"OVERNIGHT SENSATION"

FADE IN

TIGHT SHOT - A U.S. SILVER DOLLAR

A thing of beauty, an 1893-S Morgan. Dazzling color flashes
from the head of Liberty as the lustrous silver catches the
light.

MARCEL'S VOICE
Gem uncirculated, mint state.
Only 100,000 struck. True larceny
at only $65,000...

INT. AMERICAN RARITIES - DAY.

All that glitters is not gold: a lot of it is platinum and
silver in this amazing downtown emporium of coins, precious
metals, and gems. The dollar is being shown by HENRY
MARCEL, 48, American's fastidious owner, to an elegant
blonde woman who's writing him a check while three or four
other well-heeled customers browse.

MARCEL
... and a birthday gift I dare
say your husband will never
forget.

She starts to reply but the words are choked off in her
throat by the cold metal of a pistol silencer pressing into
her neck. The gun is a large one, held in the
white-knuckled hand of a ski-masked young ROBBER (TONY
MELENDEZ). The woman freezes, eyes bulging. Marcel doesn't
move.

TONY
Let's do it!

ANOTHER ANGLE - A SECOND ROBBER

also masked, wearing a windbreaker and Levis. He moves
quickly, waving the customers aside with a long-barrel .45.

SOAMES
Over there! In the corner! MOVE
IT!

He pulls a good-sized ball-peen hammer from his windbreaker
and SMASHES the glass display cases, scattering shards while
stuffing Krugerrands, nuggets, jewelry, and coins into a
canvas satchel. The first robber, (Melendez) keeps the
customers and Marcel covered.

ANGLE BEHIND COUNTER - HENRY MARCEL

His eyes flicker between the two thieves. PAN DOWN his $700
suit leg to his Gucci loafers, one of which slides
ever-so-slowly over to a floor-mounted alarm button. He
shifts his weight and pushes it.

RESUME - FULL ANGLE

Donny's bag is filling up, but Tony's nerves are starting
to fray.

TONY
Twenty more seconds! Move it!

Near the wall, a LADY CUSTOMER starts to hyperventilate in
fear. HER GASPING GROWS LOUDER AND LOUDER.

TONY

Shut up, lady! SHUT UP!

But the woman is out of control. She SCREAMS and runs for
the exit. Tony FIRES; his gun's muted report sends her
spinning and sprawling in the doorway. She's killed
instantly. After a stunned beat, Tony races for the door,
grabbing at Donny as he passes. They hurdle her fallen body
and are gone.

EXT. STREET - OUTSIDE AMERICAN RARITIES - DAY

The robbers hurtle from the store, ripping off their masks
as they climb into a late-model Mustang. The leader is TONY
MELENDEZ, 24, a wire-taut Latino. His accomplice is anglo,
22; his name is DONNY SOAMES.

EXT. STREETS - HUNTER'S CAR - DAY
Cruising the area of the downtown L.A. gold mart.

HUNTER'S VOICE
Predictable, McCall? Me,
predictable?

ANGLE INSIDE HUNTER'S CAR - HUNTER AND MCCALL

She's driving. He's relaxed but alert in the passenger
seat.

MCCALL
You heard me, Hunter. You're a
very predictable person. For
breakfast this morning you had
a banana-protein smoothie with
skim milk, wheat germ and raw
dates.

HUNTER
So that makes you a genius? I
have that every morning.

MCCALL
That's exactly what I mean.
You're predictable.

HUNTER
McCall, I'm not predictable.
Consistent, maybe, but not
predictable.

MCCALL
Whatever you wanna call it.

HUNTER
No, no, there's a difference.
I'm consistent. I have values.
I have -

Suddenly from the dash a frantic BEEPING is heard and a
DISPATCHER'S VOICE crackles.

DISPATCHER (V.O.)
All units. Silent 211 in
progress, shots fired, Wilshire
and Euclid. Suspects fleeing in
dark blue sedan.

McCall cranks the wheel. Hunter lifts the radio mike.

HUNTER
L-56 responding...

EXT. STREETS - DAY - HUNTER'S CAR

screeches around in a U-turn, code 2. As it ROARS PAST,
HOLD on another vehicle, a van bearing the colorful logo
of KXRX-TV NEWS, screeching into traffic and pursuing Hunter
and McCall.

INT. KXRX NEWS VAN - DRIVING - DAY

In the front seat is a handsome young Latino newsman, RAUL
MERCADO. He moves the dial on a police radio; obviously
they've picked up the emergency call. He points to Hunter's
car.

MERCADO
Don't lose them!

RESUME IN HUNTER' S CAR - HUNTER' S POV

Hunter points to a late model blue Mustang, doing 75 toward
them in the opposite lane. We glimpse Tony and Soames
inside.

HUNTER
There! Blue Pony! Wha'd'you
think, McCall?

MCCALL
I say it's them!

HUNTER
Go for it!

EXT. STREETS - VARIOUS SHOTS - THE CHASE

McCall hits the siren and screeches a 180 as the Mustang
blows by them. Both cars careen through downtown traffic.
Staying on their tail is the KXRX News van, its logo again
clearly visible. McCall starts to gain on the Mustang.

HUNTER'S VOICE
(into radio)
L-56 in high-speed pursuit of
suspect blue '84 Mustang. Request
backup, southbound Flower at
12th...

ANGLE IN HUNTER'S CAR - HUNTER'S POV

The Mustang is close now. Donny Soames levers his upper
body out the passenger window, aims his long-barrel and
FIRES at Hunter and McCall. Hunter FIRES back, two shots.

EXT. STREETS - FULL SHOT

Soames is hit by Hunter's fire. He wobbles, almost hits
the pavement, then barely pulls himself back into the
Mustang.

INT. MUSTANG - DAY

Soames slumps into the car and falls against his partner,
bleeding badly. We SEE his gun clatter to the floor of the
car. Melendez tries to push Soames off him but Soames is
limp - dead weight.

INSERT - TONY'S REARVIEW
Hunter and McCall almost have him now.

RESUME ANGLE IN MUSTANG

With an adrenalin-aided burst of effort. Tony heaves Soames'
body over to the passenger side, then works the door handle
and the door swings open. He swerves and SHOVES Soames'
body out the door so that it lands in the path of Hunter's
car.

EXT. STREET - DAY

Soames body bounces grotesquely and McCall stands on the
brakes, stops just inches from his head. She leaps from
the car and checks his body.

HUNTER
slides over, taking the wheel and the radio mike.

HUNTER
Ambulance to Flower and Olympic!
Suspect wounded!

He jams his car in reverse to back around Soames' body and
continue pursuit. But the KXRX-TV News Van slides to a
stop behind him. Mercado and his camera crew start to climb
from the vehicle carrying equipment, blocking Hunter in. He
screams back:

HUNTER
MOVE OUT OF THERE!

The driver reluctantly gets back in the van and moves it,
but the delay is all Melendez needs to put distance between
himself and Hunter. Mercado is directing his camera crew,
holding a mini cam of his own.

MERCADO
Wally, get in tight on the victim.
I got the pursuit.

He raises his camera, shoots tape of Hunter speeding off.

EXT. STREETS - VARIOUS SHOTS - L-56 AND THE MUSTANG

The chase is wild. Tony hops curbs and takes turns on two
wheels but Hunter matches him move-for-move and keeps
gaining.

INTERCUT: INT. CARS - TONY AND HUNTER DRIVING

Hunter is grim. Tony's eyes in the rear-view tell us he
know's he's losing. He decides on a desperate chance and
cranks a hard, skidding left.

EXT. INTERSECTION - DAY - THE MUSTANG

SLIDES wide around a building to a t-bone halt, driver's
side facing back where Hunter will appear around the corner,
Tony takes a two-hand grip on his gun and aims from his
window.

VARIOUS ANGLES - HUNTER'S CAR

Hunter cranks the same left and finds himself face-to-face
with Tony. Tony's gun barks flame as he FIRES. Hunter
stamps the brakes and throws himself down on the seat as
his windshield IMPOLODES, raining glass. Another bullet
POPS the radiator, which HISSES and steams. The Mustang
speeds away from Hunter's crippled unit.

HUNTER

rolls out of his car, gun raised, aiming at the fleeing
Mustang. But the target moves into traffic and the shot
isn't safe. Hunter lowers his gun, glares after the
Mustang, and SLAMS his fist on the hood in frustration.

EXT. STREET - WHERE SOAMES FELL - DAY

Paramedics lift Soames into an ambulance and McCall talks
to a UNIFORMED OFFICER as Hunter's car limps up, flowing
steam. He exits his unit and strides past McCall, his anger
palpable.

MCCALL
(re: Soames)
He's still alive.

