"Partners"

ACT ONE

FADE IN

EXT. FIRST STREET BRIDGE - DAY #1

Early morning. A white Chevy van cruises near the bridge
area which is abandoned at this hour.

INT. CHEVY VAN - TRAVELING - DAY

Three men, all in their 20's, ride inside. HECTOR is at the
wheel with JESUS and RAMON sitting beside him. Ramon spots
something near the bridge's support pillars.

RAMON
(pointing O.C.)
Mira!

The men look to see:

AN OLDSMOBILE

sits unattended with no one inside or nearby. The Chevy van
pulls up next to the Oldsmobile. Hector and Ramon exit out
the passenger doors, Jesus jumps out from the back. Like a
well practiced team, the three know exactly what to do.
Jesus pulls out a speed jack, Hector grabs it, slides it
under the back end of the car. Also in the back of the
truck are compressed air cylinders and an air wrench.

SERIES OF JUMP CUTS

as the back of the Olds is jacked up. The two rear tires
are stripped off by Ramon. Jesus tosses them in the back.
Likewise, the two front tires are removed. Hector pops the
trunk with a crowbar. Ramon opens the hood, starts
stripping engine parts.

JESUS

opens the front passenger door and the lifeless body of a
man falls into view, nearly toppling completely out of
view. There's a bullet wound to the back of his head. From
his positioning, the dead man was slumped against the door.
Jesus reacts with a frightened gasp and backs away alerting
his cohorts.

THE SCENE

Hector glances around, sees no one in sight, signals the
other two. They gather up their equipment, toss it into the
van and jump in. The van takes off.

ALLEYWAY

Driving at a fast clip, the Chevy van passes a Buick sedan
going in the opposite direction.

INT. BUICK SEDAN - TRAVELING - DAY

The DRIVER looks in his rearview mirror at the departing
van. He glances back to the alleyway, sees the Oldsmobile
sitting there stripped.

BUICK DRIVER'S POV - THE OLDSMOBILE

Wheels off, hood and trunk popped open, the vehicle has been
thoroughly scavenged. We see the body of the dead man
sprawled out of the car.

EXT. ALLEY - DAY - OH THE BUICK

as it jerks to a sudden halt. The driver stares at the
corpse in the Oldsmobile.

CUT TO

EXT. CITY STREET - INTERSECTION - DAY

The Chevy van rips past camera crossing through an
intersection, ignoring the four-way stop. Camera pans to
pick up a black and white approaching on the cross street.
Gumballs flare, siren screams as the patrol unit turns the
corner and goes in pursuit of the van.

INT. PATROL CAR - TRAVELING - BACK SEAT FORWARD ANGLE - DAY

The van ignores the lights and siren, continues racing
through the streets. BENNETT, the cop riding shotgun picks
up a mike:

BENNETT
l-ADAM-27, we're in pursuit of a
Chevy van heading east on
Seventh...

INT. CHEVY VAN - TRAVELING - DAY

Hector glances into his side mirror. All three men in the
van look frightened to death. Hector reacts to something
ahead on the roadway and twists the steering wheel.

EXT. CITY STREET - DAY

A stakebed truck filled with pumpkins pulls out from a
driveway, blocking the Chevy's lane. The van tries to veer
around the truck, but loses control, crashes directly into
it sending pumpkins flying.

THE SCENE

The patrol car grinds to a stop, both officers jump out,
guns drawn and pointed at the van. The van's driver's door
is crunched. The three men pile out the passenger and rear
doors.

BENNETT
Freeze right there!

The suspects comply as the officers approach.

BENNETT
(continuing)
Hands against the van!

The three men turn toward the van. Officer # 2 looks into
the back of the van through the open doors. He sees the
jack, tires, and various auto parts. As he makes a mental
note of this:

CUT TO

EXT. FIRST STREET BRIDGE - DAY

A couple of black and whites are now parked near the
Oldsmobile. The Buick is nearby and two officers talk to the
driver as Hunter's car pulls up and comes to a stop. HUNTER
gets out, crosses to the Oldsmobile where he's met by
OFFICER BRENNAN.

HUNTER
What've you got?

BRENNAN
459 auto - the owner must've
caught 'em in the act.

HUNTER
Any ID on him?

BRENNAN
I didn't want to approach the car
till someone from homicide got
here.
(re: Buick owner)
We've got a witness who saw a
white chevy van tearing out of
here with three men about twenty
minutes ago. I put out a call.

Hunter notices something on the ground near the car. He
kneels down to get a better look.

CLOSE ON - SHOE PRINTS

of various sizes and tread patterns are embedded in the damp
clay soil.

BACK TO SCENE
Hunter stands, gives an order to Brennan.

HUNTER
Keep everybody back from the car
till S.I.D. gets here and makes
castings of these shoe prints.

BRENNAN
Yes, sir.

ANGLE - A PATROL CAR

pulls into the area. It's the unit that chased the Chevy
van. In the back of the patrol car are the three men who
stripped the Oldsmobile. The car comes to a halt, Officer
# 2 stays with the car, Bennett crosses to Hunter and
Brennan.

BENNETT
I picked up your broadcast.
(re: his unit)
We caught those three dudes
setting a land speed record in a
white Chevy van with tires,
wheels, and lots of used parts...
(to Hunter)
There was a .45 under the front
seat. We may have bagged your
suspects.

HUNTER
Hold on. I don't think so.

Hunter carefully threads his way among the foot prints to
the dead body which lies facedown on the front seat of the
Oldsmobile, halfway out of the car. Hunter checks the
corpse as Brennan watches from ten feet away.

HUNTER
(continuing; to
Brennan)
Rigor mortis's set in - he's
been dead for hours.
(checks bullet
wound)
Looks like a small caliber, maybe
a .22.
(to Bennett)
You guys find any other weapons?
(off Bennett's head
shake)
Book 'em on the 459 auto.

Bennett looks disappointed in Hunter's verdict, walks back
to his patrol unit.

HUNTER

looks around inside the car and sees a two-way radio under
the dash, a kind commonly used by law enforcement agencies.
Hunter immediately reaches inside the dead man's coat, pulls
out a wallet, flips it open.

INSERT - WALLET

which turns out to be a badge case. Inside we see the
shield of an I.N.S. agent, a photo and documentation
identifying the owner as Gordon Lynch.

BACK TO HUNTER

reacting with shock. He kneels beside the corpse, cranes
around to study the victim's face which he now sees for the
first time. The face matches the ID. Hunter stands with a
troubled look, carefully steps away from the Oldsmobile and
heads for his own car.

