present I got him.

MCCALL
I'm sorry.

RITA
You don't know what sorry is,
lady.

MCCALL
(hands her card)
If he contacts you, will you call
me?

RITA
I own a gun now. If he ever comes
through this door I'll blow his
head off. Then I'll call you.

Off McCall's look

EXT. BEST DEAL USED CARS - DAY #3

A small used car lot in the valley. Dennis Sweeney, whom
we recognize as one of Frank's killers, is talking to a
chubby customer, MR. THOMAS. Sweeney wears a suit. In the
b.g. a phone rings.

SWEENEY
I'll tell you, Mr. Thomas. This
little baby is a special. It has
my personal guarantee.

PA SYSTEM
Dennis, there's a call for you.

SWEENEY
Excuse me.
(over shoulder)
If your kid has any problems,
I'll come to the house and fix it
myself.

Sweeney walks over and picks up the portable phone by the
office door.

SWEENEY
Sweeney.

INT. RITA'S HOUSE - DAY #3 - INTERCUT

RITA
Dennis, a cop was here asking
about Frank and Rudy.

SWEENEY
This cop didn't ask about me?

RITA
No. But I'm worried.

SWEENEY
Rita, relax. In a few days, you,
loverboy, all of us are going to
be rich.

Off his smile -

EXT. THE FARMHOUSE - NIGHT #3

Leroy and Wendall are standing guard in front, their
shotguns at the ready. A few others are lounging around.

INT. THE FARMHOUSE - NIGHT #3

Murdoch is there with Frank, Bass, and Sweeney, who is still
in his business suit. They are gathered around a table.
Murdoch is explaining the plan, while Rudy stands off to the
side, a mass of nervous energy, half listening as he carves
at a piece of wood with a large knife.

MURDOCH
The armored car leaves the office
at noon. It'll take approximately
24 minutes to reach the Interstate
bank. That's on 12th street.
They take about five minutes to
load the money.

RUDY
Five million bucks. I love it, I
love it, I love it.

Murdoch pauses and stares at him.

MURDOCH
Can I go on now?

RUDY
Who's stopping you?

MURDOCH
(a beat, then)
Now Masters will be riding as the
second inside man. Once you guys
stop the car. Masters will disable
his partner and open the doors.

RUDY
When are we gonna to meet this
Masters dude? I want to give him
a five million dollar kiss.

Rudy smacks his lips in a big kiss. As they hear a car
drive up, Sweeney goes to the window and looks out.

SWEENEY
He's here.

Sweeney grins and cuts a look at Bass, as if they are
sharing a private joke. Rudy doesn't see it, something is
going on. There is a knock at the door. Sweeney opens it
and GENE MASTERS walks in. Masters is fortyish, tall, lean
and - black

MASTERS
Sorry I'm late.

CLOSE ON RUDY

his jaw drops. He can barely get the words out.

RUDY
(explodes)
What the hell is going on here?!

SWEENEY
(with a grin)
What do you mean, Rudy?

RUDY
(incredulous)
Whatya mean whatya mean?
(beat)
Look at him.

Bass and Sweeney laugh. Everyone else is puzzled.

FRANK
Bass, didn't you tell him?

BASS
(laughing)
I couldn't resist.

Frank cuts a hard look at Bass as -

MASTERS
I don't think this is funny.

RUDY
Neither do I, boy.

FRANK
Cool it.

RUDY
I ain't working with a spade.

MASTERS
Watch your mouth.

RUDY
Hey boy, I cut a dozen you guys up
in the joint. Now I'm gonna make
it a baker's dozen.

Suddenly, Rudy goes for Masters with his knife. Masters
leaps back, but Sweeney and Frank restrain him in time.

FRANK
Rudy, come here.

He takes Rudy aside so the others can't hear.

FRANK
(sotto)
Now relax and take another look.
A real close look.
(Rudy looks
puzzled)
See? That boy there isn't black.
He's green. He's five million
dollars worth of green. You
understand now?

Suddenly, it dawns on Rudy. He gets it. He nods and his
puzzled expression turns in a smile.

FRANK
Good. Now go out and take some
target practice.

Rudy nods and walks out the door. Frank walks over to
Masters.

FRANK
(with a smile)
I'm sorry about that, Masters.

MURDOCH
Your brother needs help.

Suddenly, Frank's smile fades. He grabs Murdoch by the
throat and pushes him against the wall.

FRANK
Don't you ever say that about him.
He's my brother.
(beat)
And he's worth more than five
million dollars. You got it?

MURDOCH
(gasping)
...Yeah

Frank releases him. Then:

FRANK
Good. Now let's keep talking
'about being rich.

INT. PARKER CENTER - HOMICIDE DIVISON - NIGHT #3

Hunter and McCall head for their desks.

MCCALL
Prison records show Rita never
visited Lassiter while he was in
Fenwick.

HUNTER
You figure she's straight?

MCCALL
All I know is she's got a sales
job, good references and pays her
rent on time. The neighbors say
they see her once in a while with
some good looking guy in his
thirties.

HUNTER
He wear tattoos?

She shakes her head. He shrugs. She then reaches behind
her desk and picks up a plant.

HUNTER
Just what we need around here to
cheer the place up.

MCCALL
So buy one. This one's for Andy.
Sort of a housewarming present.

HUNTER
You could get me one of those.

MCCALL
I did once, remember. You let it
die.

EXT. POLANSKI'S APARTMENT BUILDING - NIGHT #3

McCall pulls up and parks. As she starts to get out of the
car, she sees something. It's Polanski, emerging from the
front door of the building. He is wearing an ill-fitting
uniform of a security guard and is carrying a lunch pail.

McCall is stunned. She pulls back in the car and watches as
he climbs in his car. Her pain is evident as he drives off.

INT. PARKER CENTER CORRIDOR - DAY #4

Hunter and a distraught McCall are heading down the hall.

HUNTER
There's nothing wrong with being a
security guard. It's a
respectable job.

MCCALL
That isn't the point.

HUNTER
Then what is?

MCCALL
Andy's always been straight with
me. It just doesn't add up. He
has a daughter and three lovely
grandchildren in Seattle. He said
it was a great life. Why walk
away from that to work as...

HUNTER
(amused)
As a security guard.

She stops.

MCCALL
You know what I mean.

HUNTER
So talk to him about it.

POLANSKI (O.S.)
Dee Dee.

NEW ANGLE

to include Polanski, coming toward then.

MCCALL
Andy, what are you doing here?

POLANSKI
I'm the boss, right? I took the
day off.

Hunter and McCall exchange a furtive, pained look.

POLANSKI
I was unpacking my files and I
located the name of a perp who
used to hang out with the Aryans.

HUNTER
Who's that?

POLANSKI
A punk named Dennis Sweeney. When
he wasn't doing armed robbery, he
worked as a car salesman. Here's
his picture.

He hands them a picture. She looks. Hunter takes it.

INSERT - SWEENEY

whom we recognize from the car lot.

BACK TO SCENE

HUNTER
Is he fond of tattoos?

POLANSKI
He never had any.

HUNTER
Thanks, Andy, but the one thing we
know about these crazies is they
only hang with their own. And
they love tattoos.

POLANSKI
If it were me, I'd check it out.

HUNTER
We're buried in things to check
out.

POLANSKI
It can't hurt.

HUNTER
(Hunter eyes him)
Okay...I'll add it the list. See
you around.

Hunter walks off. Leaving Andy a little bit annoyed.
McCall notices it.

MCCALL
Andy, can we get together later?

POLANSKI
Sure. Look, I've got something
to do, I'll call you, okay?

MCCALL
Fine.

Whereupon he goes. Hold on McCall, concerned.

Hunter is with Devane who is not happy.

DEVANE
You telling me not one of our
people has come up with anything?

HUNTER
We've hit every known address on
these guys, every source in our
files. They all seemed to have
vanished into thin air.

DEVANE
Have you checked the Century Plaza
Hotel? Maybe they're holding
their annual convention.
(off Hunter's look)
Not funny, huh?

Hunter shakes his head.

DEVANE
This doesn't make sense.

HUNTER
Maybe it does. Knowing Lassiter,
I think they're planning
something. And if they are, I
think it's big.

MCCALL
I may have a lead.

They turn to McCall.

MCCALL
I couldn't resist checking the
records on Sweeney.

DEVANE
Who's Sweeney?

HUNTER
Andy Polanski, a retired cop
friend of McCall's came in with a
tip on this guy.

MCCALL
Sweeney served time in Quentin
eleven years ago. Guess who was
there at the same time. Frank
Lassiter.

HUNTER
That still doesn't put Sweeney in
the Aryan Legion.

MCCALL
Maybe it does. San Francisco P.D.
intelligence has come up with a
new wrinkle on these guys.
They're called "sleepers." These
guys are recruited in the prisons
- but don't tattoo them. They
keep then legitimate until they
need them.

DEVANE
Let's find this Sweeney.

MCCALL
(grins)
He sells cars at Best Deal Used
cars in the Valley.

EXT. BEST DEAL USED CAR LOT - DAY #4

Sweeney heads across the lot to a blue sedan. He opens the
door and is about to get in when -

POLANSKI(O.S.)
How you doing, Dennis?