Hunter strides in toward:

MERCADO

making notes on a clipboard. Mercado's cameraman finishes
taping the ambulance's departure. When he spots Hunter
coming, he turns the camera on him. Hunter reacts.

HUNTER
Turn that off.

MERCADO
He doesn't take orders from you.
This is a public event. We're
covering the news.

HUNTER
How's this for news -
(grabs Mercado)
You're under arrest.

With that he spins Mercado up against the van. Mercado
starts to resist and Hunter subdues him forcibly.

HUNTER
Don't make it any worse for
yourself.

MERCADO
(screams it)
What the hell do you think you're
doing?! What's the charge?!

HUNTER
Interference with a police officer
in the performance of his duties.

He slaps the cuffs on Mercado. Tight. Mercado is furious.

MERCADO
You realize this is all on tape!?

HUNTER
Yeah. And I got five bucks says
you'll never show it.

And as he shoves Mercado toward one of the back-up units,
go to

EXT. DIVISION - NIGHT - TO ESTABLISH.

HUNTER'S VOICE
Relax, will you? You told the
truth, I told the truth, there's
no problem here.

INT. SQUAD ROOM - DESK AREA - NIGHT

The wall clock says 6:45 p.m. but it feels later. The day
should have ended a while ago. Hunter is calm but McCall
is pacing.

MCCALL
Right. And God's on our side,
and cheaters never prosper.

Just then Vaughan from the motor pool passes, intentionally
ignoring Hunter.

HUNTER
Hey, Vaughan. Sorry about the
windshield. And the radiator.
But I mean, better the radiator
than me, right, Vaughan? Vaughan?

Vaughan stops, turns back and regards Hunter.

VAUGHAN
How much time do I get?

Vaughan leaves, passing Terwilliger coming toward our
people.

TERWILLIGER
Okay, Sergeants. The Shooting
Team has been over your statements
and the preliminary finding is
you're in the clear.

HUNTER
What took 'em so long?

TERWILLIGER
Well, since no gun was found,
there was some doubt, y'know.

HUNTER
Hey, Bernie, the bad guys were
both armed during the hold up,
remember?

MCCALL
The shooter dropped his gun in
the car, right, Bernie?

TERWILLIGER
Obviously the Team decided that
was the case.

Hunter puts an arm around Terwilliger and says to McCall:

HUNTER
What'd I tell you? I.A. hasn't
changed Bernie at all, he's still
all heart.

Captain Devane's SECRETARY approaches.

SECRETARY
The Captain wants you in his
office, quick. The reporter you
busted is on the tube.

CLOSE SHOT - A TV SCREEN

In front of the KXRX-TV logo we saw earlier is Raul
Mercado. His manner is grave, sincere, impressive; his
delivery powerful.

MERCADO
There was blood on the streets
of the downtown gold mart area
today. But our report is not
about the victims, but the
predator: L.A. Metro homicide
sergeant Rick Hunter.

INT. DEVANE'S OFFICE - NIGHT

WIDEN TO REVEAL we're watching Devane's office TV, along
with Hunter, McCall, Devane, and Terwilliger. Their faces
are grim. INTERCUT Mercado.

MERCADO
KXRX cameras were on the scene
as Sergeant Hunter opened fire
on a speeding vehicle in an area
where a robbery had just taken
place.

11 CUT TO - TAPE FOOTAGE - TODAY'S CHASE - NEWS VAN'S P.O.V.

From the rear, we see Hunter's car. The tape FREEZES on
a frame of Hunter's muzzle flash and holds.

MERCADO'S VOICE
We learned Sergeant Hunter didn't
know if he was firing at the
robbers, or at innocent citizens
merely violating the speed law.

INTERCUT Hunter, watching. Feelings boiling beneath the
skin.

MERCADO'S VOICE (CONT'D)
It was a "judgement call" and he's
made them before: his service
file lists seven officer-involved
shootings, one case involving a
fifteen-year-old boy...

INTERCUT McCall, frowning, not believing she's hearing this,

MERCADO'S VOICE (CONT'D)
That boy died. And today's victim
isn't expected to live. One more
suspect who'll never come to
trial, thanks to this officer's
brand of frontier justice.

RESUME ON TV SCREEN - MERCADO

MERCADO
We'll be following this story with
special reports all week.
(beat; to anchorman
OS)
Back to you, John.

INT. DEVANE'S OFFICE - THE GROUP

each in their own state of shock. Devane clicks the set
off.

DEVANE
Just what we need.
(beat; to Hunter)
Any idea why the hatchet job,
Sergeant?

HUNTER
Yes. I busted him on a 148 PC.
His van tailgated us, ignored a
siren, blocked our pursuit...

DEVANE
(can't believe it)
You picked the most popular
reporter on the biggest station
in the city to bust for
interference? Not to mention that
he's one, a hispanic and, two,
a reporter!

HUNTER
Captain, I didn't "pick" him.
He cost us a murder-one suspect.
The man was guilty and
belligerent.

DEVANE
Guilty of a misdemeanor for God's
sake! And his lawyer was waiting
with bail before he was brought
in. I want you to go see him,
tell him you're dropping the
charges, cool him out... We don't
need
(nods at TV)
this kind of PR.

HUNTER
Captain, the guy's a public
menace, did a U-turn in the middle
of the block, ignored the siren,
blocked -

DEVANE
(cutting him off)
Look, he's got your you-know-what
in a vise and he's starting to
squeeze. And he's not making my
life any easier either. So go
help him see it from your point
of view, and do it now.

HUNTER
(after a beat)
Yes, sir. But for only one
reason, sir.
(grins)
'Cause I agree with you. You
can't win an argument with a guy
who does his talking to a TV
camera.

INT. KXRX-TV NEWS SET - NIGHT

Theme music tells us tonight's newscast has just ended.
The A.D. calls the cut, the anchorman loosens his tie, and
Raul Mercado steps away from the set and into a corridor.
As he strides toward his office, he's joined by his boss,
RALPH DRISCOLL, 50, KXRX's Station Manager, a well-dressed
executive survivor. He's working on an ulcer, thanks in
large part to Mercado.

DRISCOLL
Switchboard's lit up like
Christmas.

MERCADO
Pro or con?

DRISCOLL
We won't know till morning. But
they watched, didn't they?

MERCADO
This isn't about ratings, Ralph.
Five months ago Hunter shot and
killed a 15-year-old kid. The
guy thinks he's Wild Bill Hickok.

Driscoll pulls Mercado to a halt beside him.

DRISCOLL
Do I need to remind you you're
attacking a member of the most
powerful institution in this city?

MERCADO
I'm not attacking the L.A.P.D.,
just Hunter.

DRISCOLL
That's not how they think, Raul.
They protect their own. Maybe
you'd better ease off.

MERCADO
They guy's a trigger-happy psycho
and an L.A.P.D. embarrassment.
We'll probably win an award from
the police commission.

DRISCOLL
"Probably" is not good enough,
Raul. You be certain on this
one. On every move you make.

He turns away. Raul calls after him.

MERCADO
Ralph?
(Driscoll stops)
We protect our own, too. Don't
we?

The men lock eyes a long beat. Driscoll nods and walks off.

CUT TO

TIGHT SHOT - A VCR AND TELEVISION

Taped footage of Mercado's news report winds backward in
fast-motion, then freezes and starts forward slowly, almost
frame by frame. We see the Mustang in traffic with Soames
body falling from the passenger side before Hunter's car
blocks the view.

MOLLY'S VOICE
Tony?

INT. ECHO PARK APARTMENT - NIGHT

We're in a rundown apartment filled with an odd assortment
of ancient, shabby furniture and brand-new, top of the line
adult toys: stereos, three TV sets, C.D. players; even a
showroom-shiny Honda 750 Windjammer parked in the living
room. Tony Melendez avidly scans Mercado's report. His
girl MOLLY, a fox in shorts and a halter, looks annoyed.

MOLLY
Tony, listen.

TONY
I told you to shut up!

MOLLY
You've watched that thing fifty
times.

TONY
That's right. Wanna be damn sure
they can't make me off that tape.
(beat; punches
remote)
And they can't.

She goes to him, puts her arms around his neck. She's
happy.

MOLLY
All right! We got no problem,
then.

TONY
Hell we don't!

He punches the remote control. The picture scrambles
forward, slowing to a FREEZE FRAME on Hunter's face at the
end of the report. Molly looks at Hunter, uneasy.

TONY
Him and me were eyeball to
eyeball. I remember his face.
And he remembers mine.

Hold on Tony's face, his eyes cold, then

CUT TO

EXT. KXRX-TV - DAY - TO ESTABLISH

Hunter parks his car outside the modern media building and
heads for the steps.