HUNTER'S CAR

Hunter approaches, passing Officer Brennan who notices his
shaken expression. Hunter hands him the badge case.
Brennan glances at it while Hunter reaches into 1W156 and
pulls out the mike.

BRENNAN
(reading)
Gordon Lynch...
(slow recognition)
...isn't that Dana Lynch's
husband?

HUNTER
(nods sadly)
I'm afraid so...
(into mike)
This is 1W156 - if the captain's
in, have him standby for a meet...

CUT TO

INT. DEVANE'S OFFICE - DAY

CAPTAIN CHARLIE DEVANE sits behind his desk, talking on the
phone. Hunter and MCCALL sitting before him. There's a
delicate edge to McCall as if she's been crying and could do
so again. She has a Kleenex in one hand.

DEVANE
(into phone)
Did you get 'em on the radio?
(listens)
Thanks.
(hangs up phone? to
Hunter and McCall)
Dana's on her way in. I wish
there was an easy way to do this.

From Devane's tone, we can tell that at this particular
moment he hates his job. McCall senses Devane's
uncomfortableness and offers her help.

MCCALL
I've known Dana since she was at
the Academy. Maybe it would be
better if I told her.

DEVANE
Yeah, maybe...

McCall stands, not looking forward to her task, but feeling
a social obligation to do it.

As she leaves the room and passes by Hunter, he gives her
hand a supportive squeeze. McCall leaves the room. Hunter
turns to Charlie.

HUNTER
Who takes the case?

DEVANE
Gordon was an I.N.S. agent, so the
FBI has jurisdiction, but I might
be able to talk then into giving
us the investigation...
(reaches for
phone)
I'd like to keep it in the
family.

INT. CENTRAL DIVISION - CORRIDOR - DAY

DANA LYNCH walks with her partner, GLENN KATES, heading
toward Devane's office. Dana is an attractive woman in her
late 20's. Glenn Kates is in his mid-30's and has the look
of a seasoned patrol cop. There's an apprehensive look on
Dana's face - Devane's summons has alerted her to the fact
that something serious has happened. As they continue along
the corridor, SGT. DALE LOOMIS, a patrol sergeant, passes
them. Loomis is tall, broad shouldered, graying, about 50.

LOOMIS
Hey, Kates, I need to talk to you
about your 314 follow ups.

Kates gives Dana a look and she returns it with a nod.
Kates splits off from her, following Loomis. Dana continues
walking by herself to Devane's office, her anxiety growing.

DANA'S POV - THE CORRIDOR

From the officers passing by, we get the feeling that
everyone at Central Division knows what has transpired and
is afraid of meeting Dana's eye for fear of tipping her.

ON DANA
Dana picks up on the reactions, her anxiety increasing.

MCCALL

enters the corridor, spots Dana and calls out to her:

MCCALL
Dana...

Dana sees McCall, goes over to her. Dana is tense.

DANA
Hi, Dee Dee.

MCCALL
Captain Devane asked me to talk to
you. Can we go somewhere private?

With those words, Dana realizes what is about to happen.

DANA
What's it about? - Gordon?

MCCALL
Let's find some place quiet.

McCall's tone tells Dana all she needs to know.

DANA
(mounting fear)
Has Gordon been hurt? What's
happened to him?
(off McCall's look)
Is he dead?

McCall is caught short, doesn't know what to do. Dana has
intuited the truth, there's no sense hiding it.

MCCALL
He was shot sometime last night.
I'm sorry Dana, he's gone.

Dana remains frozen for a moment, but she can't stem the
wave of loss that suddenly crashes down on her. Dana starts
to cry. McCall goes to comfort her, but Dana backs away and
puts up her hands as if by warding off McCall, she can ward
off her husband's death. McCall feels awkward, looks at
loose ends.

MCCALL
(continuing)
I know how rough this is, Dana,
but you'll get through it...

McCall stops, knowing the words sound hollow. At this
moment she feels inadequate to handle the burden of Dana's
grief. Dana manages to talk through her tears.

DANA
I just need... need to be alone.
For a few minutes - Please.

Dana turns, walks off down the corridor. Move in on McCall,
sympathetic to Dana, but relieved that the moment is over.

CUT TO

INT. DEVANE'S OFFICE - DAY

A few hours later. Hunter, a subdued McCall, Devane, and
JOSH SANDERS, an I.N.S. supervising agent, are seated.
Sanders is late 40's, looks older because of a receding
hairline and a sun lined face. Sanders is broken up about
Gordon's death, but he's also enough of a bureaucrat to be
conscious of the C.Y.A. factor. Gordon's death means
Sanders will eventually have to answer to his superiors.
Sanders hands a manila folder over to Hunter. Hunter opens
the file and scans it along with McCall.

HUNTER
The coroner said Gordon was killed
around ten o'clock last night. If
he was working the garment
district like you say, how come he
was at the First Street Bridge at
that hour?

SANDERS
I don't know. He radioed in his
location about nine, but didn't
mention what he was doing there.

HUNTER
(re: the file)
Gordon was digging into a company
called A-One Employment --

SANDERS
They're day labor brokers - they
supply workers to garment makers.
Gordon suspected A-One was tied
into a coyote pipeline, but
didn't know how.

McCall puzzles over a file paper, shows it to Sanders.

MCCALL
This is a list of companies A-One
supplies workers to. Half the
companies have check marks and
dates - what does that mean?

SANDERS
(scans list)
Gordon pulled surprise inspections
on those companies. He was hoping
to find illegals that A-One was
passing off to its clients.

MCCALL
Could he have found something at
one of these companies that got
him killed?

SANDERS
Maybe - but I find it hard to
believe anyone could've gotten the
drop on Gordon Lynch. He was the
best new agent I'd worked with in
years.

DEVANE
Is there anything you can think of
that might help our investigation?

Sanders pauses for a moment before answering.

SANDERS
Last night, our radio dispatcher
got a call from an Officer Ellis
on the Vernon Police Department.
He said he wanted Gordon's
location for a meet, said he had
some hot info.

HUNTER
What time was that?

SANDERS
About nine-thirty last night.
checked with Vernon P.D. this
morning - they don't have an
Officer Ellis.

CUT TO

EXT. DANA LYNCH'S HOUSE - DAY

A number of cars and a few black and whites are parked in
the drive and on the street in front. McCall pulls up in
her car, gets out, walks to the modest, stucco house. On
the front porch we notice a few people standing, talking.