NEW ANGLE

to include Polanski, standing nearby. Sweeney eyes him.

POLANSKI
Remember me?

SWEENEY
(grins)
Polanski. I thought you were
dead. Hey, you interested in this
sleek baby. It's blue - it used
to be your favorite color.

POLANSKI
It still is. What I'm interested
in is something a little uglier.
Frank Lassiter.

SWEENEY
Never heard of him.

Polanski shoves him hard against the car.

POLANSKI
Don't lie to me.

SWEENEY
What the hell you think you're
doing? You're not a cop anymore.

POLANSKI
Maybe not.
(a beat)
But I gotta lot of cop friends
who'd love to talk with you.

Whereupon Hunter's car drives into the lot in the b.g.
Sweeney sees the car arrive. He can read cops. Polanski
doesn't see them.

ON HUNTER AND MCCALL

as they emerge from the car. They see Polanski.

HUNTER
What the hell...

INTERCUT - BETWEEN HUNTER/MCCALL AND SWEENEY/POLANSKI

as Polanski turns and sees Hunter and McCall coming.
Suddenly Sweeney reaches into his sportcoat and whips out a
nine millimeter. He shoves Polanski down and climbs into
his car. As he fires the car up and peels away, he fires
two shots at -

HUNTER AND MCCALL

who hit the ground as the shots go over them and into the
side of a used car.

NEW ANGLE

on Polanski, who gets up and draws his gun and chases after
Sweeney's car as it peels away and disappears around the
corner. Hunter races up and grabs the gun out of Polanski's
hand.

HUNTER
(fuming)
Give me that.

POLANSKI
Look, guys, I should have had him.
I'm sorry.

Hunter cuts a look at McCall. On her look -

END OF ACT TWO

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

PART ONE - ACT THREE

FADE IN:

EXT. PARKER CENTER - DAY #4

Establishing.

INT. HOMICIDE DIVISION - DAY #4

An embarrassed and whipped Polanski is sitting in a chair by
McCall's desk. He's nervous.

INT. DEVANE'S OFFICE - DAY #4

McCall is arguing with Hunter. Devane is in the middle.

MCCALL
I know he was wrong, but he didn't
think you were taking him
seriously.

HUNTER
That doesn't entitle him to
suddenly come out of retirement.
What do you want me to do give him
a reward?

MCCALL
What do you suggest we do, lock
him up?

HUNTER
We've got a gang of killers out
there and he blew our only lead.

During this, the phone rings. Devane answers.

DEVANE
(simultaneously)
Devane.

MCCALL
A lead we wouldn't have had if it
wasn't for him.

DEVANE
(having trouble
hearing)
Will you both shut up.
(they do, then)
Yeah, I see. Thanks.

As Devane hangs up -

MCCALL
We don't even know for sure
Sweeney could have led us to
Lassiter, do we?

Before Hunter can reply.

DEVANE
We do now. That was ballistics.
The bullets from Sweeney's gun
match the rounds removed from one
of the murdered correctional
officers.

McCall's anger dissolves.

DEVANE
(sighs)
There's nothing to be gained by
charging Polanski. Send him home.

McCall and Hunter exchange a look. Hunter exits.

MCCALL
Thanks, Charlie.

He nods and she exits, too.

INT. PARKER CENTER - HOMICIDE SQUAD ROOM - DAY #4

Polanski is still sitting beside McCall's desk as she walks
up followed by Hunter. He rises immediately.

MCCALL
Andy, we've got to talk.

POLANSKI
Sure, kiddo. I'm really sorry
about what happened. It was a
dumb move.

HUNTER
(dry)
That's an understatement.

POLANSKI
(ignoring it)
Listen, guys, lemme make it up to
you. I've still got some great
sources. I'll hit the streets and
see what I come up with.

HUNTER
(overriding)
You don't know when to leave well
enough alone. Now go home.

POLANSKI
(explodes)
Now look Hunter - I was working
the streets while you were still
in knee pants. When a good cop
offers to help you, you damn well
ought to listen to him.

HUNTER
(losing it)
You aren't a cop anymore,
Polanski. You're a security
guard.

That hits Polanski like a shot in the gut. McCall cuts a
look at Hunter, who regretted what he said a split second
after he said it. Then:

MCCALL
(gently)
I'm sorry, Andy...I saw you
leaving for work last night.

Polanski turns and walks off. McCall looks back at a sorry
Hunter and then goes after Polanski.

INT. HALLWAY - DAY #4

Andy heads down the hall. McCall catches up with him.

MCCALL
Andy.

He keeps walking. She grabs him by the arm and stops him.

MCCALL
Andy, what is going on with you?

POLANSKI
Nothing.

MCCALL
I think there is. It's why you
came back to L.A., isn't it?
(off his look)
Andy, I'm your friend. You can
talk to me.

EXT. EXTERIOR PARKER CENTER - DAY #4

McCall and Polanski are walking slowly, Parker Center
looming like a giant shadow over the scene. Polanski seems
weary.

POLANSKI
When I retired and moved to
Seattle, I thought it'd be great.
I'd be with my daughter and her
kids - they're really good kids.

MCCALL
In your letters, you said you were
having a terrific time.

POLANSKI
I said a lot of things. Dee
Dee... my daughter didn't want me
there.

MCCALL
I can't believe that.

POLANSKI
Look, I don't blame her. She's
never been able to forgive me.

MCCALL
I don't understand.

POLANSKI
(a pained beat)
I don't have to tell you what a
cop's personal life is like. It
destroys it. First it cost me my
marriage. Then my kids, when my
wife moved to Seattle. I really
tried to stay in touch, but you
know how it is. Now my daughter
barely knows me.

MCCALL
Then why'd you retire there?

POLANSKI
I thought I could make it up to
her...and put it all behind us.
(a beat, then)
Do you have any idea what it's
like to live with people you hope
will love you, but in truth you're
just being tolerated?
(a beat)
I always felt I was alone there.

MCCALL
So you came back.

POLANSKI
Because I was never alone here. I
had the force. I had other cops.
(looks at her)
And I had you.

This hits McCall hard. After a pained beat.

MCCALL
You still have me.

POLANSKI
I know that.
(off her look)
Look, I gotta go to work.

MCCALL
Are you going to be okay?

POLANSKI
I'll be fine.
(managing a smile)
I'm still the old blind bear,
right?

Off her smile -

INT. SECURITY ARMORED COMPANY - OFFICE- DAY #4

BAXTER, the supervisor, is talking with RAY AUSTIN, a
pleasant, fortyish armored car guard.

BAXTER
I appreciate your being flexible.

AUSTIN
It's really no problem.

There's a knock at the door.

BAXTER
Come in.

Masters enters and closes the door behind him.

MASTERS
You wanted to see me Chief? Hi,
Ray.

Ray nods with a smile.

BAXTER
Masters, Ray's going to be taking
your spot on car five. You move
into car three.

MASTERS
(reacts)
I don't get it, I'm senior on
that run.

BAXTER
I know that, but I need your
experience in car three.

MASTERS
(with an edge)
But Chief...

BAXTER
(overriding)
Look, I don't want to argue about
it. That's the way it's going to
be.

Masters relents. Off Masters' frown.

AUSTIN
I'm sorry Gene.

Masters shrugs - what are you going to do. But he's
concerned.

EXT. A STREET - DAY #4

An older graying guy in his fifties, BUDDY MEEHAN is heading
down the street. He passes a dark doorway, and a hand
reaches out and grabs him into the doorway.

IN THE DOORWAY
We see it's Polanski who has him around the neck.

MEEHAN
Take my wallet, okay, but don't
hurt me.

Polanski starts to laugh. He releases Meehan, who turns
around. We now see that Meehan's arms are covered with
tattoos and so is his chest. Meehan can't believe it's
Polanski.

MEEHAN
Andy?

POLANSKI
Long time, Buddy.

MEEHAN
I thought you were retired in
Seattle.

POLANSKI
I was. Listen, I need some
information on some of your
clients.

MEEHAN
I got no more clients. I gave up
the business a long time ago. My
hand shakes a little...so those
bums don't trust me to paint 'em
anymore, but they're wrong.
(holds up trembling
hand)
It don't shake that much.

POLANSKI
You're still a great artist,
Buddy. I need a favor.

MEEHAN
You want me to do you a tattoo?

POLANSKI
I want you to help me locate Frank
Lassiter.

Suddenly, Buddy's face goes ashen.

MEEHAN
Andy, are you crazy? You don't
want to mess with those guys.

POLANSKI
It's not for me. It's for a
friend. Lassiter and his pals are
planning something big and I gotta
know about it.

MEEHAN
I'm outta touch, I told you.

POLANSKI
Give it a try - for old times
sake.

Off Buddy's look:

INT. FARMHOUSE - DAY #4

Frank is upset and as he stands with Murdoch and Masters.

MURDOCH
Look, we'll just have to take down
car three, now.

FRANK
How much?

Masters and Murdoch exchange a look.

MASTERS
About a million two - if you hit
it at the end of the run.

FRANK
That's not good enough, Murdoch.
That's chump change.