INT. KXRX - NEWSROOM - DAY

Raul Mercado sits on a desk outside his office, in tie and
shirtsleeves, talking to LISA, his research assistant. The
chatter in the room drops to a whisper as Hunter approaches
in the B.G. When Mercado spots Hunter, he reaches into
Lisa's desk and does something inside it we don't see. Then
he stands up.

HUNTER
Good morning. Could I have a few
minutes with you in your office?

Mercado weighs him a moment.

MERCADO
If it's all right with you, we
can talk right here.

HUNTER
(nods)
I just came to say I've dropped
the charges against you.

Mercado measures Hunter a beat.

MERCADO
What happened? Change your mind
about my 'interference'?

HUNTER
No. The ten seconds your van cost
me made the difference in that
guy getting away.

MERCADO
Oh, really? If you're so sure,
reinstate the charges and let's
see what a jury has to say.

HUNTER
That'll take up a lot of your
time, and mine. You've got more
important things to do, and so
do I - and I can't do 'em if
you're gonna flash my face on half
the TV screens in town.

MERCADO
You know the first thing I did
when I made bail yesterday? I
checked your record. And if doing
your thing means wasting more
civilians, I hope you never get
back on the street.

HUNTER
You're not gonna drop this
vendetta, huh?

MERCADO
It's not a vendetta, it's a public
service. And I don't intend to
drop it.

HUNTER
(after a long
silence)
A million people watch you every
night, listen to every word you
say, true or false. I don't have
that advantage, all I've got's
a badge. But I'm gonna use my
badge for all it's worth, and your
life better be 100 percent squeaky
clean.

Hunter turns and exits before he does something he regrets,

MERCADO

watches him go. After Hunter's gone, he reaches back into
Lisa's desk. He pulls out a mini-tape recorder, hits
"stop".

EXT. KXRX-TV - DAY

Hunter starts to get into his car, then notices something
behind him.

HIS P.O.V. - MCCALL'S CAR

McCall sitting there, smiling at him.

ON HUNTER

He obviously bad no idea McCall was anywhere near KXRX.
He walks to her car.

TWO SHOT

Hunter and McCall at car.

HUNTER
Okay, your turn, McCall.

MCCALL
It went that bad, huh?

HUNTER
That bad.

MCCALL
Well, that's why we have partners.
You don't mind if I give it a
shot, do you?

HUNTER
If you can budge him one inch,
I'll pop for dinner. You choose
the restaurant.

MCCALL
You're on. Sometimes a soft
approach can work wonders.

HUNTER
(grins)
Is that a fact?

She grins back. WIDEN as she climbs out of the car and
heads for the station. She turns and calls back to Hunter.

MCCALL
Hey, Hunter...it was predictable.

Off his smile,

SMASH CUT TO

INT. MERCADO'S OFFICE - DAY - CLOSE ON MCCALL

MCCALL
(the top of her
lungs!)
You used half-truths and innuendos
and made him sound like some kind
of animal!

So much for the soft approach. WIDEN to reveal that she's
facing Mercado across his desk.

MERCADO
There wasn't one word of my story
that wasn't true.

MCCALL
No, every word was half true!
That fifteen-year-old boy you
mentioned? He fired five shots
while Hunter tried to talk him
into dropping his gun. Then I
came on the scene and the kid
turned his gun on me, aimed, and
that's when Hunter used his gun,
for the first time! If he hadn't,
I'd be dead. And that, Mr.
Mercado, is the whole truth.

MERCADO
You're his partner. I don't
expect you to be objective.

MCCALL
(explodes)
Are you deaf? What's 'objective'
got to do with it? I just told
you what happened. If you're so
damn interested in the facts,
put that on the air.

She turns and storms out as we

END ACT I

FADE OUT

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

ACT TWO

INT. KXRX NEWS STUDIO - NIGHT

Mercado speaks from his desk into the camera, delivering
tonight's report. As he does so, PULL BACK to reveal the
crew and his fellow NEWSCASTERS watching around the set.

MERCADO

Good evening. If tonight's
special report had a title, it
would be "Whitewash".

INTERCUT DRISCOLL

watching from off camera, grave, critical.

MERCADO'S VOICE
Last night a Metro Police
investigation cleared Sergeant
Rick Hunter in the shooting of
a young Echo Park man alleged to
be a suspect in a local robbery.

RESUME ON MERCADO

MERCADO
Hunter claims the suspect shot
at him first. But footage I taped
on the scene contradicts that
claim.

INTERCUT MELENDE2

in his apartment. Watching, taking it in. Almost amused
at Hunter's plight.

MERCADO
(on tv screen)
And the police have been unable
to produce witnesses to confirm
Hunter's statement. Add to this
the fact that no gun was found
on or near the victim's bleeding
body...

INTERCUT DEVANE
in his office, eyes glued to the set, expression serious.

MERCADO'S VOICE
(dramatic beat)
...and we must consider the
possibility of cover-up. Sergeant
Hunter tried to persuade me to
drop this investigation.

Devane's expression darkens.

RESUME ON TV SCREEN - MERCADO

MERCADO
Fortunately, I had a tape recorder
running in my office. I'd like
to share a portion of that tape
with you.

He looks off, cueing his director. A video image of Hunter
appears behind him, and we HEAR

HUNTER'S VOICE
(tape filter)
I'm gonna use my badge for all
it's worth and your life better
be 100 percent squeaky clean.

INTERCUT: INT. HUNTER'S APARTMENT - ON HUNTER

Hunter stands in his living room watching Mercado's report,
his intensity building as the reporter continues.

MERCADO'S VOICE

Suppression? Intimidation? Both
are consistent with Hunter's
style. I decided to air this
conversation in spite of his
threat. You be the judge.
(beat; looks to
anchorman)
Back to you, John.

INT. DIVISION - DAY

Hunter and McCall lean over a computer desk where a young
female OFFICER is running a printout for them. As they look
it over, Devane walks past then, looking sour.

DEVANE
Great job getting Mercado off our
backs, you two.

MCCALL
Captain, we're going to make
Mercado eat his words. Donald
Soames -the guy who was thrown
from the car? This is a list of
his known associates. We'll find
Soames's partner and shut Mercado
up with facts.

Devane stops, eyes them.

DEVANE
That could take two weeks! This
whole department is on public
trial. You'd better concentrate
on turning up a witness who saw
Soames shoot at you. If you can
do that, Mercado's campaign is
history.

In the background, we see a short, flamboyantly-dressed
black man exit a booking cubicle. As he reclaims his
personal effects, he listens as Hunter answers Devane.

HUNTER
Terwilliger's got five of his I.A.
boys looking for a witness to the
shooting. Our job is getting a
conviction on Soames.

DEVANE
Soames is dead. He died twenty
minutes ago. The call just came
in.

Devane turns and exits toward his office. After a sober
beat, the black man approaches. We recognize him now as
SPORTY JAMES, dressed in his finest maroon sharkshin suit
and snap-brim hat.

SPORTY
Man sure got the boards and nails
out for you, Hunter.

MCCALL
What're you doing here, Sporty?
Slumming?

SPORTY
(big smile)
Bad arrest. One of your peers
thought I was involved in some
kind of distasteful gamblin'
operation at which I was merely
a spectator.

HUNTER
In Vegas those spectators are
called pit bosses.

SPORTY
(to McCall re
Hunter)
He some funny dude, ain't he?
What's this about y'all needin'
a witness?

Hunter and McCall exchange a dry look.

MCCALL
Nothing, Sporty. On your way.

SPORTY
You two got a fundamental problem
here. Kinda witnesses you lookin'
for don't like you, which is why
you ain't findin' any. They ain't
gonna come forward clear no cops.

MCCALL
Unless, of course, they had some
peer-group persuasion.

Sporty's answer is a big grin and a happy nod.

HUNTER
Sporty, the kind of witnesses
you'd give us we can do without.

MCCALL
They wouldn't even know what kind
of car it was...

SPORTY
(eager to please)
What kind of car was it?

HUNTER
Get out of here.

SPORTY
All right, all right. Just tell
me one thing. Would y'all be
grateful if I was to produce a
gen-u-wine witness for you? You
would, wouldn't you? The
operational word there bein'
'grateful', dig?

Hunter puts an arm around Sporty.

HUNTER
Yes, Sporty. We would be
grateful. But it better be a
witness who was really there,
'cause the one he's gotta answer
to... is me.

Off Sporty's somewhat uneasy smile,

CUT TO

EXT. MCCALL'S HOUSE - NIGHT

To establish. Hunter's car is parked in front.

HUNTER'S VOICE
You got a date coming over or
something?