INT. DANA LYNCH'S HOUSE - LIVING ROOM - DAY

We find a mix of people assembled at Dana's house - fellow
officers (a few still in uniform), friends, family - and
mixed somewhere in the crowd, Glenn Kates, and somewhere
else, Dale Loomis. Everyone seems slightly uncomfortable.
McCall enters the living room, says "hello" to some of the
officers, and wends her way through the gathering.

ANGLE - DEVANE
as he enters the room, spots McCall and goes to her.

MCCALL
How's Dana doing?

DEVANE
She's really hurting. Talk to her,
McCall - you're the only person
here who really knows what she's
going through..

Devane moves off leaving an unsettled McCall.

EXT. DANA LYNCH'S HOUSE - PATIO - DAY

Dana talks in muted tones to a uniformed POLICE CHAPLAIN,
McCall enters the area appearing edgy as Dana's visitor
finishes offering his condolences and leaves. McCall
approaches Dana looking uncomfortable, gives her a stiff
hug.

MCCALL
I thought I'd stop by for a few
minutes. How are you feeling?

DANA
Numb - like I've been hit by a
Mack truck.

MCCALL
(somewhat trite)
Yeah, that's to be expected. It
takes time to heal.

DANA
Captain Devane told me your
husband was a cop - that he was
killed in line of duty.

McCall looks slightly invaded, as if a door has been opened
onto her life that she'd rather remained shut.

MCCALL
(tightly)
Yes. His name was Steve. He died
almost six years ago.
(fights to keep
control)
I thought I'd gotten over it.
(pause - shaky)
...but I guess it's something you
always carry around inside no
matter how much time goes by.
(regains control)
You've got to put your life
together and keep on going,
whether you're hurting or not...
(growing strength)
Believe me Dana, I understand what
you're going through and I'm here
to help any way I can...

For the first time since Gordon's death, the two women speak
a common language. As they exchange a look of shared pain
and grief.

CUT TO

4 INT. DANA LYNCH'S HOUSE - LIVING ROOM - DAY

Later that day. Close on a wedding photo of Dana and
Gordon Lynch. Pulling back we see a fireplace and mantle
holding various photos of Dana and Gordon together, with
family and friends. We find Devane and Josh Sanders near
the mantle, talking. Devane has a drink in hand. We notice
that most of the people have left and others are heading
toward the door as the gathering winds down.

SANDERS
I've never seen a guy so happy to
transfer to I.N.S. as Gordon.

DEVANE
How long was he in Border Patrol?

SANDERS
Six, long years. He was wasted
there. Gordon was smart,
ambitious, paid attention to
detail - the kind that gets
promoted. That's what makes this
whole deal so rotten.

DEVANE
This the first agent you've lost?

Sanders nods, obviously upset by Lynch's death.

SANDERS
Hadn't even been with us for a
full month, killed on his first
assignment -
(disgusted)
- what the hell.
(as he leaves)
Give me a call if we can help.

Sanders walks off. Charlie looks around the now nearly
empty room, sees McCall emerging from the hallway. She's
dried her eyes and repaired her make-up, but we can still
tell she's been crying. Charlie goes to her.

DEVANE
I wish we had a lead - something
to tell Dana.

McCall seems on delicate emotional ground, doesn't want a
prolonged conversation with Devane at this moment.

MCCALL
So do I, Charlie - see you
tomorrow.

McCall walks away leaving Devane looking after her with
curiosity on his face.

EXT. DANA LYNCH'S HOUSE - FRONT PORCH - DAY

The front door opens and McCall steps out onto the porch.
She can't help but see Josh Sanders and Glenn Kates standing
in the driveway, talking.

CLOSE ON - SANDERS AND KATES
Kates has a glass of scotch in hand and looks a bit drunk.

SANDERS
I didn't really get a chance to
know Gordon, but he seemed like a
wonderful person.

KATES
Maybe so, but he sure made a lousy
husband.

Kates abruptly walks off with a slightly unsteady gait
leaving Sanders behind.

ON MCCALL

as she reacts with a sense of surprise and shock to what
Kates has just said.

INT. DANA LYNCH'S HOUSE - KITCHEN - DAY

Dana enters the kitchen carrying several paper plates with
left over food and empty plastic glasses. She puts
everything down on a drainboard, the effort seemingly taking
a great deal out of her. She glances at something on the
wall that catches her attention. A message pad on the wall
reads: "Dana, Be home late tonight. Gordon."

CLOSE ON DANA 3

as she reacts to the message, tears forming in her eyes.
She pulls a kleenex out of her pocket to wipe her nose. As
she does a hand reaches into frame and comes to rest on her
shoulder.

THE SCENE

We find Glenn Kates standing behind Dana who turns to him,
unsurprised. The belligerent Glenn Kates we saw with Josh
Sanders has now disappeared. Dana gives him a look that
only hints at the despair she's feeling.

DANA
You shouldn't've stayed.

KATES
I couldn't leave you like this -

DANA
I'll be okay.

KATES
Don't get brave on me, Dana. You
can let go with me - I'm your
partner.

DANA
You're more than my partner -
you're all I've got.

Glenn takes Dana in his arms, folding her into a comforting
hug. Hold for a beat:

CUT TO

EXT. GARMENT DISTRICT - A-ONE EMPLOYMENT OFFICE - DAY

Hunter's car is parked in front. Over the entrance door,
a sign reads: "A-ONE EMPLOYMENT".

INT. A-ONE EMPLOYMENT - OFFICE - DAY

We find Hunter sitting in a dingy, one room office filled
with file cabinets and two desks. Behind one desk is
AUGUSTINE ROJAS, a roundish man in his mid 30's, nattily
dressed, wearing a couple items of expensive men's jewelry,
Behind the other desk is CARMELO CHAVEZ, late 30's, proud,
an individual who fought his way out of the barrio to build
a successful business.

CHAVEZ
Hey, it's no secret Lynch was
investigating us. He had this
idea we were working with coyotes,
finding jobs for illegals in the
garment district.

HUNTER
What made him think that?

ROJAS
You got me, man. We explained to
Mr. Lynch that the new immigration
law could put us out of business
if we were caught using illegal
workers.

HUNTER
He must not've believed you.
Lynch was pulling inspections on
all your clients. If I ran a
business like yours, I wouldn't
want an I.N.S. agent stepping all
over my customers - they might go
away.

Chavez and Rojas exchange looks, knowing what Hunter is
suggesting. Chavez stands, crosses to Rojas's desk, sits on
the corner.

CHAVEZ
Are you suggesting we had
something to do with Mr. Lynch's
death?

HUNTER
Where were you around ten o'clock
last night?