MURDOCH
That's the best we're going to do.

FRANK
That's second best. I don't like
it. There's gotta be another way.

He turns to Masters and grins.

FRANK
Hey Mr. Armored car. Why don't we
have a little talk.

On Master's puzzled look -

INT. CONVENIENCE STORE - NIGHT #4

The typical 7-11 type place. It's empty, except for a
CUSTOMER paying for something at the counter, the owner,
LARRY, and LE, a young Vietnamese stock boy. As the
customer pays and goes, focus on Le, stamping prices in
the aisle.

AUSTIN (O.S.)
Hey, Le.

Le turns to see Ray Austin, the armored car guard, entering.
He wears casual clothes now. As Austin walks up to the
Larry behind the counter -

LE
Hi, Ray.

AUSTIN
How's the kid doing, Larry?

LARRY
Works real hard. Thanks for
sending him over.

AUSTIN
Carton of kings.

Larry goes through his cigarette rack. No Kings.

LARRY
Le, check the stockroom and see if
you can find a carton of Kings.

LE
I wish you'd stop smoking, Ray.

Ray and Larry laugh as Le disappears into the stockroom. As
the Customer starts to pay -

RUDY (O.S.)
Everyone shut up and turn around.

Ray and the Customer turn to see

RUDY AND BASS

standing with their shotguns drawn. Rudy does all the
talking. They are dressed in dark long-sleeved shirts, but
Rudy's shirt is open revealing his tattoo, "Weiss Macht."
They push Austin and the customer against the counter.

LARRY
Don't get excited. Just take what
you want.

Rudy cackles and leaps over the counter, shoving Larry away.
He opens the register and scoops out the cash.

DANIELSON
The kid studies German in school.
It said -
(pronounces it
badly)
"Weis Mocked" It means "White
Power."

HUNTER
Brush up on your German. It's
pronounced "Weiss Macht."

DANIELSON
(Chuckles, then)
Go easy with the kid. One of the
victims was a guy named Austin.
He brought the kid and his family
over here from Vietnam.

They walk over to the paramedic wagon where the Le is
sitting. He has tears in his eyes. Hunter crouches in
front of Le.

HUNTER
Hello, son. I'm Sgt. Hunter.

Le nods. Then gently:

HUNTER
I'm really sorry about your
friend. I know this is hard, but
I need your help.

Hunter takes out a stack of small photographs.

HUNTER
Do you recognize any of these men?

Le takes them and slowly flips through the photos. Then,
tears in his eyes.

LE
Him....
(suddenly)
And him. He shot Ray. He shot
Ray.

The kid starts to sob and Hunter holds him. He nods to a
uniform standing by.

HUNTER
Thanks, son. You've been a big
help.
(nods to Uniform)
Le...this officer is going to take
you home. Okay?

Hunter rises and hands the boy over to the Uniform.

HUNTER
Rudy Lassiter and Carl Bass.
(then)
Lou, I'll want all your paper work
on your investigation.

DANIELSON
It doesn't make sense. These guys
don't murder three people for a
lousy three hundred bucks.

HUNTER
I know. There's got to be
another reason.

OMITTED

OMITTED

INT. SQUADROOM - NIGHT #4

McCall is preparing to leave as Hunter walks up.

HUNTER
I ran a backgrounder on Dennis
Sweeney. It turns out he comes
from Texas. I'm having him
checked out.

MCCALL
(cool)
Fine.

HUNTER
(sensing)
...Dee Dee. About Polanski...

MCCALL
I'd rather not talk about him now.

He nods. She starts out. Then she turns back.

MCCALL
Don't you ever go home, Hunter?

He doesn't answer. She turns and goes. On Hunter's puzzled
look -

INT. POLANSKI'S APARTMENT - DAY #5

Andy is looking through one of the boxes laying around the
meager living room. He finds some old photos and is slowly
flipping through them. He finds one, looks at it.

INSERT - THE PHOTO

of him with McCall when she was a rookie.

BACK TO SCENE

the phone rings. He puts the photos down and answers the
phone.

POLANSKI
Hello.

EXT. PHONE BOOTH - DAY #5- INTERCUT

It's Meehan.

MEEHAN
It's me, Andy. I talked to some
of my old clients. They haven't
seen any of Lassiter's people.

POIANSKI
You sure?

MEEHAN
Yeah. I'm sorry. I did learn
something I never knew. Remember
that guy Dennis Sweeney, I think
you busted him once. Guess who
his half-sister is - Lassiter's
ex-wife.

POLANSKI
(reacts)
You got an address on her?

MEEHAN
She lives in Sylmar. 24321 Angel
Heights.

POLANSKI
Thanks, Pal.

He hangs up. He waits a moment, thinking. He then dials.
As it rings, he looks at the photo.

INT. SQUADROOM - DAY #5 - INTERCUT

Hunter picks up the phone on McCall's desk.

HUNTER
Homicide. Sgt. McCall's desk.
Sgt. Hunter.

Polanski reacts. He considers for a moment as -

HUNTER
Hello...Hello...

Polanski hangs up. Thinks for a few beats and makes a
decision.

EXT. RITA LASSITER'S HOUSE - NIGHT #5

Pan over to Polanski's car. He is at the wheel. A half
eaten sandwich is on the dash board. He sips a cup of
coffee. He's been there for a while. A few beats -

INT. PARKER CENTER - HOMICIDE DIVISION - NIGHT #6

The squadroom is almost empty. Hunter gets up and takes his
coat. As he starts out, a FEMALE UNIFORM catches him.

FEMALE UNIFORM
That backgrounder from Texas on
Dennis Sweeney came in. The
only family to speak of is a half
sister, Rita.

Hunter reacts, opens a file, looks at something - takes his
coat and goes.

EXT. RITA'S HOUSE - NIGHT #5

A Ford Bronco drives down the street, passing -

POLANSKI'S CAR

Polanski perks up as it pulls up down the street.

HIS POV

of Dennis Sweeney. He exits, glances around. Satisfied,
he starts toward the house.

HUNTER
races up as Rita starts to scream and scream.

POLANSKI
(stunned)
He gave me no choice.

Hunter takes the gun out of Polanski's hand.

HUNTER
Shut up.

He kneels down and checks Sweeney's vital signs. He's dead.
Before Polanski can say anything more. Hunter turns him
around, places his hands behind his back and cuffs him.

HUNTER
(hard)
You're under arrest for
obstructing justice and anything
else I can throw at you.

As Hunter reads him his rights, we hold on Polanski. He
knows there is nothing to say.

END OF ACT THREE

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

PART ONE - ACT FOUR

FADE IN

91 INT. PARKER CENTER - PROPERTY ROOM - DAY #6

Polanski has just been released from the lockup and is
having all his possessions returned. He is in pain as he
takes his watch and money. As he turns towards the exit, he
finds McCall waiting in the doorway.

MCCALL
Andy...?

POLANSKI
Thanks for bailing me out.

MCCALL
You okay?

POLANSKI
Some way to end a career, huh?

MCCALL
(pained)
Andy...you had a great career.
But it ended three years ago.

POLANSKI
You think it's easy? One day
you're working the streets
commanding respect. The next day
you're just out there.

MCCALL
I know...but you've got to let it
go.

POLANSKI
Wait till you see what it's like
- walking down Figueroa, seeing a
guy that's dirty and you know you
can't do anything about it. That
hurts.

MCCALL
Andy, go back to Seattle. Give
your family another chance - try
and make a life for yourself.

POLANSKI
(a beat)
Yeah, maybe you're right.
(a beat, then)
Dee Dee, don't end up like me.

MCCALL
Andy...?

POLANSKI
I really gotta go. I'll call you
later.

MCCALL
Promise.

He nods and walks off, leaving McCall concerned.

92 INT. DEVANE'S OFFICE - DAY #6
Hunter is talking with Devane.

HUNTER
I spent three hours with Rita
Lassiter. She still claims she
doesn't know where Frank is.

DEVANE
We can't hold her.

HUNTER
I know, I'll put someone on her.

Before Hunter replies, McCall walks in.

MCCALL
Charlie, what's going to happen to
Andy Polanski?

DEVANE
There'll be a preliminary hearing.
I don't think the D.A.'s office
will go hard on him.

HUNTER
I'm sorry, Dee Dee.

MCCALL
(with an edge)
Yeah so am I. For a lot of
things.

She turns and walks out. Hunter and Devane look at each
other.

93 EXT. SECURITY ARMORED CAR COMPANY - DAY #6
The DRIVER and another GUARD are walking out and see -

94 ARMORED CAR

with its hood up. Masters, now in uniform, is fiddling with
the engine. The driver looks over.

GUARD
What're you doing?

MASTERS
(looks up)
You said it's been running rough
lately. I'm just tightening the
distributor cap.

He reaches in and pulls a wire out. He then lowers the
hood. He closes the hood.

MASTERS
Should be fine now. Let's roll.

GUARD
Man, I can't stop thinking about
Ray.

MASTERS
Me too...I really feel weird about
going out like this.

GUARD
What're you going to do?