INT. MCCALL'S HOUSE - DINING AREA - NIGHT
Hunter and McCall are finishing a home-cooked dinner.

MCCALL
A date?

HUNTER
You've looked at your watch four
times in the last five minutes.
Maybe you'd like me to fill a
doggy bag and go home.

MCCALL
You know perfectly well why I'm
looking at my watch.

Hunter just shrugs. McCall moves toward the TV, turns it
on.

MCCALL
He starts polluting the air in
five minutes.

HUNTER
In that case, I will take that
doggy bag.

MCCALL
Oh no you won't. You're gonna
watch this with me.

HUNTER
And spoil a nice dinner? Un-unh.
No way.

MCCALL
Hunter, why do you think I made
the nice dinner?

HUNTER
(takes last bite)
I thought you were coming on to
me.
(stands, grins)
Look, you don't want me here.
I watch that guy, I'm liable to
rearrange your picture tube.
Maybe some of your furniture while
I'm at it. You watch him. Tell
me about it in the morning.

He starts for the door. We HEAR the KXRX-News announcement
from the television.

MCCALL
Where are you going?

HUNTER
Home. Unless I can think of
something better to do.
(goes to door)
It was a nice dinner - loved the
pine nuts.

He leaves. She looks at the set.

MERCADO
Welcome to the third in our series
of special reports on Metro Police
Sergeant Rick Hunter. He's a
"distinguished expert" marksman
and tonight we'll be reviewing
three of his seven
officer-involved shootings.

BACK TO MCCALL

She's fuming. She SNAPS the set off, hurries for the door,
calls:

MCCALL
Hey, Hunter! You were right.
I can't watch it either!

REVERSE ANGLE

It's too late. Hunter's car is pulling away and he doesn't
hear her. She slumps against the door frame.

CUT TO

EXT. SUBURBAN HOUSE - NIGHT

Mercado pulls his 944 into the garage, parks. He closes
the garage door and comes out whistling, jingling his keys

ANGLE - MERCADO'S FRONT DOOR

Mercado picks up his newspaper and his mail, then inserts
his key in the door.

INT. MERCADO'S HOUSE - LIVING ROOM - NIGHT

The door opens and Mercado enters into darkness, flips on
the lights. His face freezes as he sees:

THE LIVING ROOM

has been trashed, top to bottom. Not just ransacked -
brutally vandalized. A painting is smashed over a broken
lamp; leather furniture is slashed, the stuffing trailing
onto the ripped carpet.

EXT. MERCADO'S DRIVEWAY - NIGHT - A SECOND CAR

drives in. From it exits a lithe, beautiful woman, a
blonde, clad casually in a sweater and jeans. Her name is
JENNIFER. She heads for the house.

INT. MERCADO'S LIVING ROOM - NIGHT

Jennifer enters (the door has been left open) and sees
Mercado crossing through the remains of his home to pick
up the telephone. As she takes in the damage,

JENNIFER
Raul?

Mercado is startled by her voice, turns suddenly, hangs up
the phone.

JENNIFER (CONT'D)
My God, honey, what happened?

MERCADO
What are you doing here?

JENNIFER
I needed...I just had to talk to
you.

MERCADO
(angrily)
I told you to stay away for a few
days. I told you not to even
call.

JENNIFER
Raul, that's not the way it works
between us.

MERCADO
(gestures around)
Did you think I was fooling around
or something? Look at this:
somebody's after me, Jenny, a cop
- and he could be tailing me
right now. What if he finds you
here?

They share a long look. She feels hurt, left out, but
there's nothing she can say. Raul senses her longing for
contact, reassurance; he crosses to her and kisses her
warmly.

MERCADO
You've got to go, but we'll get
together soon - in a few days,
I promise.

After another beat, she goes. He goes back to the phone
and punches out a number.

MERCADO
I'd like to speak to Sergeant Rick
Hunter, please.
(beat)
How long ago did he leave?
(beat)
No. No message. Thank you.

Raul hangs up. He looks bitterly around at the ruins of
his home.

CUT TO

EXT. POLICE HEADQUARTERS - DAY

MERCADO'S VOICE
Breaking and entering, burglary,
malicious mischief, vandalism,
destruction of property, am I
missing anything?

INT. SQUADROOM - NEAR DEVANE' S OFFICE - DAY

Mercado and Ralph Driscoll are accompanied by PETER
ERICKSON, KXRX's head lawyer. They're emerging from
Devane's office followed by Devane.

DEVANE
No, Mr. Mercado, that just about
covers it if your complaint is
accurate.

DRISCOLL
Captain, I went by Paul's place
this morning. He's not
exaggerating. It was brutal.

DEVANE
We'll get a team out there and
check for prints. Question the
neighbors, they'll do a thorough
job.

Hunter is seated at a computer terminal, calling up
mugshots. He pretends to concentrate on his work as the
conversation moves toward him. But Mercado notices him.

MERCADO
They'll find zip. Captain Devane
- the man who did it knows enough
about evidence not to leave any.

DEVANE
Sounds like you know who it was.

MERCADO
(at Hunter)
Doesn't everybody?

ERICKSON
Let's just say we hope your
investigation will include an
interrogation of Sergeant Hunter.

DEVANE
(hard as nails)
We'll get whatever evidence there
is, and follow it wherever it
leads.

ERICKSON
Captain Devane, I didn't mean...

DEVANE
You were damn close to accusing
us of dereliction of duty. Just
back off.

ERICKSON
(snaps back)
Fine. But just be aware that
we're considering a lawsuit.

They turn and head out. Mercado goes last, after one more
look at Hunter. When they are alone:

DEVANE
You got any comment, Hunter?

HUNTER
How about, "Thanks".

DEVANE
Where were you last night?

HUNTER
McCall's for dinner, then home.

DEVANE
What time did you leave her
apartment?

HUNTER
News just started. Seven, seven
ten.

DEVANE
So you had plenty of time to trash
Mercado's place before he got
home, huh?

HUNTER
(nods again)
Yes, sir.

Devane gives him a long look, then leaves. Hunter watches
him, then turns back to the computer screen, where he's
checking through the list of Soames's associates. As he
calls up another front/side picture, he blows out a sigh
and we

DISSOLVE TO

INSERT - HUNTER'S HAND

crosses off another name on his printout, about
three-quarters of the way down the long list. WIDEN TO

INT. SQUADROOM - COMPUTER TERMINAL - LATER THAT DAY

A bleary-eyed Hunter has his coat off, his sleeves rolled
up. He punches another computer code and the screen
responds with

INSERT - TONY MELENDEZ'S PICTURE

Front and side - clear enough for Hunter to recognize the
man who shot at him.

RESUME ON HUNTER

as his eyes light up and the fatigue disappears. He stares
at the screen, memorizing the pertinent information. He
picks up his phone and punches a number.

HUNTER
(listens a beat)
Sporty?

EXT. SHOE-SHINE STAND - INTERCUT SPORTY AND HUNTER - DAY

Sporty's having his alligators cleaned by an enterprising
YOUTH. He talks into a pay-phone mounted at the stand.
The Wall Street Journal and the Racing Form are spread on
his lap.

INTERCUT SPORTY AND HUNTER

SPORTY
That my friend Hunter? Star of
the TV screen? I shouldn't be
talkin' to you, dude. You are
Mister Unpopular.

HUNTER
I've gotta find a man in a hurry,
I need your help.

SPORTY
Mama said there'd be days like
this. What is this individual's
name?

HUNTER
Melendez. Anthony Melendez.

SPORTY
Never heard of the gentleman,
Hunter, but that is no problem,
no problem at all.

EXT. EAST L.A. NEIGHBORHOOD - DAY

Hunter's car cruises slowly into this semi-barrio area.
Apartment buildings rise close over the street; people hang
out on their porches and stoops. Dogs bark, a baby cries;

HEAR music from somebody's radio and a ballgame in Spanish.
Hunter stops in front of

EXT. TONY'S APARTMENT BUILDING - DAY
Hunter checks the number, exits the car.

INT. APARTMENT BUILDING - DAY - CLOSE ON A DOOR

Hunter's hand knocks insistently. Finally the door is
opened by an older Hispanic woman, MARIA FUENTES. She's
proud, smart, neatly dressed. She regards him with
suspicion.

HUNTER
(shows credentials)
I'm looking for Anthony Melendez.

MARIA
You're that detective from TV.
The Hunter.

HUNTER
(smiles)
Just Hunter. Does he live here?

MARIA
He is not here. I have not seen
him for a week. I heard his mama
is sick.

HUNTER
His mama. And she's probably in
Texas.

MARIA
Texas, that is right. Or maybe
it is Chicago.

HUNTER
Unh-hunh. Could I have a look
at his place?