ROJAS
We were here, working late. We
stayed past midnight.

There's a pre-rehearsed quality to Rojas's answer. Hunter
doesn't believe him.

HUNTER
Is that the best you can do?

CHAVEZ
It's the truth -- you find out any
different, give us a call.

HUNTER
(stands)
I may just do that.
(starts to leave)
Stay in town - I'll be back.

As soon as Hunter goes out the door, Rojas turns to Chavez.

ROJAS
You think he knows?

CHAVEZ
Hey, I can't read minds! If I
could, I would've split from you a
long time ago.
(leans over Rojas's
desk)
You gotta clean up this mess
before we both go down the sewer.
You gotta think, man, use that
head of yours.

Chavez flicks a finger against Rojas's forehead, thunking
it like a watermelon. Rojas jerks back, stung.

ROJAS
Lay off!
(re: Hunter)
Or maybe I'll call that cop and
take my chances.

A wave of anger sweeps over Chavez. He grabs Rojas by the
lapels of his coat, half dragging him over the desk.

CHAVEZ
You gotta death wish? Don't tell
him nothin'! Get rid of that
stuff Lynch was after! I don't
want that cop pinning a murder rap
on me!

As Chavez's no-bullshit attitude sinks in on Rojas:

FADE OUT

END OF ACT ONE

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

ACT TWO

FADE IN

EXT. CENTRAL DIVISION - DAY #2 (STOCK)

Establishing.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY

Morning. McCall is at her desk paging through files, making
notes, when Hunter enters for the day. McCall looks tired
and drawn, like she's been up half the night exhorting
ghosts from her life.

HUNTER
You're in bright and early.

MCCALL
Had some stuff to catch up on -

Hunter can tell that McCall's in a heavy mood, treats the
situation gently. McCall continues working.

HUNTER
I hate to have my partner feel
like she has to carry the whole
load by herself.

MCCALL
It's not that. When Steve was
murdered, the killer was caught
right away. If I'd had to wait
like Dana, I'd've gone out of my
mind.

HUNTER
Working extra hours isn't going to
make it any better for her.

McCall stops working, puts down her pencil, looks to Hunter
with a mild sense of exhaustion.

MCCALL
I couldn't sleep -- it was like
when Steve was killed. For months
afterwards, it was impossible for
me to use the bed we'd slept in -
it felt so empty and alone without
him. I started sacking out on the
couch. Finally, I gave the bed
away...but I guess I kept some of
the memories. It all came back to
me last night...

Hunter gives McCall a sympathetic look as she draws herself
together, now ready to press on.

MCCALL
(deliberately
changes subject)
What'd you find out at A-One
Employment?

HUNTER
Chavez and Rojas are guilty of
something - what I don't know.

MCCALL
I've been checking our files for
anything on their clients - maybe
one of them had something to do
with Gordon's death.

HUNTER
Sounds good. I'm gonna visit the
last company Gordon pulled an
inspection on and work my way back
to the first.

MCCALL
That's gonna take a long time.

HUNTER
Can you think of anything better?

MCCALL
No - I just want to wrap this one
up quick. The sooner we get the
killer, the better off Dana'll be.

CUT TO

2 EXT. MR. CHRISTOPHER BUILDING - DAY

Establish location with Hunter's car parked in front.

INT. MR. CHRISTOPHER BUILDING - PHOTO STUDIO - DAY

A young, female model poses for a photographer, both of them
moving in tempo to loud rock and roll music playing on a
boombox. The model wears the latest edition of "Mr.
Christopher's" Jeans and nothing else. She covers her
breasts with crossed arms. A small army of people connected
with the photo session watch from the wings. Our attention
is on the model flirting with the camera lens and the
photographer stalking her best angles.

ANGLE - THE STUDIO WINGS

KEITH FULLER, mid-40's, intently watches the photo session.
Contrary to stereotypes of males in the fashion business,
Fuller is a down to earth businessman. Approaching him we
see Hunter who is being lead to Fuller by a secretary.

The secretary taps Fuller on the arm, he sees Hunter and
shakes his hand. Hunter sees the model and Fuller notices
his reaction.

FULLER
Like to meet her?

Hunter turns his attention back to Fuller.

HUNTER
Right after you and I have a small
chat, Mr. Fuller.

Fuller nods, gestures Hunter to follow.

INT. MR. CHRISTOPHER - GARMENT MANUFACTURING PLANT - DAY

Bright, clean, efficient. It's a modern garment
manufacturing plant, the very antithesis of the back alley
sweat shop. Fuller leads Hunter by machines which Hispanic
workers are setting up. They pass a computer.

HUNTER
You aren't Mr. Christopher by any
chance, are you?

FULLER
(points to
computer)
No, that's Mr. Christopher -- the
Christopher 5100 computer design
plotter. The company hired me to
open this plant 5 years ago. I
started with 20 employees -- today
we have over a thousand in
various shops around L.A.

HUNTER
An I.N.S. agent named Gordon Lynch
pulled a surprise inspection here
three days ago. Did he hit you
with any citations?

FULLER
We passed with flying colors, but
it was only a partial inspection.

HUNTER
Partial?

FULLER
He only wanted the citizenship
papers for the workers sent to us
by A-One Employment.

As Hunter and Fuller continue walking, they enter into a
sewing area where women, mostly Hispanic, concentrate on
sewing.

HUNTER
Did he tell you why?

FULLER
I figured A-One had been playing
fast and loose with the new
immigration law. The next day, I
pulled the plug on 'em.

HUNTER
Were you afraid A-One was slipping
illegal immigrants in on you?

Fuller stops walking, turns to Hunter who halts beside him.

FULLER
All I know is, times've changed.
In the old days every rag
manufacturer in L.A. used illegals
and if the I.N.S. busted 'em, so
what? But it's different now -
employers can catch fines of a few
thousand dollars for each
violation. I don't need that kind
of grief.

HUNTER
How'd Rojas and Chavez take the
news when you cut 'em off?

FULLER
They squawked about it, but all I
said was, 'Boys, thanks, but no
thanks.'

Fuller continues walking, exiting frame. Hunter is about
to follow after, notices something on a nearby wall.

ANGLE - WALL DISPLAY

which has the company name on top and the words, "EMPLOYEES
OF THE MONTH". Beneath we see photographs of two workers, a
man and a woman. Below the photos are names: Jesse
Rodriguez and Lupe de Leon.

BACK TO HUNTER
as he takes the display in, follows after Fuller.

CUT TO

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY

McCall closes a file, stacks it, opens another file and
looks through. An L.A. County Sheriffs Deputy, GUY TAYLOR,
late 20's, black, approaches her desk.