The driver climbs in. Masters sighs sadly and he and the
other Guard climb into the back and slam the door. As the
truck drives out -

95 INT. PARKER CENTER - LUNCHROOM - DAY #6

Hunter is heading down the hall, when Danielson catches up
to him.

DANIELSON
(hands Hunter file)
Hunter, here's the paperwork you
wanted on the convenience store
shooting.

Hunter opens the file, looks at it. As he does...

HUNTER
Thanks. How's the kid doing?

DANIELSON
Okay. Nail those pigs. I'm sure
he'll feel a whole lot better.

Danielson is about to go when something catches Hunter's
eye. Suddenly -

HUNTER
(a realization)
Lou.
(Lou turns back)
Your convenience store victim,
Austin. He was an armored car
driver.

DANIELSON
(puzzled)
So?

HUNTER
See you later.

As Hunter takes off down the hall -

96 INT. PARKER CENTER - DIVISION - DAY #6

McCall is at her desk looking concerned. She picks up the
phone. As she starts to punch in a number. Hunter comes up.

HUNTER
I've got a lead, let's go.

MCCALL
Just let me call Andy, I'm worried
about him.

HUNTER
(snaps)
Worry about Andy later. Right
now, we've got a job to do. I
know what Lassiter's planning.

He takes his jacket and starts out. Annoyed, she hangs up,
takes her purse and goes after him.

97 EXT. INTERSTATE BANK - DAY #6

SEVERAL BANK GUARDS, very well armed, are standing at the
side door as Masters and the other armored car guard load
five large canvas bags, presumably filled with cash, into
the rear of the armored truck. Masters signs for it. He
and the other guard climb in and close the door. We hear
the door bolt behind them. As the truck drives away -

98 EXT. SECURITY ARMORED CAR COMPANY - BAXTER'S OFFICE - DAY #6
Hunter and McCall are with Baxter, the director.

BAXTER
A robbery? I don't understand.

HUNTER
A driver named Ray Austin was
killed two nights ago.

BAXTER
Yes...but...

HUNTER
Who took his place on the route?

BAXTER
I put our John Masters back on it.
What are you saying?

HUNTER
Back on it? Contact the car now.
Now!

Baxter quickly dials three digits. He listens.

MCCALL
What's their next pickup?

BAXTER
(dawning on him)
Five million dollars at
Goldenwest Bank.
(then)
It's not ringing...something must
be wrong.

HUNTER
Call them.

BAXTER
(glances at watch)
It's too late. They would have
left five minutes ago.

HUNTER
Get me the route, right now.

99 EXT. LOS ANGELES STREET - DAY "6
A Ford Bronco and a black sedan are parked on a side street.

100 INT. THE BRONCO - DAY #6

Frank, Bass and another Aryan are waiting. They are ail
carrying machine pistols.

101 INT. BLACK SEDAN - DAY #6

Rudy is at the wheel. Two other Aryans are with him. Rock
and roll blasts off the radio. Rudy, that crazy look in his
eye, taps the beat on the dashboard. He's in heaven.

102 EXT. L.A. STREET - DAY #6

Hunter's car roars through traffic.

103 INT. THE BRONCO - DAY #6

Frank looks up, sees something. And as he hits the horn
three times, we see -

104 EXT. STREET - DAY #6

The armored car is heading down the street with almost no
traffic.

105 ANGLE ON THE BRONCO

Frank peels out and skids to a stop in front of the armored
car. The sedan pulls up beside it. Frank, Bass and the
others get out with their machine pistols blasting.

The other guard tries the radio, but before he can,
Masters pistol whips him. The guard spins around.

OTHER GUARD
What the hell are you doing?

MASTERS
Getting rich.

107 EXT. ARMORED CAR - DAY #6

Frank, Rudy and the others are there. The door opens to
reveal Masters holding his gun on the other guard.

FRANK
Get the money.

Masters begins throwing out the bags and climbs out after
them, Rudy, holding the guard at bay.

108 ANGLE

as Frank and Bass throw the bags into the back of the
Bronco.

FRANK
Rudy, finish up and let's go.

As he and Bass climb into the Bronco.

109 NEW ANGLE
Rudy has his gun on the guard. He turns to Masters.

RUDY
Hey, boy, you blow your pal away.

MASTER
That's your department.

Masters heads for the sedan. Rudy laughs and fires his
weapon. The guard is hit OFF CAMERA as Rudy follows
Masters to the sedan. -

110 HUNTER'S CAR

roars up to the scene. He and McCall explode out with their
guns drawn.

111 ON THE BRONCO
Frank seeing him, peels out.

FRANK
Let's go, Rudy.

112 ANGLE ON RUDY

about to get into the car, but he stops and drags a stunned
Masters out.

114 NEW ANGLE

almost oblivious to the firing, he holds the gun on Masters.

RUDY
My brother's wrong. I'm not
colored blind. You're not green,
boy. You're black.

He cackles and blows Masters away. Then he turns back to
the action In time to see -

115 MCCALL

fire and hit one of his men, knocking him down.

116 RUDY

attempts to climb into the sedan when Hunter comes around
the side - his gun ready.

HUNTER
Drop it.

RUDY
Never.

He cackles and wheels around his gun blazing - but it's
too late. Hunter blasts him across the pavement. A long
beat, and Hunter bends down and takes his vital signs.
McCall comes up.

MCCALL
The other one is dead.

HUNTER
This one's still alive. Call a
paramedic.

DISSOLVE TO:

117 EXT. L.A. COUNTY HOSPITAL - NIGHT #6
Establishing.

118 INT. COUNTY HOSPITAL - LOBBY - PAY PHONE - NIGHT #6

McCall steps up to a pay phone, drops a quarter in and
punches in a number. She waits.

119 INT. POLANSKI'S APARTMENT - NIGHT 6 - INTERCUT

Close on the phone as it rings. Camera pans over to include
Polanski, almost pathetic, slumped in a chair. He doesn't
even turn to the phone as it rings...and rings. Camera
pushes into his face - and -

120 MCCALL

lets it ring another couple of times and hangs up. On her
concern.

121 INT. L.A. COUNTY HOSPITAL - LOBBY - NIGHT #6

A colorless room done in faded pastels and scarred
furniture. Several uniforms are stationed at various
points. Devane enters and walks over to Hunter.

DEVANE
How bad is Rudy Lassiter?

HUNTER
Bad...he's in surgery. The doctor
says it could be hours.

DEVANE
He better live. The Feds are
going to be all over us in a few
minutes. And he's our only link to
Lassiter and the five million
dollars.

During this, McCall walks up.

MCCALL
Charlie, I'll be back in a little
while.

DEVANE
Something wrong?

MCCALL
I'll be back.

She goes. Devane and Hunter share a puzzled look and --

122 EXT. POLANSKI'S APARTMENT BUILDING - NIGHT #6

McCall's car pulls up in front of the building. A black and
white is there. Suddenly, her face fills with dread. She
hurries past a few neighbors standing in front and into the
building.

123 INT. APARTMENT DOOR - NIGHT #6

A UNIFORM is standing there. McCall hurries up and flashes
her badge and enters.

124 INT. LIVING ROOM - NIGHT #6

as she enters she sees the paramedics. And then she stops
in her tracks... her face filled with the horror -

125 WHAT SHE SEES

Polanski slumped in the chair, blood oozing from his head.
His hand draped over the easy chair. A revolver lying on
the floor where it fell after he took his own life.

126 CLOSE ON MCCALL
her face filled with anguish...her body sags.

MCCALL
No, Andy...no.

She lets out a cry of pain...she leans against the
wall...and the tears begin to flow. Long moment - then;

127 INT. PARKER CENTER - HOMICIDE SQUAD ROOM - NIGHT #6

It's almost deserted. Hunter is at his desk as Devane walks
up.

DEVANE
The hospital called. They think
Rudy Lassiter will be out of
surgery within the hour.

HUNTER
We better get over there.

As they start out, they see McCall.

HUNTER
Dee Dee, we're heading back to the
hospital.

She doesn't reply.

HUNTER
(puzzled)
Dee Dee...?
(a beat)
You okay?

MCCALL
(after a long beat)
Andy Polanski killed himself
tonight.

It hits Hunter and Devane hard. McCall starts toward her
desk. Hunter and Devane exchange a pained look. Hunter
walks up to her.

HUNTER
Dee Dee, I'm so sorry.

MCCALL
(a pained beat, and
then she turns)
You know he had no life except for
the job. His family didn't care
about him. All he had was being a
cop - and when that was over, he
had nothing.

HUNTER
(gently)
He had you.

MCCALL
No, he didn't even have me.
(a beat)
When I left here today, I sensed
something was terribly wrong with
him. But I didn't do anything
about it. Because, just like
Andy, the only life I have is
being a damn cop.
(with rising anger)
And I had my job to do, isn't that
what you said?
(off Hunter's look,
explodes)
This job can go to hell. Because
I'm not going to end up like Andy.

She takes her badge out of her purse and throws it down on
the desk and walks out. Hold on Hunter...a look of pain on
his face.

FADE OUT

END OF ACT FOUR

END OF PART ONE

*************************************************************
THE LEGION

PART TWO - ACT ONE

Note: Before the body of the second hour begins, there will
be a series of moments, to be determined later, which will
recap the first hour and set the stage for the second.