MARIA
No. This is America, Sergeant.
His room is his castle. We got
rights.

HUNTER
Yes, you do. So do I. I have the
right to come back with a warrant,
for his apartment, and yours.

She measures him a beat.

INT. TONY'S APARTMENT - ON THE DOOR - DAY

The door opens and Maria lets Hunter inside. Hunter looks
around in surprise: the place is totally cleaned out. Bare
walls, bare floors. Nothing there.

HUNTER
Gone to Texas all right. Why
aren't you playing straight with
me, Mrs. Fuentes?

MARIA
Perdona me?

HUNTER
Your English is as good as mine,
lady. He lives right above you.
You didn't hear him move out?
Didn't see him?

MARIA
I leave my tenants alone. His
rent is paid through the
fifteenth.

HUNTER
So I don't need to ask about a
forwarding address.

MARIA
Lock up when you are finished.

She leaves. Hunter looks around the place. Dead end.

EXT. APARTMENT BUILDING - ON HUNTER - DAY
He comes down the walkway and stops, shocked at

WHAT HE SEES - REVERSE ANGLE - HIS CRUISER

It sits low on four flat tires. Spray-painted on the side
in bold black letters is "unmarked cop car".

HUNTER

walks to his car, stops, notices that the noise and street
people seen earlier are gone. Thick, unnatural silence.
From out of nowhere, a good-sized, heavy can FLIES into shot
and whizzes past Hunter's ear. He dodges reflexively, jumps
into his car and looks up at the apartment building from
which the can was thrown.

HUNTER'S P.O.V. - THE APARTMENT BUILDING

is completely still. The breeze billows curtains in several
open windows, but there's no sign of anybody. Hunter reacts
as a large rock crashes on the hood. As Hunter reaches for
the radio mike, a bottle hits the windshield. Another
bottle hits the window on the passenger side.

HUNTER
L-56 to Metro H.Q. Patch me
through to Sergeant McCall!
Urgent!

INT. PRECINCT - DAY
McCall types at her desk. The phone rings.

MCCALL
Homicide, McCall...
(concerned look)
Where are you?

INT. HUNTER'S CAR - INTERCUT CONVERSATION

Hunter winces as another can SMACKS against his front
window, leaving a crunched spot and radial cracks in the
glass.

HUNTER
Commonwealth and Avenue 57 and
I need a ride, fast!

MCCALL
I'll be there in ten minutes!

HUNTER
Sooner if possible. And McCall,
don't bring your own car.

MCCALL
Why?

HUNTER
Don't ask, McCall, just get here,
but not in your car.

He hangs up the mike, winces as another can POUNDS on his
roof.

EXT. DIVISION - MOTOR POOL - DAY
McCall is signing out another unit from a nervous Vaughan.

VAUGHAN
What's wrong with your unit?

MCCALL
Vaughan, this is an emergency!

VAUGHAN
What about your own car?

MCCALL
It's got a transmission problem!
Get moving!

VAUGHAN
(points)
Well, this one's just back from
the body shop, so please -

MCCALL
(getting in)
Yeah. Don't let Hunter near it!

He nods. She guns it away. Vaughan watches, skeptical.

EXT. EAST L.A. STREET - DAY - ON HUNTER'S UNIT

It's still being pelted with trash, bottles, and cans filled
with water (we hope).

HUNTER
(into mike)
McCall, where the hell are you?

INTERCUT HUNTER AND MCCALL - ON RADIO
She's driving, fast. Into their mikes:

MCCALL
York and Avenue 56. Two away.

HUNTER
Make it two fast ones.

And BANG! The windshield is smacked by a rusty lug wrench
which snags in the safety glass.

EXT. STREET - DAY - ANGLE ON THE CORNER

McCall spins her unmarked to a stop up the street and reacts
to the sight of Hunter's unit. The body is dented, the
windshield is almost gone. McCall floors it, burns rubber
down beside the crippled car.

NEW ANGLE - HUNTER

leaps from his car, taking a tomato in the shoulder. The
barrage is now hitting McCall's car, too, denting and
defacing it. Hunter scrambles inside and they screech away.

ANGLE IN UNMARKED UNIT - HUNTER AND MCCALL

He's out of breath, angry, frustrated, trying to clean
himself up.

MCCALL
(driving at top
speed)
I take it your reputation preceded
you.

HUNTER
I'm sending Raul Mercado the
bill.

MCCALL
Right. He'll put it on the air,
accuse you of wasting taxpayers'
money.

But Hunter's look is clear: this is no joke.

CUT TO

THE NEW CAR

not moving, not a pretty sight.

VAUGHAN'S VOICE OVER
I don't believe it!

EXT. DIVISION - DAY - MOTOR POOL

Vaughan stares helplessly at the unmarked unit.

VAUGHAN
McCall, I thought we were friends!

MCCALL
We couldn't help it, Vaughan.
It was a mob scene.

VAUGHAN
What? Dollar day at the produce
market?!

HUNTER
Relax, Vaughan. This unit is the
good news.

VAUGHAN
(reacts with slow
horror)
Oh, Oh no. Hunter...where's your
car?

HUNTER
(handing him keys)
Avenue 57. If you get there quick
it'll still have tires - flat,
but still attached.

Hunter and McCall head away...fast!

A TELEVISION SCREEN - CLOSE ON RAUL MERCADO

In mid-report, he's committed, sincere, outraged.

MERCADO
Even though Metro Police
authorities have seen fit to clear
Sergeant Rick Hunter in the Donald
Soames shooting, it seems the
general populace has had about
enough of the man they call, "El
Cazador" - The Hunter.

PULL BACK TO: INT. HUNTER'S APARTMENT - NIGHT

Hunter slouches on the couch, taking in the latest report.

MERCADO
(on TV screen)
Some East Los Angeles residents
took matters into their own hands
today, pelting Sergeant Hunter's
car with garbage and dispensing
a kind of kangaroo justice of
their own...

Hunter SNAPS the remote control at the TV, shutting it off.
He heaves a deep breath into the silence of the apartment,
then picks up his jacket and keys and heads out into the
night to be alone with his thoughts. When he's gone, the
PHONE RINGS.

INT. MCCALL'S APARTMENT - NIGHT - CLOSE ON MCCALL

On the phone, concerned for her partner. We hear his phone
RING in her ear. No answer.

CUT TO

EXT. KXRX-TV - NIGHT

Raul Mercado exits the lobby and walks toward the parking
lot beside the building. FOLLOW HIM as he turns up his
collar against the chill, and feels for his keys in bis
pocket. Suddenly, BANG! A shot rings out and a bullet
PINGS off the concrete wall near his head. A second shot
BOOMS as he drops, rolls to cover near a parked car. He
comes up crouching beside it.

NEW ANGLE - PARKED CAR AND MERCADO

Two more shots ring out. The first SHATTERS the rearview
mirror inches from his face. The second thuds into the car
door. Mercado looks around wildly for the shooter, can't
see him. Another shot SMASHES into the car window,
inches above him.

LOW ANGLE - MERCADO

drops prone, his face to the pavement, terror in his eyes.
As we HEAR another shot, we

FADE OUT

END OF ACT II

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

ACT THREE

FADE IN

EXT. STREET - NIGHT

Mercado is hurrying to a phone booth. He enters, leaving
the door open to avoid light.

IN PHONE BOOTH - MERCADO
His hands tremble as he punches out a familiar number.

MERCADO
Is Sergeant Rick Hunter there?
(beat)
Do you know where he is?
(he listens;

panting for
breath)
Yeah, that's all I wanted to know.

Mercado slams the phone into its cradle.

CUT TO

EXT. HUNTER'S APARTMENT - NIGHT - HUNTER

Walks up to the drive, gets his keys from his pocket. As
he starts to open the door, a FIGURE appears behind him,
creeping, silent. The man LEAPS upon Hunter, pounding a
roundhouse right hook into the side of his head.

HUNTER

is staggered by the blow, drops to his knees. He starts
to draw his gun but a knee from the attacker bounces off
his chest and up, snapping his jaw shut and his head back,
knocking Hunter's gun from his hand.

INSERT - HUNTER'S GUN
skitters away into the bushes, out of reach.

RESUME SCENE

Blood trickles from his mouth as Hunter sprawls backward
onto the gravel.

ATTACKER'S VOICE
Come on. Get up.

Hunter starts to get up but the attacker lashes out with
another vicious kick. This time Hunter dodges it.

VARIOUS SHOTS - THE FIGHT

It's a tough and bloody one. As the combatants move in and
out of the pools of light. Hunter finally lands a blow which
gives him an opening to move off the walkway and find his
.38. He grabs it and trains it on his assailant.

HUNTER
On your feet.