TAYLOR
Sergeant McCall?

McCall glances up from her work.

MCCALL
Yes?

TAYLOR
They told me at the desk that
you're handling the Gordon Lynch
murder investigation.

MCCALL
That's right. What can I do for
you?

Taylor is a little reluctant to talk to McCall, but his
sense of duty urges him forward.

TAYLOR
I was working the night Gordon
Lynch was killed. I responded to
a call I think you'd better know
about...

CUT TO

EXT. ALBERT GOODMAN'S HOUSE - DAY

The establishing shot includes the house next door which
we've seen earlier and should recognize as the residence of
Dana Lynch. McCall's car is parked in front of Goodman's
house and she's walking to the front door.

EXT. ALBERT GOODMAH'S HOUSE - PORCH - DAY

McCall climbs the porch steps, rings the doorbell, waits,
rings again. The door swings open revealing ALBERT GOODMAN,
a man in his late 60's, tidy, trim and a flirt.

MCCALL
Albert Goodman?

ALBERT
Yes?

McCall displays her badge.

MCCALL
Sergeant Dee Dee McCall, Homicide.

Albert sticks his hands out, waiting to be handcuffed.

ALBERT
I confess, I did it.

MCCALL
Did what?

ALBERT
Anything you want, Sergeant.

MCCALL
I have a few questions to ask.

ALBERT
Want to come inside and grill me?

MCCALL
No, we can talk right here. It's
about the Lynches.

Albert saddens at the mention of the Lynches.

ALBERT
I heard about Mr. Lynch getting
killed.

MCCALL
You called the Sheriffs Department
about a disturbance at the Lynch's
house the night before last.

ALBERT
That's right. They were going at
it like cats and dogs. I was
worried about Mrs. Lynch.

MCCALL
When the deputies arrived at their
house, no one was home. Are you
sure they were the ones you heard
arguing?

ALBERT
Yes ma'am. A few minutes after I
called the cops, Mr. Lynch got in
his car and drove away. A little
bit later, Mrs. Lynch did the
same.

MCCALL
You're certain about that?

ALBERT
All my faculties are in perfect
working order - all of 'em.

MCCALL
How often did they have fights?

ALBERT
Look, Sergeant, I don't like
squealing on my neighbors, but if
I do - shouldn't you at least
take me out to lunch?

CUT TO

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY

Hunter enters, passing by the communications room to pick up
any messages. He continues on to his desk, tosses his coat
over his chair, sees McCall enter the area reading a file
from medical records. McCall has a steelier edge to her now
-her grief for Dana seems to have evaporated. Hunter drops
a phone message on McCall's desk.

HUNTER
(re: the message)
I gave you a call about an hour
ago, where've you been?

MCCALL
Medical records.
(holds up file)
I've been going through Dana
Lynch's file. There's a few
things she hasn't been telling us.

HUNTER
Like what?

McCall hands the open file to Hunter.

MCCALL
Take a read.

CUT TO

3 EXT. CITY STREET - DAY - PHONE BOOTH

where we find Augustine Rojas clutching a phone receiver,
pressing it to his ear. The neighborhood behind him is
bottom of the barrel. From his demeanor and tone of voice,
Augustine is coming strictly from fear and panic.

ROJAS
(into phone)
I'm telling you, we've got nowhere
to hide. I didn't count on
nothing like this.
(listens)
'Cause I'm scared, that's why! I'm
going to the cops and hope they
believe me. What you do is your
business.
(listens)
Hey, we ain't partners no more!
From now on, it's every man for
himself!

Augustine slams down the phone, exhales a deep breath,
looks around like a cornered animal. He pulls out a scrap
of paper, jams a coin in the pay phone, stabs in a number.

ROJAS
(continuing; into
phone)
Give me Homicide - Sergeant
Hunter.

CUT TO

EXT. DANA LYNCH'S HOUSE - DAY
Establishing.

INT. DANA LYNCH'S HOUSE - LIVING ROOM - DAY

McCall sits on a couch as Dana enters the room carrying a
tray loaded with a teapot, cups, and a plate with cookies on
it. Dana puts the tray down on a coffee table, sits in an
armchair opposite McCall, starts to pour tea.

DANA
I'm glad you stopped by. I was
going to give you a call this
evening.

MCCALL
There's some personal questions I
need to ask about you and Gordon
...the kind of marriage you had.
(off Dana's glance)
It was sort of stormy wasn't it?

Dana finishes pouring, calmly sets the teapot down. We
detect a certain amount of bluff in Dana's answer.

DANA
Gordon and I had spats, but no
worse than anyone else.

McCall takes a notepad from her pocket, flips it open.

MCCALL
The Sheriff's department has been
here eleven times over the last
three years. Your medical records
show that during the same period
you've had a broken finger, two
fractured ribs, a scalp laceration
requiring twelve stitches, and a
broken nose - all off duty
injuries.

DANA
I guess I'm just sort of accident
prone.

McCall gives Dana an even and penetrating look.

MCCALL
Dana, when I was a patrol cop, I
took hundreds of domestic
disturbance calls. There's a
pattern of violence here that I've
seen before. Was Gordon beating
you?

With this Dana seems to freeze, as if she's utterly ashamed
about McCall's discovery. Dana looks away, trying to avoid
McCall's eyes. For a second it seems like she might cry,
but she gets hold of herself. Dana says something in a very
soft voice - barely a whisper - that we cannot hear.

MCCALL
(continuing;
gently)
I'm sorry, I didn't hear you.

Dana gathers a little more strength, speaks louder.

DANA
Yes - he beat me.

Dana puts a shaky hand to her mouth as if she wishes she
could catch the words she's spoken and stop them from
reaching McCall's ears.

Intercut With:

INT. CENTRAL DIVISON - WEIGHT ROOM - DAY

Glenn Kates is working out, doing arm curls. Hunter stands
nearby.

KATES
(defensive)
I never pried into Dana's personal
life, I don't know what went on
between her and Gordon.

HUNTER
You're partners - you spend eight
hours a day in the same patrol
car. After awhile you start
thinking each other's thoughts.
You knew what was going on.

Kates drops the weights onto a holding stand.

KATES
It wasn't any of my business.

HUNTER
(pressing)
When Dana was too beat up to work,
you arranged for her to take
special days off. When she was
hurt you made excuses for her and
carried her work load -

Kates turns to Hunter, irritated.

KATES
All right, I helped her out. So
what?

HUNTER
How long had Gordon been using her
as a punching bag?