ACT ONE

FADE IN

201 EXT. WILSHIRE MEMORIAL HOSPITAL - ESTABLISHING - NIGHT #6
It looks like most hospitals. Large, sterile, forgettable.

202 INT. HOSPITAL - WAITING ROOM - NIGHT #6

The people gathered are all cops. Several UNIFORMS are
stationed at various points. Devane turns a corner and
enters the room. He joins Hunter who's sitting on one of the
sofas.

DEVANE
(sitting down next
to him)
Just got through talking to the
Feds. They're going to back off
and let us handle the
investigation.

Hunter nods, but he is preoccupied, staring out the window.
Devane senses it.

DEVANE
Rick...give McCall some time,
she'll be back.

HUNTER
I'm not so sure. Charlie.

KELLY (V.O.)

Who do I talk to here?

Both men look over as -

203 A YOUNG RESIDENT SURGEON,

wearing a surgical gown, appears at the entrance to the
waiting room. His eyes scan the room. Devane and Hunter
rise and walk over to him.

KELLY
I'm Doctor Kelly. Your man is out
of surgery.

HUNTER
How's he doing?

KELLY
He's young and strong. His vital
signs are good. He should be ok.

HUNTER
When can we talk to him?

KELLY
When he's no longer in danger.

DEVANE
Look, Doc, we've got killers out
there and he's our only link.

KELLY
I understand, but it'll have to
wait. Come back in the morning.

Off their nods -

204 EXT. HOSPITAL - NIGHT #6

Several reporters and a TV news crew have assembled out
front. They converge on Hunter and Devane as they come
through the front doors. Questions come simultaneously.

REPORTER #1
How much money was stolen from the
armored car?

A TV reporter shoves a microphone up to Devane's face.

REPORTER #2
Is it true he's Frank Lassiter's
brother?

Devane stops. Then -

DEVANE
The wounded suspect's name is Rudy
Lassiter. He's the younger
brother of Frank Lassiter, who
escaped from an armed escort two
days ago.

REPORTER #1
What's his condition?

205 CLOSEUP ON TV SCREEN

Devane's action continues but it is now being viewed on a TV
monitor. Hunter can also be seen standing next to him.

DEVANE
Serious. We intend to question
him tomorrow. In the meantime,
he's under heavy security and
when his condition warrants
it,...

Begin a SLOW PULL-BACK to:

206 INT. FARM HOUSE - NIGHT #6

Frank, Bass, Leroy and Wendell are seated in various parts,.
of the den, watching the TV screen. Near them is a table,
piled high with the money that was taken in the robbery.

FRANK
(looking intently)
Hunter...

DEVANE
(continuing)
...he will be moved to further
confinement, pending a...

Devane never finishes his sentence. Frank picks up a heavy
ashtray and throws it directly at the TV screen. IT
IMPLODES WITH A LOUD BANG. The screen goes black.

207 OMITTED

208 INT. HOMICIDE SQUAD ROOM - DAY #7

Hunter comes into the squad room as Charlie is about to
enter his office.

HUNTER
Charlie....

Devane pauses. Hunter walks up.

HUNTER
I just checked out Masters at
Pacific Armored Service.

DEVANE
(off Hunter's look)
Let me guess - he's clean as a
whistle.

HUNTER
He was one of their most
experienced guards.
(a beat)
It just doesn't make sense. Why
would a white supremacist like
Lassiter hook up with a black man?

DEVANE
I can think of five million
reasons.

HUNTER
I know, but those crazies wouldn't
even sit down with Masters unless
someone put them together.
There's got to be a connection
somewhere.

DEVANE
Then find it.

Hunter nods. Devane moves off toward his office. As Hunter
continues on toward his desk, SGT. FRANK DONNEGAR walks up.

DONNEGAR
Hey, Hunter, you got a second...?

HUNTER
Sure, Frank.

DONNEGAR
I'm sorry about McCall.
She's a good cop.

HUNTER
The best.

DONNEGAR
I know this may not be the time,
but.. .you know Handley's out on
disability...how would you feel
about the two of us throwing in
together.

HUNTER
Look, Frank, I...

DONNEGAR
I promise to shower every day and
keep my teeth brushed.

HUNTER
(smiles, then)
Frank, you're a damn good cop, but
don't write McCall off. She's
just going through a rough time.

DONNEGAR
Oh. Well, I hope you're right.

Off Hunter's look -

209 OMITTED

209A 1NT' MCCALL'S CONDO - DAY #7

McCall is sitting in a chair, looking through an old picture
album. It's presumably of happier days. She seems lost in
thoughts and memories. The doorbell RINGS and intrudes on
the moment. She closes the book, walks over and opens the
door. Hunter is standing in the doorway.

HUNTER
Hi - did I catch you at a bad
time?

MCCALL
I was just going over some things.

HUNTER
Can I come in?

MCCALL
(a beat)
Sure.

HUNTER
(steps in)

Look, what do ya say we go out and
get some lunch.

MCCALL
Since when do you take the time
out of a busy day for a lunch
date?

HUNTER
Why not. We haven't done it in a
long time. Maybe, that's part of
the problem.

MCCALL
(a sad smile)
Rick, I know what you're doing but
I'm not changing my mind.

A beat as Hunter considers this. Then -

HUNTER
Look, we've been partners for over
five years. We've been through a
lot of hell, I think I'm entitled
to a conversation.

MCCALL
I could use something to eat.
(smiles)
I'll get my coat.

The phone RINGS as he goes to get her coat. She picks it
up.

MCCALL
Hello...?

INTERCUT WITH

210 INT. DEVANE'S OFFICE - DAY #7

Devane is at his desk, cradling the phone between shoulder
and neck as he puts on his jacket.

DEVANE
Dee Dee, it's Charlie. Is Hunter
there?

MCCALL
Yeah.
She begins to hand off the phone, when -

DEVANE
Hey, wait a second.... You ok?

MCCALL
(too quickly)
I'm fine.

She holds the phone out to Hunter.

MCCALL
(with edge)
It's Charlie.

Hunter takes the phone.

HUNTER
Yeah.

DEVANE
I just heard from Dr. Kelly. Our
boy's conscious and able to talk.

HUNTER
I'll meet you at the hospital.

Hunter hangs up the phone and looks at her.

MCCALL
(resigned)
I know.

HUNTER
I'll call you - we'll set
something up.

211 EXT. WILSHIRE MEMORIAL HOSPITAL - DAY #7

Hunter's car leaves the main street and stops at the front
entrance to the building. Hunter is out and moves quickly
to the doors where he disappears inside.

212 ANGLE - DOWN THE STREET

A blue van drives slowly by the front of the hospital. It
passes by two black and white patrol cars that are parked
out front.

213 INSIDE THE VAN

Bass is driving; Leroy is sitting next to him. They both
glance at the cruisers as they continue down the street.

BASS
Look at the heat they got here.
We're never going to get him out.

LEROY
Frank will think of something.

214 THE STREET
The van continues on, disappearing around a corner.

215 INT. RUDY'S ROOM - DAY #7

The room is small, used for single patients. Rudy is lying
in bed. His wounds are bandaged and he has an intravenous
drip running to his arm.

Devane is standing over him asking questions.

RUDY
I'm tellin' you, he's gone. You
think Frank's gonna hang around
with the hit we made, you're
crazy.

Devane turns as Hunter enters the room.

HUNTER
(on the move)
How're we doing?

DEVANE
Rudy swears Frank is long gone and
why would Rudy lie?

Rudy turns his head, looks at Hunter.

RUDY
Hey, I remember you.
(a beat)
You're Wyatt Earp - the guy who
shot me. You shoulda killed me,
Wyatt.

HUNTER
Why's that?

RUDY
Because I'm going to kill you.
You can bet all your nickels and
dimes on it.

HUNTER
You're going to have a tough time
doing it from a prison cell.

RUDY
Don't be so sure - I got ways.

HUNTER
What are you going to do - send a
messenger? No one's around
because they've all split. You're
a real loser, you know that?

RUDY
Who you callin' a loser?

HUNTER
You figure it out. You're here
and Frank's on his way to paradise
with five million dollars. You
said so yourself.

RUDY
That don't mean nothin'.

HUNTER
It means you're alone, Rudy.
You're going to take the rap for
everything.
(a beat)
Come on, Charlie - let's get out
of here. We'll have lots of time
to talk to him.

The two men start to leave. Rudy musters enough strength to
pull himself up on his elbows.

RUDY
(shouts)
My brother loves me. You
understand what I'm say in'? He
loves me!

Hunter and Devane exit the room without responding. Rudy's
head sinks back against the pillow.

INT. HOSPITAL CORRIDOR - DAY #7
Hunter and Devane walk down the corridor.

DEVANE
What was that about?

HUNTER
Brotherly love, Frank's still here
and so is the 5 million bucks.

They continue down the corridor, disappearing from view.

217 OMITTED

218 INT. MURDOCH'S OFFICE - DAY #7
Murdoch's at his desk. He picks up the RINGING phone.

MURDOCH
Hello...?