The attacker hangs back, breathing heavily. Hunter moves
closer and recognizes him.

HUNTER
Oh my God...

REVERSE ANGLE - RAUL MERCADO
is the attacker. Bruised and bleeding, eyes flashing fire.

MERCADO
You gonna try again? Here's your
chance.

Hunter considers him a beat, then reaches his left hand
forward and grabs Mercado by the coat collar. He kicks his
apartment door open and shoves Mercado inside, follows him
in.

INT. HUNTER'S APARTMENT - NIGHT

Hunter shoves Mercado onto the couch, crosses to the
kitchen/bar, and pours a drink. He returns to the living
room and offers the drink to Mercado, who just stares at
it. Hunter puts it down, takes off his coat and regards
his "guest".

HUNTER
You want to tell me what the hell
this is about? What'd you mean,
'You gonna try again'?

MERCADO
Like you don't know...

HUNTER
I don't.

Mercado smolders, feels his chin. Then he stands, starts
to pace.

MERCADO
Where were you at eight twenty-six
tonight?

HUNTER
I went for a drive to think about
you.

MERCADO
There's nobody here but the two
of us, let's get real.

HUNTER
You're under arrest for assault
and battery, is that real enough
for you?

MERCADO
And I'm charging you with
attempted murder!

HUNTER
Somebody tried to kill you at
eight twenty-six, is that it?

MERCADO
That's right, Hunter. You took
five shots at me.

HUNTER
Mercado, if I took five shots at
you, you'd be dead five times
over.

MERCADO
Oh, I know that. If you were
trying to kill me, that is.

HUNTER
Must've hit you harder than I
thought. You oughta try that
drink.

MERCADO
You're a "distinguished expert"
marksman. Take a hell of a
shooter to come as close as you
did and still miss. You wanted
to put the fear of God in me,
right? Well, Wyatt, it didn't
work.

Hunter has been listening very closely.

HUNTER
Did you report this attempt on
your life?

MERCADO
I tried that when you trashed my
condo. You saw where it got me.

HUNTER
Attempted murder puts you in a
position to get some help and I
suggest you do it.

Mercado fixes Hunter with a long, searching look.

MERCADO
If I didn't know you so well, I'd
probably buy that line.

HUNTER
You don't know me at all.

MERCADO
I know every last detail there
is to know about you.

HUNTER
(flares)
Like hell! It's no secret I don't
like you. You're a hot-dog with
an ax to grind and I ought to sue
your tail for slander, not to
mention assault and battery. But
I'm not trying to kill you. If
someone else is, for God's sake
make an official report and get
some action.

MERCADO
And you're just the guy who can
give it to me, right?

Hunter shakes his head. He moves to the door, opens it.

HUNTER
Get out.

Mercado gets to his feet, still a little shaky. He looks at
Hunter a long beat, then exits. Hunter closes the door. He
stands, thoughtful, considers calling Raul back inside.

EXT. HUNTER'S APARTMENT - DOORSTEP AREA - NIGHT

Mercado stands on the doorstep and we can almost read his
thoughts: "What if I'm wrong? What if Hunter's telling the
truth?" He turns, reaches out to knock on the door, but
stops.

INTERCUT THE TWO MEN

One too proud to ask for help, one too angry to offer. A
beat passes, then each turns and heads his own way.

CUT TO

5 EXT. KXRX-TV - DAY

Hunter and McCall are examining the side of the building
which faces the parking lot - the site of last night's
shooting. Hunter spots something and moves to the wall.

HUNTER
Well, somebody did take a shot
or two at him.

INSERT - A BULLET HOLE

marks the wall about even with Hunter's head. He pries into
the cement with a pocket knife, digs out the slug.

MCCALL'S VOICE
And here's another...

RESUME SCENE
She's spotted a second slug.

HUNTER
(removes second
slug)
For once Mercado's reporting was
accurate. These haven't been
there for very long.

MCCALL
Gotta hand it to you. You're
trying to save his neck while he
tightens the noose around yours.
I'm proud of you.

HUNTER
Routine, ma'am, just routine.
(they share a
smile)
Ready to beat the bushes for some
witnesses?

MCCALL
Long as I get the side of the
street with the donut shop.

But Hunter looks off and spots

NEW ANGLE - KXRX BUILDING - ENTRANCE - DAY

Paul Mercado is just exiting the building with his camera
crew and LISA, his research assistant. Hunter says quietly
to McCall:

HUNTER
Hold the donuts. I'm gonna have
a word with Mister News. If he
leaves without me, tail him.

She nods, fades back around the corner as Hunter heads for
Mercado.

FOLLOW HUNTER

As he approaches Mercado's KXRX News Van. The crew is
loading up for the day's work.

MERCADO
Well, well. Saving us the trouble
of finding you?

HUNTER
Investigating an attempted murder.
Yours.

He opens his palm, shows Mercado the slugs.

HUNTER
These slugs tell me two very
important things. Number one,
someone did try to kill you last
night. And number two, it wasn't
me.

MERCADO
If this is a con, you're the
greatest since Willie Sutton.

HUNTER
Willie Sutton was a bank robber.
(holds up bullet)
This is from a 9-millimeter.
(he lifts his
jacket flap, shows
his gun)

I use a .38. From the height the
bullets hit the wall, the shooter
was aiming at your head, not a
large target, even in your case.

MERCADO
What you're telling me is
Redundant, Hunter. I was there.

HUNTER
I'd like to check your files.
Looks like you've made a few
enemies along the way - besides
me.

MERCADO
(after a beat)
Lisa, take him to the office. Show
him the 'hate file'.

Hunter nods his thanks. Some kind of understanding has been
reached. He and Lisa go inside. Mercado turns to his crew.

MERCADO
You guys get the footage of the
launch. I'll V.O. the copy later.

The Cameraman and Driver nod, head away. FOLLOW MERCADO
to his car, parked nearby. He U-turns from the curb, and
drives off.

EXT. STREET NEAR STATION - DAY - ON MCCALL IN HER CAR

McCall watches him leave. She waits as long as she can,
then fires up her unit and follows him.

INT. KXRX-TV TAPE LIBRARY - DAY

Lisa and Hunter are starting into a stack of cassettes when
Ralph Driscoll enters.

DRISCOLL
What the hell are you doing, Lisa?

HUNTER
She's cooperating in a police
investigation.

DRISCOLL
(ignores Hunter)
Does Raul know what's going on
here?

LISA
He told me to do it, sir.

HUNTER
Someone took a shot at your ace
reporter last night. Didn't he
tell you about it?

DRISCOLL
Yes. I told him to file a
complaint.

HUNTER
Well, in his own peculiar way,
he did. I'm looking through his
'hate file'.

DRISCOLL
With his permission?

HUNTER
With his blessing.

From Driscoll's puzzled reaction we CUT TO

EXT. STREET - MERCADO IN A PHONE BOOTH - DAY

MERCADO
I've got to see you.
(beat)
In twenty minutes. You know
where.

He hangs up, crosses to his idling car and pulls off.

INT. POLICE UNIT - DAY

McCall waits a long time to avoid detection, then pulls away
from the curb.

INT. TAPE LIBRARY - MONTAGE SEQUENCE - DAY

Hunter and Lisa are hunched together over a video monitor,
searching the on-air videotapes from Raul Mercado's
"enemies file". Raul has a lot of reasons why certain
people might want him dead. He's very good at what he does.
As Don Henley's "DIRTY LAUNDRY" plays OVER, we SEE:

ON TAPE - Mercado at his news desk, a giant screen behind
him, on which is projected a giant, black and white blow up
of a squalid sweat shop/factory depicting miserable workers
in the worst of conditions.

MERCADO
...and the inhuman exploitation
of these undocumented workers.

The image on the screen switches to another still, this one
of a fat, ugly man, his face partially concealed from view
as he climbs into his big black Cadillac.

MERCADO
Al Tyne was indicted by the grand
jury shortly after my first
report.

Hunter punches off the tape. The monitor goes static.
Scribbling a note,

HUNTER
Could be...

Lisa ejects the tape and slaps in another one. She punches
"play", and

ON TAPE

Mercado at his desk again, this time with a still of a
burning building behind him and a little girl crying in
front of it.

MERCADO
...which destroyed the apartment
building and caused the deaths
of seventeen innocent people, many
of them children.

The image shifts to a picture of a real sleazeball.

MERCADO
Donald Zachary Lyman...

Hunter flips off the tape. Off Lisa's look.

HUNTER
Definitely not.

LISA
How do you know?

HUNTER
Guys who kill kids aren't popular
in prison. This one had his neck
broken.