KATES
From the time she got out of the
Academy and became a patrol cop.
Gordon was jealous - he'd tried
to make the department himself,
but failed the psych test. He
took it out on Dana.

INT. DANA'S HOUSE - LIVING ROOM - DAY

As before, McCall on the couch, Dana in the chair. As Dana
talks, we sense the humiliation and pain within her.

DANA
Gordon said I lorded it over him
because I made the force and he
didn't. He'd get angry and hit
me. At first I felt guilty and
confused - then I realized he was
just making an excuse. He liked
hurting me...

MCCALL
Why didn't you leave him?

Dana looks conflicted and even more embarrassed.

DANA
I was afraid of what he might do
to me...

MCCALL
You should have asked for help.

DANA
I'm a police officer. I'm
supposed to be able to handle
violence. What if the department
found out I couldn't even handle
it in my own home?

There's a shift in McCall's tone and direction of
questioning.

MCCALL
I imagine Glenn Kates was upset
over what was going on. Did he
ever make any threats against
Gordon?

The question clearly indicates where McCall is taking her
interrogation. Dana seems jarred by this new tack.

INT. POLICE ACADEMY - WEIGHT ROOM DAY

Hunter has one leg up on a training bench; Kates stands in
front of Hunter, looking angry.

KATES
I don't believe it - are you
accusing Dana of murdering her own
husband? After all she's been
through?

HUNTER
Gordon had been beating up on Dana
for years - maybe she saw no
other way out but to kill him.

KATES
If I said something like that
about McCall, you'd deck me.

HUNTER
That might be true, but I still
need an answer.

KATES
The night Gordon was murdered,
Dana and I met at the Pit Stop for
drinks. She was with me all
evening.

HUNTER
Are you sure about that?

KATES
Yeah, I'm sure! Instead of going
after Dana, why don't you get off
your butt and find out who the
real killer is!

Kates storms out of the weight room, leaving Hunter behind.

INT. DANA LYNCH'S HOUSE - LIVING ROOM - DAY
Dana is tense and on guard.

DANA
Glenn and I watched the Lakers-
Warriors game together. We didn't
leave the Pit Stop until almost
eleven.

MCCALL
You know we'll check into it. If
you're covering for Glenn, we'll
find out.

DANA
I'm not covering for him! Glenn
didn't do it!

MCCALL
Then who did?

DANA
(distraught)
I don't know! Why are you asking
me? I haven't done anything!

From Dana's tone, McCall knows she's pushed the questioning
as far as it can go. Her interrogation of Dana, and very
possibly their friendship, is over.

CUT TO

INT. CENTRAL DIVISION - COMM ROOM AREA - DAY

Hunter stops by to pick up his messages. The PUBLIC
SERVICE REPRESENTATIVE (P.S.R. - the person who answers the
phones), holds up a message.

P.S.R.
Sergeant Hunter --

HUNTER
Yes?

The P.S.R. hands him a phone message.

P.S.R.
You just got a hot one. A man
named Augustine Rojas wants to
meet with you -- says he knows who
killed Gordon Lynch.

CUT TO

EXT. GARMENT DISTRICT - A-ONE EMPLOYMENT - NIGHT
(OF DAY #2)

Hunter's car rolls to a stop by the building occupied by A-
One employment. Hunter gets out of his car, notices another
vehicle, a convertible Chrysler LeBaron parked in front.
Hunter sees a light burning in A-One's office. He starts
toward the building.

ANGLE - A-ONE EMPLOYMENT FRONT DOOR

Hunter arrives, reaches for the door handle, finds it
unlocked. He swings open the door and steps inside.

INT. A-ONE EMPLOYMENT - NIGHT

On Hunter as he enters the office, closes the door behind
and freezes in his tracks. He looks at something O.C., an
expression of shock covering his face.

THE SCENE

From the back, we see only the lower half of Augustine
Rojas's body, feet dangling above the floor, an overturned
chair nearby. From his style of clothing and articles of
jewelry, there's no mistaking Rojas. Although we don't see
the rope around his neck, we get the clear idea that he has
hung himself. Hunter reacts to the sight of Rojas and to
the realization that his first good lead in the case is now
dead.

FADE OUT

OMITTED

END OF ACT TWO

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

ACT THREE

FADE IN

EXT. GARMENT DIST. - A-ONE EMPLOYMENT - NIGHT

A few emergency vehicles are parked nearby at various
angles. Hunter talks with an S.I.D. man, notices something
o.c.

ANGLE - CARMELO CHAVEZ

has just arrived and he's stunned by the death of his
partner. He stares at a coroner's van as Rojas' body is
loaded on board. It's like Chavez is in a bad dream.
Hunter approaches him.

CHAVEZ
I heard what happened - it wasn't
suicide, man. Augustine had too
much going for him to pull the
plug on his own life.

Hunter remains silent. Chavez becomes, more agitated and
insistent.

CHAVEZ
(continuing)
Hey, I knew what was going on with
him better than I do with myself.
Augustine would've told me if
something was bothering him.

HUNTER
The coroner found rope burns on
his wrists. Somebody tied him up,
hung him from a rafter, then cut
his hands loose.

Chavez takes this in, looking more frightened with each
word.

CHAVEZ
(continuing)
I want police protection -

HUNTER
From what?

Chavez draws closer to Hunter, lowers his voice.

CHAVEZ
Two days ago I overheard
Augustine talking to Lynch on the
phone. They set up a meeting for
that night. The next morning,
Lynch was found dead and
Augustine was acting real
nervous.

HUNTER
You think Augustine killed him?

CHAVEZ
Augustine didn't have the cajones
to pop a mosquito. I made him
tell me what happened -
Augustine said he saw who shot
Gordon Lynch.

HUNTER
Who did it?

CHAVEZ
Augustine didn't say - he was
too scared. He was afraid the
killer got a look at him. Now
Augustine's dead and I could be
next.

Hunter doesn't believe Chavez.

HUNTER
If you don't give me a name, I'm
gonna think you did it.

CHAVEZ
Augustine didn't give me a name.
That's the honest to God truth. I
might be next! You gotta do
something!

CUT TO

INT. THE PIT STOP BAR - NIGHT

A sign in the B.G. identifies the place. It's a friendly
watering hole with a middle class clientele. Happy hour is
in full swing and the place is fairly packed. McCall stands
by the bar, talking to a WAITRESS, showing her photos of
Dana Lynch and Glenn Kates.

MCCALL
Do you recall serving this couple
the night of the Lakers-Warriors
game two nights ago?