RITA (V.O.)
Honey, it's me....

MURDOCH
It's not smart to call me here.

INTERCUT WITH:

218A EXT. PHONE BOOTH - DAY #7

It's one of those phone booths that could be anywhere. Rita
Lassiter is inside.

RITA
It's ok. I'm calling from a
payphone.
(a beat)
I'm scared, Mike. Can't we just
get out of here.

MURDOCH
We will. As soon as I get my
share of the money.

RITA
I don't care about the money.

MURDOCH
That money's our future, Rita.
Just think about it - we'll never
have to worry about anything
again.

A beat.

RITA
I love you so much.

MURDOCH
(smiles)
Don't worry. It's going to be
ok.

Murdoch hangs up. HOLD on him as he thinks about the
conversation and what he's going to do.

219 EXT. FARM HOUSE - NIGHT #7

The van and junked vehicles are parked out front. Murdoch's
car is among them. Leroy, Wendell and Bass are on the
grounds, guarding the area.

220 INT. FARM HOUSE - NIGHT #7

Frank and Murdoch are in the middle of a heated
conversation. The money is nowhere to be seen.

MURDOCH
Rudy's got nothing to do with me!
We had a deal. We split the money
after the job.

FRANK
We split the money when I get Rudy
back.

MURDOCH
Are you crazy!? He's guarded
night and day. There's no way!

FRANK
There's gotta be.
( a beat)
You want your money?! Find one!

Frank's got him and Murdoch knows it. Off Murdoch's
reaction -

221 INT. WESTSIDE CHAPEL - TIGHT ON MCCALL - DAY #8

McCall rises from her seat and starts toward the exit. PULL
BACK to see that it's not a large crowd. Hardly more than a
handful. A few walk by to pay their last respects at the
closed coffin that's on display.

McCall comes up along side Hunter who has just gotten out of
his seat and is standing near the exit.

MCCALL
I didn't see you come in.

HUNTER
I got here late.

This is hard for both of them. McCall glances around.

MCCALL
I expected more people. I'm glad
you came.

222 ANGLE - ANDREA RENFROE

A pretty woman, in her midthirties is walking down the
aisle, coming toward them. She comes up along side Hunter
and McCall.

ANDREA
Excuse me, are you Dee Dee McCall?

MCCALL
Yes...?

ANDREA
I'm Andrea Renfroe.
(off McCall's blank
stare)

I'm Andy's daughter. You probably
know this, you meant a lot to
him.

She extends her hand to shake. McCall hesitates a moment,
then grasps it.

MCCALL
(coolly)
He meant a lot to me.

McCall withdraws her hand, then looks at Hunter.

MCCALL
This is Sergeant Hunter.

Hunter and Andrea adlib hellos. As Andrea turns back to
McCall -

MCCALL
It was nice meeting you.

McCall turns and walks out of the chapel. Hunter nods a
goodbye and follows her. Hold on Andrea watching McCall
leave.

223 EXT. CHAPEL - DAY #8

McCall walks across the path toward her car. Hunter catches
up to her.

HUNTER
You were pretty cold in there.

MCCALL
She's not my favorite person in
the world.

HUNTER
Why's that...?

McCall stops walking, looks at Hunter.

MCCALL
Things Andy said. She was pretty
hard on him.

HUNTER
Maybe she had reasons.
(off her look)
I said, maybe.

McCall lets out a long sigh.

MCCALL
He wasn't the greatest father - I
know that. But after he left the
force and went to her, she didn't
exactly welcome him with open
arms. Maybe if she had...
(she stops)
I guess there are a lot of maybes.
(another beat)
Take care of yourself, Rick.

HUNTER
You, too.

This is hard for both. Sad goodbyes always are. With a
slight nod, McCall turns and continues on toward her car.
Hunter watches her go.

EXT. MCCALL'S CONDO - DAY #8

223A McCall's car pulls up to the front of a well kept building
with a manicured lawn.

224 DOWN THE STREET

a by now familiar blue van is parked along the curb. Its
engine idles softly.

225 POV FROM THE VAN

Through the windshield, McCall is seen climbing out of the
car. As she reaches into the back seat to take out her
purse, a kid on a skateboard whizzes by. The noise
obliterates any other sound. It's at that moment that -

226 THE VAN

lurches forward, its tires screaming against the asphalt.

227 MCCALL

has her key in the door of her car; in the process of
locking it. The van comes along side her.

228 ANOTHER ANGLE

Brakes are slammed; the door slides open and Wendell and
Bass jump out. McCall's first instinct is to get her gun
out of her purse but it happens too fast. Her arms are
pinned to her side and she's lifted off her feet. A gag
with chloroform on it is placed over her nose. Seconds
later, she's inside; the door slams shut and the van
screeches away. As quickly as it turned to noise, the
street is now quiet.

FADE OUT

END OF ACT ONE

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

PART TWO - ACT TWO

FADE IN

229 EXT. FARM HOUSE - DAY #8

It's as it was. Sentries are posted. Cars are out in
front; including the blue van.

230 INT. FARM HOUSE - BEDROOM - TIGHT ON MCCALL - DAY #8

She's lying flat on her back on a bed. Her hands are over
her head, chained to the bars of a metal head board. A
strip of adhesive tape covers her mouth and eyes.

PULL BACK to reveal Frank and Bass, standing over her. Bass
is shirtless. Tattoos cover most of the upper part of his
muscular body.

Frank reaches over and yanks the tape from her eyes. She
winces from the pain, and focuses on Frank and Bass.

FRANK
Do you know who I am?

The tape is still covering her mouth. She nods, yea.

FRANK
(calm, controlled)
Then you know what I'm capable of.

She doesn't have to respond; the fear is evident in her
eyes.

FRANK
Let me explain to you what your
problems are...
(indicating)
You've already met Mr. Bass. He
enjoys doing certain things to
women. He'd like to spend some
time with you - alone.
(indicating)
Beyond that door, are Wendell and
Leroy. They'd like to spend time
with you, too.
(a beat)
The only one stopping them is me.

He puts the tape back over her eyes and he and Bass leave
the room, closing the door behind them. Hold on McCall,
helpless and alone.

231 INT. HOMICIDE SQUAD ROOM - DAY #8

Hunter enters the squad room. Donnegar has the phone to his
ear. He calls out to him.

DONNEGAR
Hunter, you have a call on line
two. The guy says it's important.

Hunter reaches his desk and picks it up.

HUNTER
Hunter...

INTERCUT WITH:

232 INT. FARM HOUSE - DEN - DAY #8

Jack is on the phone. McCall sits next to him. She no
longer has tape on her eyes or mouth and her hands are now
free. But the other men are armed and in various parts of
the room.

FRANK
It's me, Hunter.

Devane is walking toward his office. Hunter signals him to
stop. He points to another phone, holds two fingers up,
indicating the second line.

HUNTER
(a beat)
Who is this?

FRANK
Don't play games with me. I don't
have the time. I want my brother.

Devane picks up another phone, listens in.

HUNTER
Rudy's going back to prison. So
are you, Lassiter.

FRANK
You think so? Hold on - someone
wants to talk to you.

While this is going on, Devane scribbles something on a
piece of paper and hands it to Donnegar. Donnegar grabs his
phone and begins to speak into it.

At the farm house, Frank has handed the phone to McCall.

MCCALL
Rick, it's me.

HUNTER
(stunned)
Dee, Dee

MCCALL
They grabbed me outside of my
place. They...

Frank takes the phone from her, resumes speaking.

FRANK
Get the idea? - we're gonna make
a little trade.

HUNTER
Lassiter, let's talk about this.

FRANK
Oh we'll talk alright -- but not
now. I'll get back to you with the
details. In the meantime, think
of all the fun we're having.

HUNTER
(explodes)
Lassiter!

The phone clicks off. Hunter and Devane both look at
Donnegar. He shakes his head, no. Hunter turns to Devane.
Both men are thinking the same thing. HOLD on their
frustration and fear.

OMITTED

INT. PARKER CENTER - CORRIDOR - DAY #8

Hunter stands in the hallway, waiting. Near him is a closed
door. The lettering on it reads: COMMANDER MATTHEWS. The
door opens and Devane emerges with MATTHEWS, a man in his
mid-fifties who's still hard as nails. Both men look grim.

MATTHEWS
(approaches Hunter)
I'm sorry, Sergeant - we can't
make a trade.

DEVANE
It's Department policy, Rick. We
knew that going in.

HUNTER
(frustrated)
Of course, we did. We also know
he's a stone killer. So, what do
we do?

MATTHEWS
Everything we can. This is
priority one. Anything you need -
you've got..

HUNTER
But it's still up to us to get her
out.

MATTHEWS
I'm afraid that's the way it has
to be.

And off that sobering reality -

236 INT. FARM HOUSE - BEDROOM - NIGHT #8

McCall is lying on the bed. She's still manacled to the
head board but the tape is gone from her eyes and mouth.
The door opens and Bass enters. He's carrying a bag from a
fast food place. With his foot, he kicks the door closed
behind him.

BASS
I brought you something to eat.

He places the bag on the chair, next to the bed. Then he
pulls out a hamburger, trench fries and a soft drink.