Lisa shudders, goes to change the tape. The MUSIC CONTINUES
OVER a

TIME CUT TO:

HUNTER AND LISA

Lisa crosses another name off her list as Hunter studies
yet another tape.

ON TAPE

Mercado at his desk. Behind him is a still shot of a
defendant trying to shield his face from the camera.

ON HUNTER AND LISA

Hunter freeze-frames on the picture of a Defendant, and Lisa
reads from a file. They're a bit cross-eyed from the long
job.

LISA
Patrick Green, 6'2", 195, brown
over brown, born May 8, 1950,
Champaign, Illinois...

HUNTER
Convicted of running the biggest
sports book in the valley.

LISA
Good memory.

HUNTER
I'd forgotten it was Raul's
investigation that fumed him up.

LISA
But he's not a candidate. He's
doing six to ten in Chino.

HUNTER
His trial was in '84, right?

LISA
(checks)
Right. May and June.

HUNTER
Lisa, you've been a big help, keep
digging. If you find anyone else
who looks right for what happened,
call me, okay?

He grabs his jacket, leaves her there.

CUT TO

EXT. RESTAURANT - DAY

Mercado looks around, moves to an isolated booth.

ANGLE IN BOOTH - MERCADO AND JENNIFER

The lovely blonde from his apartment is waiting for him. He
kisses her hello and sits down.

JENNIFER
What happened to your face?

MERCADO
Jennifer, we have to cool it for
Awhile... stop seeing each other.

JENNIFER
(shocked)
What? But, why?

MERCADO
Baby, when I went after that
homicide cop I opened a can that
I can't shut. Last night someone
took a shot at me - five shots!

JENNIFER
(another shock)
Oh, no! Who? That cop?

MERCADO
I don't know. I thought so, now
I'm not sure. But it doesn't
matter who it was. I can't put
you in danger, and I can't risk
Hunter finding out about us.

JENNIFER
Raul...this isn't just
a...round-about way of telling
me it's over, is it?

MERCADO
No, baby, it isn't. I swear it
isn't.

Jennifer knows he's making sense but she hates it. He
reaches across the table for her hand.

MERCADO
I'll call you as soon as it's
Safe.
(lifts her chin;
she's crying)
Baby, I'll get this thing
straightened out soon, I promise.

She nods. She looks at him for a beat but the words don't
come. She stands up, hesitates for a moment, then turns and
walks away. RACK FOCUS BACK to a corner of the room where
McCall stands, close enough to see but not to hear.

EXT. RESTAURANT - DAY

Jennifer exits, leaves toward the parking lot. After a
beat, McCall follows.

EXT. PARKING LOT - DAY - JENNIFER

climbs into a light-colored 280-SL, drives off.

CUT TO

EXT. STREETS - DAY - MCCALL'S CAR:

cruises past in traffic. McCall is talking to headquarters.

MCCALL'S VOICE
(into radio mike)
...California One-Charles-Albert
four-two-oh. I need a fast
response.

INTERCUT ONE OF OUR REGULARS (CALIFAGNO) AT HEADQUARTERS
talking to McCall. He reads off a piece of paper.

CALIFAGNO
Will do. Hunter had a call from
a Mister Arnold James asking for
a meeting at Le Brasserie at
twelve-thirty, you know the guy?

MCCALL
Yes. If you see Hunter before
I do, tell him I'll be there.

INT. LA ROUGE RESTAURANT - DAY

An elegant eatery. Sporty's plowing through a dozen
escargots as Hunter and McCall take seats opposite him.
They trade a look.

SPORTY
Would I trouble you fine officers
if it wasn't important?

MCCALL
Save the b.s., Sporty, what've
you got.

SPORTY
Slow down. Smell the roses.
Here. Have one of these tasty
morsels.

He offers McCall a bite. She shakes her head impatiently
and Hunter eyes it with disdain.

HUNTER
I step on those in my driveway,
Sporty. And I may step on you
if you don't get to the point.

SPORTY
Hey, I steered you good people
right to the man's door, did I
not? Don't blame me he wasn't
sittin' there waitin' on you to
call. Melendez must've heard you
comin'. You think I was
collectin' from both ends or
somethin'?
(off their hard
looks)
Never mind. You still want him,
I presume?

MCCALL
No, we decided to forgive and
forget. Of course we want him.

SPORTY
Rumor has it he be interested in
seeing you underground. Hunter.

HUNTER
He'll have to stand in line.

SPORTY
(shakes his head)
You so bad. Well, one of my
colleagues brought it to my
attention that he's holed up at
a certain address on South Gower.

HUNTER
And you're going to give us the
number.

SPORTY
Give?

HUNTER
What's the price. Sporty?

SPORTY
Price? I thought you and me were
friends.

HUNTER
How much?

SPORTY
Hey, this is Sporty James you be
deal in' with. You know my style.
Money means nothin' at all to me.
I like to accumulate favors. I
do you this favor, you do me a
favor later on down the line, dig?

MCCALL
(eyes narrowed)
Careful, Roland...

SPORTY
Or maybe two favors. This be one
unsavory individual.

HUNTER
Let me put it this way, Sporty.
I can't promise you any favors.
But if this pans out and we get
Melendez, we are not going to
forget that you helped.

SPORTY
That's all I wanted to hear,
babe...

He takes a piece of paper from his pocket, hands it to
Hunter. McCall takes it.

CUT TO

EXT. APARTMENT BUILDING - DAY

A seedy old dowager on South Gower. We hear a POUNDING and
a grating female VOICE with a Texas accent.

FEMALE VOICE
(Texas accent)
Mickey! Mickey, lemme in!

INT. APARTMENT - DAY

Tony Melendez stirs from a chair inside, picks up his gun.
An automatic rifle and a shotgun are also in evidence. He
moves toward the door where the pounding continues.

FEMALE VOICE
... I came to make it up with ya,
Sweetcakes. Bernice told Father
Cleary the whole story and he told
me an'...

TONY
Get out of here, lady. There
isn't any Mickey here.

He keeps his gun at the ready.

INT. CORRIDOR OUTSIDE - DAY

Naturally, the voice belongs to McCall. Her gun is drawn
and she's safely away from the door on one side with Hunter
on the other, gun drawn. She keeps up her act.

MCCALL
I tol' myself I wasn't leavin'
till I had it out with ya face
to face, Mick. And you know me,
I'll stay here till Reagan's third
inaugural if I gotta.

RESUME IN APARTMENT - TONY

is pissed. Angrily he starts undoing the security latches
and turns the knob. The door FLIES OPEN INWARD at a vicious
kick from Hunter. He and McCall move in simultaneously,
side by side, then splitting apart to keep from giving
Melendez an easy target. Tony's absolutely caught between
them on opposite sides. He drops his pistol and raises his
hands.

FADE OUT

END OF ACT THREE

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

ACT FOUR

FADE IN

130 INT. DIVISION - DAY

Devane comes out of an interrogation room to where Hunter
and McCall wait at their desks.

DEVANE
Score one for the good guys. He
talked to his lawyer and he's
copping a plea, putting the
killing on his dead partner, of
course.

MCCALL
Well, they never said 'honor among
dead thieves.'

Devane fishes in his pocket, pulls out a sheet of blue
paper.

DEVANE
This just came in for you, Hunter.

Hunter looks it over, pockets it excitedly and takes off.

HUNTER
Coming, McCall?

MCCALL
Where we going?

But she follows fast as we

CUT TO

131 EXT. KXRX-TV - DAY

Raul Mercado stands near his car outside the station.
he sees Hunter and McCall arriving, he crosses to their car.

MERCADO
Captain Devane told me you were
coming... I... heard about the
arrest you made today. And I
heard the guy admitted Soames
fired at you.

HUNTER
Yeah, how about that.

MERCADO
I guess sometimes the camera can
lie, by omission.

HUNTER
Think he's trying to apologize,
McCall?

MCCALL
Yeah, but I think he should try
a little harder, don't you?

MERCADO
Look, I don't know if I can repair
the damage...but do me a favor
and watch the news tonight.

HUNTER
(to McCall)
You free at newstime, tonight,
Sergeant?

MCCALL
Oh, a little pizza, little
chianti, I might be persuaded.

HUNTER
(to Mercado)
Let's talk about Patrick Green.

MERCADO
The gambler? What about him?

HUNTER
Think he might dislike you enough
to make your life miserable? Or
even end it?

MERCADO
He might. But not from prison.

HUNTER
Guess again. He was parolled last
week. Three days before your
condo got redecorated.

He produces Devane's blue paper. Raul looks it over,
darkens.

MERCADO
My God. But they gave him six
to ten years...

HUNTER
In this state that makes you
eligible for parole in two. Maybe
you ought to do a report on the
parole system. We know where he
is and we're going to pay him a
visit.