The waitress studies the photos, shakes her head.

WAITRESS
No, but the place was jammed.
Maybe one of the other girls
waited on them. Want me to ask
around?

MCCALL
Please.

The waitress walks off, taking the two photos with her.
McCall looks around the room, recognizes someone O.C.

ANGLE - DALE LOOMIS

sits at a table by himself, out of uniform, nursing a
scotch. McCall walks up to his table.

MCCALL
What's this? - Dale Loomis
sitting alone in a bar without a
woman? Must be a first.

LOOMIS
Looks like my luck's changed. Sit
down, McCall, I'll buy you a
drink.

MCCALL
(sitting)
Make it a club soda.

Loomis spots a waitress cruising by and signals her. She
stops by the table.

LOOMIS
Club soda for the lady -
(re: his glass)
and one more of these...
(to McCall)
So what've you been doing with
yourself, McCall?

MCCALL
I'm working the Gordon Lynch
murder.

Loomis's expression darkens. McCall picks up on it right
away. Loomis tries to pass off his reaction, but McCall
won't let loose.

LOOMIS
Too bad about Dana - she's a fine
person.

MCCALL
Is there something else. Dale? -
if there is, I'd like to hear it.

LOOMIS
Is this an I.A.D. investigation?

MCCALL
Could be.

Loomis looks torn, decides to open up to McCall.

LOOMIS
It's not worth repeating, really.
You know how rumors get started
about male and female partners.

MCCALL
What happened?

LOOMIS
A couple weeks ago, two officers
were in the locker room, telling
jokes, being kind of raunchy -
you know how guys get sometimes.
One of 'em made some cracks about
Dana. Glenn Kates walked in and
got an earful. He came unglued
and went for the guy. I had to
break 'em apart before world war
three broke out.

McCall and Loomis exchange a look. Another waitress, RITA,
comes up to the table.

RITA
Sergeant McCall? -- Linda said I
should talk to you.

MCCALL
(indicates to O.C.)
Let's go over there.
(stands; to Loomis)
Thanks for the tip, Dale.

ANGLE - ALCOVE AREA

where a cigarette machine is located. Rita arrives with
McCall, returns the ID photos.

RITA
(re: photos)
I served these two a couple nights
ago. I remember 'cause they acted
kind of weird.

MCCALL
How's that?

RITA
After they got here, they talked
for a little while, then the man
got up and walked out like he was
real angry.

MCCALL
Do you remember what time it was
when he left?

RITA
Yeah, just before my shift ended
- nine o'clock.

CUT TO

INT. DEVANE'S OFFICE - NIGHT

Devane, obviously upset, paces behind his desk looking at
Hunter and McCall who stand in front of him.

DEVANE
We're turning the case over to
I.A.D. as of now.

HUNTER
No, Charlie, not yet.

DEVANE
You talked to Dana and Glenn -
you must have some sort of gut
feeling - you think they did
it or not?

MCCALL
Hunter and I compared notes, it's
hard to call.

DEVANE
It's obvious they conspired on a
phony alibi for Glenn - maybe
they conspired on Gordon's murder
as well.

MCCALL
I don't think Dana's a killer.
Women who are abused don't usually
turn the tables on their husbands
and murder them.

DEVANE
(frustrated)
Okay, that leaves Glenn Kates.
Why can't we hand him over to
I.A.D.? If we don't move and it
turns out Dana or Glenn is
guilty, then we're gonna have
I.A.D. investigating us.

HUNTER
We want to talk to 'em once more.

DEVANE
Okay, but they check out 100% this
time or we drop-kick 'em straight
into I.A.D.'s lap. And that's
that.

Hunter and McCall leave Devane's office, knowing the final
word of their discussion has been spoken.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT

Hunter and McCall walk toward their desks, neither one of
them looking forward to grilling Dana and Glenn. At this
hour the squad room is deserted except for a trustee in the
B.G. mopping the floor.

MCCALL
I still can't believe Dana lied to
me. Is Charlie right? -- do you
think she and Glenn were in on
Gordon's murder together?

Hunter continues on to the coffee machine, pours a cup for
himself and McCall during the following.

HUNTER
Remember the Shaughnessy case?

MCCALL
Of course - what does that have
to do with anything?

HUNTER
Did I ever thank you for saving my
life?

MCCALL
No, you didn't have to. You
bought me the most humongous
lobster dinner I've ever had.

Hunter crosses to McCall, hands her a cup of coffee.

HUNTER
Well, after the Hemmings case, you
took me to Catalina. Remember?

MCCALL
What'd you expect? - you almost
got killed nailing the person who
shot me.
(puzzled)
What're we talking about this
stuff for?

HUNTER
We've put our lives on the line
for each other, McCall - that's
what being partners is all about.

McCall knows there's more and Hunter's leading up to
something.

MCCALL
And...?

HUNTER
What if Dana's acting like a
partner, trying to protect Glenn?
(pause)
And what if they're more than
patrol partners?

Hold for a moment on the look that passes between Hunter and
McCall.

CUT TO

EXT. COFFEE SHOP - ESTABLISHING (STOCK) - NIGHT

INT. COFFEE SHOP - BOOTH - NIGHT

Dana sits at a table across from McCall. Both women are
tense and Dana looks scared. Cups of steaming coffee sit
untouched in front of them.

DANA
I should never have called Glenn
that night. But I had to talk to
someone.

MCCALL
Glenn left the Pit Stop at nine
o'clock. Where'd he go?

DANA
He said he went home.

MCCALL
Was he telling the truth?

DANA
Why would Glenn lie to me?

MCCALL
The question is, why did you lie
to me?

Dana knots her hands together, tears forming.

DANA
Because...

She shakes her head, unable to speak. She's trying to
stifle her crying, somewhat self-conscious in the public
place.

MCCALL
Is it because you didn't believe
Glenn? Did you lie to give him
an alibi so we wouldn't check out
where he really was that night?

Dana wipes away the tears coming from her eyes as McCall
rolls out the truth.

MCCALL
(continuing)
Dana, do you think Glenn killed
your husband?

Dana looks up, gathers her composure together.

DANA
I don't know. Dear God, I don't
know.

CUT TO

EXT. GLENN KATES'S HOUSE - NIGHT

Hunter pulls up, gets out of his car, walks to Glenn
Kates's single story house. He sees a light coming from the
garage, which sits toward the rear of the property. We hear
the sound of a steel wrench hitting a concrete floor.
Instead of going to the front door. Hunter goes to the side
of the house.