MCCALL
I can't eat with my hands chained.

Bass unlocks the manacles, allowing her movement. He puts
his mouth close to her ear. She stiffens at his touch.

BASS
You smell real good, you know
that?

She moves away, rubbing her wrists. She tries to keep her
voice even.

MCCALL
Thanks for the food. I'd like to
eat alone, ok?

She begins to eat. Bass is still very close. With his
finger, he begins to trace the outline of her face, starting
with her hairline and moving down toward her throat.

BASS
Your skin is very soft.

MCCALL
Don't do that.

Bass begins to unbutton her blouse.

BASS
I think you like it.

236A FULL SHOT

McCall lashes out suddenly, her fist going for his throat.
But Bass is ready and he grabs her, pushing her down on the
bed. McCall's knee comes up into his groin and she twists
free. She slams the hard edge of her hand against the
bridge of his nose. Then she scrambles off the bed. Bass
shakes off the pain and is about to lunge for her when the
door opens. Revealing Frank.

FRANK
Bass, that's enough!

Bass is still moving toward her.

FRANK
I won't say it again.

Bass stops, glares at her, then:

BASS
C'mon Frank.

FRANK
Get out.

He leaves the room. As Frank walks over to the bed -

MCCALL
(a beat)
Thanks.

He manacles McCall's hands as they were.

FRANK
Don't thank me Lady. If I don't
get my brother back - I'll let
Bass have you.

He leaves, closing the door after him. McCall's body begins
to shake with emotion. She draws her knees up to her chest
and remains there, staring at the walls enclosing her.

237 INT. DEVANE'S OFFICE - DAY #9
As Hunter enters -

HUNTER
Charlie, I found the connection
with Masters. I think I know how
it went down.
(off Devane's look)
Before working for Security Armor,
Masters applied for a job with the
Compton Police. He used Michael
Murdoch as a reference.

DEVANE
(stunned)
Murdoch...?

HUNTER
That's right. Masters was a guard
at Fenwick.

238 EXT. PRISON YARD - DAY #9

Murdoch and Hunter walk along the perimeter of the yard. A
security fence separates them from inmates who are
exercising on the grounds.

MURDOCH
That bastard -- he was in on the
killing of the guard...
everything.

HUNTER
Probably. Masters and Lassiter
were here at the same time. It
all fits.

They stop walking. Murdoch shakes his head.

MURDOCH
Over the years I've recommended a
lot of guards for outside jobs.
He's the first one that's turned
out dirty.
(a beat)
What can I do to help you?

HUNTER
I need information. What about
Masters' friends - who were they?

MURDOCH
Like I said, we weren't that
close. I'll try to find out.

HUNTER
Whatever you can do - and I need
it in a hurry.

239 EXT. FARM HOUSE - NIGHT #9

A car drives up the road, passes a SENTRY on guard and
continues on toward the house that's lit up in the night.

240 INT. FARM HOUSE - BEDROOM - NIGHT #9

Through the window in her room, McCall sees the headlights
of the approaching vehicle. She gets off the bed, trying to
get to the window but the chain attached to the manacle is
too short. With both hands, she grasps one of the
vertical metal bar that's holding the manacle in place. It
begins to give.

241 EXT. FARM HOUSE - NIGHT #9

Frank comes out of the house and walks up as the car stops.
The door opens and Murdoch steps out. The two men are
illuminated by an outside post lamp.

MURDOCH
Where's McCall?

FRANK
Inside.

MURDOCH
Alright, I gave you your
bargaining chip. I want my take.

FRANK
I told you, when I get Rudy -
that's when you get your money.

MURDOCH
(seething)
Listen to me, Frank - Hunter was
out at the prison today. He knows
that Masters was a guard. That
links him to me.

FRANK
(icy calm)
Then you got a problem.

241A INT. FARM HOUSE - NIGHT #9

She repositions herself, using her weight to pull against
the bar. Finally, it snaps - allowing the manacles to slide
forward on the curved top bar. It gives her another six
inches of movement and that's enough.

She leans forward, peering out the window.

241B OMITTED

241C MCCALL'S POV

Murdoch and Frank are where they were. Frank knows he holds
all the cards.

FRANK
You'll be taken care of when I say
so.
(menacing)
Now, get out of here while you
can.

Several beats as each hold the others stare. Then Murdoch
gets back in his car, slams the door and tears off. Frank
watches him go.

242 REVERSE ANGLE - THE WINDOW - CLOSE ON MCCALL

She's seen enough and now knows what Murdoch's role has
been.

243
thru OMITTED

244

245 INT. DEVANE'S OFFICE - DAY #10

Hunter is with Devane at his desk, looking at a printout
with names and addresses.

DEVANE
This is a list of addresses of
ex cons who were in the Arayan
Legion. It covers the whole west
coast. We're checking on them
now.

Hunter turns away in frustration.

HUNTER
(snaps)
It'll take forever.

DEVANE
(reacts)
Rick, it's all we can do.

HUNTER
It's not enough. We're missing
things.

Hunter stares out at the squad room through the glass
partition of Devane's office.

HUNTER
Damn...

DEVANE
I'm sorry, Rick. I truly am.
We'll get her back. We'll find a
way.

HUNTER
(looks at him)
You know Charlie... If McCall
were here, she'd have an idea.
And that idea would give me an
idea. And pretty soon we'd know
what to do.

DEVANE
That's how it is with partners.

HUNTER
There were times when just a look
in her eyes would say everything.
No conversation --nothing. Just
a look. We were that good.

Devane holds Hunter's stare. A long look passes between
them. There's little else to say. Then the phone on
Devane's desk rings. He picks it up.

DEVANE
Devane...

A couple of beats as Devane listens, then he covers the
mouthpiece and -

DEVANE
(handing the phone
to Hunter)
It's Lassiter.

Hunter grabs the phone. Devane picks up the extension, and
signals through the glass partition of his office to
Donnegar to start the trace. And over this-

HUNTER
Go ahead.

INTERCUT WITH:

245A EXT. PHONE BOOTH - DAY #10

Frank is on the phone. Bass can be seen behind him, leaning
against the van.

FRANK

Listen carefully - I'll only say
it once. I want you to get my
brother and take him to the
parking lot on Sweetzer and Adams.
There's a phone booth as you drive
in. Wait there. I'll call with
more instructions. You have one
hour.

HUNTER
Your brother's still weak.

FRANK
Just do it! Or I'll kill her.

HUNTER
(a long beat; then)
Alright. I'll bring him.

The line clicks off. Hunter hangs up the phone -- looks at
Devane. They look through the glass partition at Donnegar.
He shakes his head, no. Devane turns to Hunter.

DEVANE
(reacts)
What does that mean?

HUNTER
We've run out of time, Charlie.

245A CONTINUED

His mind made up, Hunter is ready to leave.

DEVANE
I won't authorize this, Rick.

HUNTER
I don't expect you to.

A long beat.

DEVANE
You know you could lose your
badge.

HUNTER
I don't have a choice.

Hunter starts out of the office.

DEVANE
Hunter...?

Hunter stops. Turns back -- the two men look at each other
-- a beat. Then Devane reaches for the phone, dials a
number. Then --

DEVANE
This is Captain Devane.
Lieutenant Butler was going to
escort Rudy Lassiter to County
Hospital. I'm authorizing Sgt.
Hunter to take his place.

Devane hangs up the phone. An understanding passes between
them.

HUNTER
Thanks, Charlie.

And -

246

thru OMITTED

249

250 EXT. HOSPITAL - DAY #10

Hunter's car leaves the main road and heads toward the
hospital.

250A INT. HOSPITAL CORRIDOR - DAY #10

Hunter comes down the corridor with an ORDERLY pushing an
empty gurney.

250B INT. RUDY'S ROOM - DAY #10

Hunter and the orderly enter the room. A UNIFORM is waiting
for them with another orderly.

HUNTER
Let's go, Rudy. We're going for a
ride.

RUDY
(groggy)
I love rides.

The orderlies lift Rudy out of the bed and place him on
the gurney. They reattach his I.V. Then all of them exit
the room.

251 INT. HOSPITAL ENTRANCE - DAY #10

Rudy is being wheeled toward two large glass doors that lead
outside. The uniform walks along side him. Hunter is
behind the orderly, pushing the gurney. They pass by
VISITORS, coming their way.

252 OMITTED

253 RUDY

who up till now seemed drugged, suddenly comes to life. In
one move, he rolls off the gurney and shoves the uniform
hard, grabbing his gun.

And, now it happens very fast. Rudy fires a shot. People
in the hallway scatter in panic. Rudy turns and races to
the glass doors.

There are too many people between Hunter and Rudy for Hunter
to effectively do anything. Hunter sprints between them and
gives chase - just as Rudy goes through the doors.

254 EXT. HOSPITAL - DAY #10

Rudy has about twenty feet on Hunter as Hunter clears the
doors. Hunter's weapon is out. He takes aim.

HUNTER
Rudy, stop!!

RUDY
I'm gonna kill you, Wyatt!!

Rudy spins and fires. Hunter has no choice. He fires off
two blasts. Rudy goes down. It's clear that Rudy's dead.
Hunter moves toward the body and checks his vital signs.