Mercado looks at them both. Then he extends his hand to
Hunter, who slowly reaches out and takes it. They shake,
smile.

MERCADO
I've got to go meet my crew. My
copy for tonight just changed
again.

He starts for his car, opens the door and turns back to
them.

MERCADO
You won't miss the newscast?

HUNTER
Not a chance.

INT. PAUL'S CAR - DAY

He gets in, turns the ignition key and BOOM! THE CAR BLOWS
UP!

EXT. KXRX-TV - VARIOUS ANGLES - RAUL'S CAR - DAY

Fragments of metal rocket into the air as Hunter and McCall
are thrown to the ground by the blast. A red fireball
quickly turns into greasy black smoke.

HUNTER AND MCCALL

Hunter rolls, rises, looks on in horror. She sits up,
coughing; he takes her arm to help her up. Shadows from the
smoke wash over their stunned faces and we

DISSOLVE TO

EXT. KXRX-TV - HIGH SHOT - LATER THAT DAY

Several police cruisers are in evidence as homicide does the
grisly post-mortems.

HUNTER, MCCALL, AND FINN

LT. FINN is supervising the investigation.

FINN
Anything I should know that isn't
on the written report?

MCCALL
I had Mercado on unofficial
surveillance until lunchtime.
I should've stayed with him.

FINN
You had another job to do,
remember?
(sees their
depression)
Hey, you can't save 'em all.

Hunter starts to say something but stops, shakes his head.

FINN
I don't want to add insult to
injury but Driscoll, the station
manager? He called Captain
Devane. Said if you weren't in
custody for murder by six he was
going on the air at seven to call
for your arrest.

MCCALL
Driscoll's out of his mind! -
Mercado was going on the air
tonight to apologize to Hunter!

FINN
Anyone else know that?

They shake their heads.

FINN
(to Hunter)
Driscoll said you were hanging
around the station all day. He
made a big point about motive and
opportunity.

HUNTER
I hope they told him where to
stick it.

FINN
They didn't tell him any such
thing. In fact, I wouldn't be
too surprised if you got called
back to the division any minute,
so if you've got a lead on this
thing, I suggest you go after it.
Like now.

CUT TO

EXT. CENTURY PLAZA HOTEL - DAY

Fountains play in the foreground. Hunter and McCall's car
is parked in the red zone and we HEAR

GREEN'S VOICE OVER
You guys really amaze me.

INT. HOTEL ROOM - DAY

Hunter and McCall are questioning PATRICK GREEN, 45, a
well-dressed, well-fed man. He's living in air-conditioned
splendor with a nice view.

GREEN
Does it say anywhere in my file
that I'm stupid?

MCCALL
You did time, didn't you?

GREEN
Why not? It's one of the risks
you take in my business. That
doesn't make me stupid.

HUNTER
Spare us the seminar and give us
a run-down on your movements for
the past week.

GREEN
Call my parole officer. Call the
desk clerk here. I'm a
rehabilitated citizen. The last
thing I'm gonna do after two years
inside is come after some news
jockey whose name I can't even
remember.

Hunter lifts Green from his chair.

HUNTER
It's Mercado. M-E-R-C-A-D-O.

GREEN
Okay, okay... what're you, his
brother?

After a beat. Hunter relaxes, lets him go.

HUNTER
We will be talking to your parole
officer. And the desk clerk.
And you. Again.

GREEN
Nice talkin' to you...Sergeant.

EXT. CENTURY PLAZA HOTEL - DAY

Hunter and McCall climb into their car. Hunter to drive,

HUNTER
He didn't do it.

MCCALL
We still ought to check him out.

HUNTER
(defeated and
depressed)
He didn't do it, McCall. You know
it and I know it.

He's right. It's defeat time. Finally:

MCCALL
I do have one idea...
(into radio mike)
L-56. Patch me through to Bill
Califagno.

Static for a beat, then

CALIFAGNO'S VOICE
Yeah, McCall?...

INT. DIVISION - DAY - INTERCUT CALIFAGNO AND MCCALL

HCCALL
Did you get a read on the license
plate?

CALIFAGNO
Yeah, it came in an hour ago -
you must've been away from your
unit. The car is registered to
a Mrs. Jennifer Driscoll, 3421
Paradise Way, Glendale.

HUNTER
(reacts)
Jennifer Driscoll?

MCCALL
Thanks!
(to Hunter)
Couldn't be the same one...

HUNTER
Long coincidence if it isn't.
What time you got?

He's already screeching a u-turn as McCall answers

MCCALL
Six-fifteen.

CUT TO

EXT. DRISCOLL HOME - DAY

An upper-middle class California manse. The unmarked unit
is parked in front; Hunter and McCall are at the door.

HUNTER
L.A. Metro Police, Mrs. Driscoll.
We need to talk to you.

INTERCUT: INT. DRISCOLL HOME - DAY

We see now, hopefully with considerable shock, that Mrs.
Driscoll is Mercado's girlfriend, Jennifer. She is holding
the door from the inside, talking through it. She's scared.

JENNIFER
About what?

MCCALL
Mrs. Driscoll, it's about Raul
Mercado.

A beat, then Jennifer opens the door.

INT. DRISCOLL LIVING ROOM - DAY - CONTINUOUS

McCall follows Jennifer to a couch, where they sit down.
Hunter stands nearby.

MCCALL
I followed Raul today. I saw
him meet you.

JENNIFER
Yes. He... I... He was going to
help a friend of mine. A...what
do you call it? A plug on the
news...

MCCALL
I was in the restaurant. I saw
you talking. What I saw doesn't
fit what you just said.

JENNIFER
I don't know what you mean.

HUNTER
(gently)
Mrs. Driscoll, Raul is dead.
He was murdered this afternoon.

Jennifer's mouth opens but nothing comes out. She raises a
hand, lowers it. Looks back at them.

HUNTER
Did your husband know about you
and Raul Mercado?

Her eyes tell the story.

CUT TO

EXT. STREETS - HUNTER AND MCCALL'S UNIT - DAY
Racing through traffic, code three.

INT. KXRX-TV - NEWS SET - DAY

Technicians and crew are busy getting ready for the six p.m.
news. In foreground, a make-up man puts the finishing
touches on Driscoll. An A.D. approaches.

ASST. DIRECTOR
Mister Driscoll, your wife is on
line three...

DRISCOLL
Tell her I'm on the air in two
Minutes!

ASST. DIRECTOR
She says it's urgent. I think
you'd better take it, we can vamp
till you're ready.

Driscoll reacts, his face darkening. He moves to a wall
phone, picks it up.

DRISCOLL
What is it, Jenn?

CUT TO

EXT. KXRX BUILDING - DAY

Hunter and McCall screech up. They seem to be out of the
car before it's fully stopped. They race for the steps.

INT. KXRX - NEWS SET - DAY

The theme music starts and the newscasters trot to their
positions.

ANNOUNCER (V.O.)
Covering all of Southern
California, this is KXRX Action
News at Six...

CLOSE SHOT - ANCHORMAN
Sober, composed.

ANCHORMAN
Good evening. A sad day for those
of us at KXRX, and for all of
Los Angeles. Standing in for
Raul Mercado this evening is
Station Manager William Driscoll.

INT. KXRX - CORRIDOR - DAY
Hunter and McCall dash toward the set.

CLOSE SHOT - DRISCOLL - ON CAMERA

Haggard but unhurried.

DRISCOLL
Today at four p.m., an explosion
took the life of KXRX News's
Paul Mercado...

He sees:

REVERSE ANGLE - ON THE MAIN STUDIO CAMERA

Out of the darkness, McCall appears and stands beside the
camera. Hunter appears on the other side of the camera,
eyes locked on

DRISCOLL

He pauses a moment, silent, then continues his delivery.

DRISCOLL
Paul Mercado was murdered.

INTERCUT: CLOSE ON HUNTER

Eyes searching Driscoll.

DRISCOLL
(beat)
He was murdered because...because
this man, who presented himself
to this community as a man of
integrity and honor...
(beat)
...was committing adultery, and
had been committing adultery for
over a year... That is why he was
killed...by a man who had
befriended him, had made possible
his career, had loved him...and
was betrayed by him.

His voice breaks and he can say no more. He walks off the
set toward Hunter and McCall.

INTERCUT: THE ANCHORMAN
Speechless, on camera. Stunned.

ANGLE ON HUNTER AND MCCALL

They step forward to meet Driscoll. Their eyes meet for
a beat. Then

DRISCOLL
You won't need handcuffs.

Hunter takes Driscoll by the arm. He and McCall lead
Driscoll away. FOLLOW THEM as they move away down the
corridor, and then

FADE OUT

THE END