255 HOLD ON HUNTER
grim; fearing that he might have sealed McCall's doom.

FADE OUT

END OF ACT TWO

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

PART TWO - ACT THREE

FADE IN

256 EXT. HOSPITAL - SERVICE ENTRANCE - DAY #11

Forty minutes later. Police vehicles have been kept to a
minimum. Rudy's body has been removed. Hunter is off to
the side with Devane and Commander Matthews.

MATTHEWS
I don't understand something,
Captain Devane. Sgt. Butler was
supposed to transfer the prisoner
to County General. Why was Sgt.
Hunter in charge?

DEVANE
Because Rudy Lassiter wasn't going
to be transferred.

MATTHEWS
I don't understand.

Whereupon Hunter steps up.

HUNTER
I was going to trade him for Sgt.
McCall.

Commander Matthews glances from Hunter to Devane and back.

MATTHEWS
Even though it's against
department policy?

HUNTER
I'm not going let Lassiter kill
McCall.

MATTHEWS
And you were aware of this,
Charlie?

DEVANE
That's right.

MATTHEWS
I see.
(a long beat)
So what are you going to do now?

As Hunter and Devane exchange looks -

257 INT. WILSHIRE MEMORIAL HOSPITAL - DR. KELLY'S OFFICE - DAY

Hunter is talking into a telephone. With him is Devane and
Dr. Kelly.

HUNTER
Thanks, Barney. I'll talk to you
later.

Hunter hangs up the phone, looks to Devane.

HUNTER
Barney'll keep Rudy's body listed
as a John Doe at the morgue. Doc,
can you handle the rest?

KELLY
The records will read that
Lassiter's in a private room in
ICU. I'll make sure the nurses
will keep it to themselves.

DEVANE

We'll station enough cops here to
keep it real.

HUNTER
It could buy us a couple of days.

DEVANE
(concerned)
If Frank Lassiter believes you.

HUNTER
I've got to make him believe me.

Devane glances at his watch.

DEVANE
You've got ten minutes to get to
that phone booth.

258 EXT. STREET - DAY (DAY #11)

Hunter's car pulls up to a phone booth. As he cuts the
engine, he hears the phone ringing in the booth. He gets
out and hurries into the booth and answers the phone.

HUNTER
I'm here.

259 INT. FARM HOUSE - DEN - INTERCUT

Frank is on the phone; McCall sits across from him, guarded
by Leroy.

FRANK
Is my brother with you?

HUNTER
(a beat)
We've got a problem.

FRANK
(snaps)
What does that mean?

HUNTER
I was ready to bring your brother
out when he began hemorrhaging.
They had to rush him back surgery.

FRANK
(explodes)
You're lying to me Hunter.

He grabs McCall by the hair and drags her to the phone.

FRANK
She's right here, Hunter. Mess
with me now and I'll kill her.

HUNTER
(explodes)
Listen to me, Lassiter. You want
Rudy, I'll drag him out of
surgery. He'll be here in twenty
minutes but I guarantee you'll be
picking up a corpse. Is that what
you want?

FRANK
You better not be lying to me.

HUNTER
I wouldn't risk McCall's life.

A long beat, then:

FRANK
(concerned)
Is Rudy gonna make it?

HUNTER
Yeah...if you give him some time.

FRANK
(a beat, then)
I'll get back to you.

HUNTER
Let me speak to McCall. I gotta
know she's all right or this thing
ends right now. Put her on.

Frank relents. He eases up on McCall and hands her the
phone. Frank listens. A beat, and -

MCCALL
I'm here, Rick.

HUNTER
Listen to me. We're going to make
this work. As soon as Lassiter is
out of surgery and stable, we'll
make the trade.
(a beat, then)

It'll work out...Dr. Polanski is
handling the surgery.

McCall's eyes reveal that she has intercepted the message.

MCCALL
He's the doctor we met last
Tuesday. He's a good surgeon.

Hunter reacts to that.
Frank grabs the phone out of McCall's hand.

FRANK
You both better pray this guy puts
Rudy together. You'll hear from
me. Hunter.

Frank hangs up the phone.

END INTERCUT

260 ON FRANK
mulling over the situation; he turns to Leroy.

FRANK
(apologetic)
Leroy...the cop could be messing
with us. We got to check it out.
You're the only one here without
tattoos.

Leroy looks at him. He understands.

LEROY
Do it.

FRANK
Thanks, man.

Suddenly, Frank smashes Leroy in the face. Leroy reels back
against a wall. As Frank hits him again - again.

261 CLOSE ON MCCALL

Horror fills her eyes as the sound of the beating continues.
Hold on her for a moment before:

262 INT. WILSHIRE MEMORIAL - EMERGENCY ROOM - DAY - LEROY•S POV
A bright light glares directly into camera.

263 THE SCENE

Dr. Kelly shines a medical flashlight into one of Leroy's
eyes, then the other. Leroy's face looks like hash. An
emergency room nurse stands nearby.

KELLY
If I were you, the next time a
mugger asks for my wallet, I'd
give it to him.

LEROY
Whatever you say, Doc.

Kelly clicks off the flashlight.

KELLY
I'm afraid you'll be with us a few
days.

Off Leroy's look -

264 INT. PARKER CENTER - DEVANE'S OFFICE - DAY (DAY #10)
Devane sits on the corner of his desk. Hunter stands.

DEVANE
Are you sure you two didn't get
your wires crossed.

HUNTER
McCall talked about "the doctor we
met on Tuesday." Last Tuesday we
went to Fenwick and met with
Murdoch and the warden.

DEVANE
It can't be Johnson. He's one of
the best warden's in the system.

HUNTER
I know. It's got to be Murdoch.

265 INT. FENWICK PRISON - BOILER ROOM - DAY #10

Deep in the bowels of the prison. It's a catacomb of
walkways, surrounded by furnaces, pipes, and ducts. Murdoch
walks through this maze and stops as an inmate, SYKES,
appears from the shadows.

MURDOCH
I got your message, Sykes. What
do you want?

SYKES
Frank's got your payoff ready.

MURDOCH
What made him change his mind?

SYKES
What do you mean? Frank's a fair
man. He wants you to get what you
deserve.

Suddenly, two inmates appear from the shadows behind Murdoch
and grab him. Before Murdoch can say anything, one inmate
slaps his hand over his mouth.

SYKES
The only problem is Frank doesn't
like to share.

Off Sykes smile -

266 INT. FENWICK PRISON - MURDOCH'S OFFICE - DAY #11

Hunter is at Murdoch's desk rifling through the drawers,
Johnson watches him.

HUNTER
Any idea who killed him?

JOHNSON
Are you kidding? You might as
well question the walls. No one
saw or heard anything.
(a beat)
I just can't believe Murdoch was
involved in this.

HUNTER
Five million dollars is a lot of
temptation.

Hunter has opened all the drawers except the bottom one. It
won't budge.

HUNTER
(looks at Johnson)
Why is this drawer locked?

JOHNSON
I'll get the key.

HUNTER
Forget it - Murdoch won't mind.

Hunter takes out a pen knife. He uses it to leverage the
drawer. The lock snaps, the drawer slides open. A small
metal box is inside. Hunter opens it and finds that it's
filled with receipts. Hunter reads one, hands it to
Johnson.

WARDEN
(looking at it)
Rent receipts...?

HUNTER
(points to it)
This isn't Murdoch's address, is
it?

On Johnson's startled reaction:

267 EXT. RITA'S HOUSE - NIGHT #11

Hunter's car is parked in front of the place. We hear Rita
sobbing inside.

268 INT. RITA'S HOUSE- LIVING ROOM - NIGHT #11

Rita is standing by the window, sobbing. Hunter is beside
her.

RITA
(finally)
How'd you find out about Mike and
me?

HUNTER
He was paying the rent here. It
wasn't too hard to figure.

She walks over to a sofa and sits down. A moment goes by.
Nothing much matters now.

RITA
You know, I never went to visit
Frank. But after a while, I
started feelin' sorry for him. I
figured, what the hell... everyone
deserves company.
(a beat)
So I put on my best dress and went
to the prison. But before I got
there I started getting scared
because I didn't want Frank to get
any wrong ideas about starting up
again.
(remembering)
I stopped at a little place in the
area to have some coffee and think
about what I wanted to do. This
guy came in and we started
talking. He was real nice. That
was Mike Murdoch. That's where it
all began. I didn't even know he
worked at the prison until later.
(a beat)
He treated me real nice.

HUNTER
Do you remember a Sgt. McCall who
interviewed you.
(off her nod)
Frank's holding her. He's going
to kill her if I don't find him.

She looks up at him. A long beat, then:

RITA
There's a farmhouse in Newhall, a
half mile past the Carver turn
off.

269 EXT. FARM HOUSE - NIGHT #11
Establish.

270 INT. FARM HOUSE - BEDROOM - NIGHT #11

McCall is on the bed, legs still shackled by chains. She
pulls at the chains and grimaces.

MCCALL
(calls out)
Hey.. .

No reply.

MCCALL
(shouts again)
Will someone get in here?