INT. GLENN KATES'S HOUSE - GARAGE - NIGHT

The garage door is wide open. Sitting in the middle of the
garage we see a cherry condition 1932 Ford Coupe. Glenn
Kates is leaning over the engine, tightening something.
Hunter knocks on the garage doorway. Kates looks up from
his work holding a large steel wrench. He doesn't seem
overly surprised to see Hunter.

HUNTER
(re: the Ford)
Nice job. You do it?

KATES
From the chassis up. You into
classics?

HUNTER
I've put together a couple.

KATES
Is that why you're here, to talk
about old cars?

HUNTER
Do you want a defense rep?

Kates thinks this over, shakes his head "no".

HUNTER
(continuing; almost
casual)
We checked your alibi for the
night Gordon was killed - it
doesn't stand up. How come you
and Dana lied?

KATES
We didn't lie - maybe we got the
nights mixed up.

Hunter starts turning up the heat.

HUNTER
You left the Pit Stop around nine
o'clock. Where'd you go?

KATES
Right here - I worked on the car
for a couple hours.

Hunter thinks Kates is lying, springs a question from left
field to throw him off balance.

HUNTER
Are you personally involved with
Dana Lynch?

The query hits Kates like a slap. He takes a step toward
Hunter.

KATES
What do you mean by that?

HUNTER
You know what I mean. I'm looking
for a motive - I think you may
have killed Gordon Lynch.

KATES
You want to run that by me again?

HUNTER
Dana met you at the Pit Stop and
told you about Gordon beating her.
You got angry and left, called
I.N.S., and got Gordon's location.
Then you went to the First Street
Bridge and killed him.

Glenn tosses the wrench onto a workbench, pulls a rag from
his back pocket and wipes his greasy hands.

KATES
You gotta be one righteous cop to
walk up to a fellow officer and
lay that on him.

HUNTER
Did you and Dana plan it together?

A flash of anger wipes across Kates's face.

KATES
Leave Dana out of this. She
doesn't need any more trouble.

HUNTER
Were you having an affair with
her?

KATES
I wish. That woman's a saint as
far as I'm concerned. She
deserved a lot better than Gordon
Lynch.
(less anger; more
intense)
I know what you're thinking and
you're right - Dana means a lot
to me. But it's a one-way street
and always has been.

HUNTER
You ever think it might become a
two-way street if Gordon Lynch was
out of the way?

Kates moves to within a few feet of Hunter, looks him
straight in the eye.

KATES
I thought about it. In fact, I used to
dream about killing him. I wish
I had. But I didn't do it, and
neither did Dana!

(I'M MISSING A PAGE HERE. IN THE EPISODE, THE PHONE RINGS
AND WHILE KATES GOES TO ANSWER IT, HUNTER FINDS A PAIR
OF SHOES, AND STARES AT THE SOLES. THE NEXT SCENE IS WITH
KATES IN CUSTODY AT THE STATION AND HUNTER GRILLING HIM.)

HUNTER
S.I.D. found your shoe print next
to Gordon Lynch's car --

KATES
That doesn't prove anything!

HUNTER
It proves you were there the night
Lynch was killed. You wanta tell
me about it?

KATES
There's nothing to tell. I didn't
shoot Gordon Lynch!

Based on the evidence in hand. Hunter doesn't believe Lynch.

HUNTER
That defense rep I mentioned? -
if I were you, I'd give him a call
right away.

Hunter walks off as we tighten on Kates, apprehension
dancing in his eyes, face framed by the cold steel of jail
cell bars. A beat before we:

FADE OUT

END OF ACT THREE

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

ACT FOUR

FADE IN

EXT. CENTRAL DIVISION (STOCK) - DAY #3 - ESTABLISHING

INT. CENTRAL DIVISION - INTERROGATION ROOM - DAY

The next morning. Glenn Kates sits at a table; Hunter sits
across the table from him.

HUNTER
You're sure you want to talk to me
without a defense rep?

KATES
Doesn't matter if I have one or
not, I'd still be telling you the
same story - and it's the truth.
I didn't kill Gordon Lynch.

HUNTER
But you found him at the bridge
the night he was killed?

KATES
Yeah. Gordon and I argued -
that's all -- he was alive when I
left.

HUNTER
Why didn't you tell us that to
begin with instead of lying?

KATES
Because after I left Gordon, I
went back to the Pit Stop. Dana
was gone. When I found out Gordon
had been killed, I was afraid she
might've done it.

HUNTER
(skeptical)
You lied to give Dana an alibi?

KATES
I wanted to protect her. Later on
I realized I was wrong -- Dana's
no murderer. Then I remembered
something that happened the night
I had it out with Gordon.

HUNTER
What's that?

KATES
I think he was at the bridge to
meet someone -- maybe that's who
killed him.

HUNTER
What makes you think that?

KATES
The area where Gordon parked was
poorly lit. When I approached his
car, he couldn't see who I was.
He called out a name.

HUNTER
What was it?

KATES
Gordon said, 'Is that you,
Chavez?'

Hunter reacts to the name, doesn't know if Kates is telling
the truth or not.

CUT TO

EXT. CARMELO CHAVEZ'S HOUSE - STREET - NIGHT (OF DAY #3)

Early evening. We find 1W156 parked on the street, about
fifty yards up the street from a modest house which we will
soon discover belongs to Carmelo Chavez. Hunter sits
slouched behind the wheel watching Chavez's house. He goes
on alert as he sees:

HUNTER'S POV - CHAVEZ'S HOUSE

A car pulls into the driveway and stops. Carmelo Chavez
gets out, pulls a cardboard box from the back seat. He
heads for his house and enters.

BACK TO HUNTER

who looks curious, gets out of his car.

EXT. CARMELO CHAVEZ'S HOUSE - BACKYARD - NIGHT

Carmelo has turned on a couple of floodlights and stands
pouring charcoal lighter fluid into a barbecue. He strikes
a match, throws it into the barbecue, a sheet of flame
erupts with a woosh. Carmelo reaches into the cardboard box
which is at his feet, grabs a handful of papers, throws them
into the fire. He's about to go for another handful when we
hear:

HUNTER (O.C.)

Hold it, Chavez.

WIDER

Chavez spins around to see Hunter. Chavez appears shocked
at the sight of this unexpected visitor.

HUNTER
(continuing)
You lied to me. You said
Augustine Rojas was the one who
had a meeting with Gordon Lynch -
but it was you, wasn't it?

Chavez pulls himself together, looks at Hunter.

CHAVEZ
I was helping Gordon Lynch with
his investigation.
(off Hunter's look
of disbelief)

It's all I've got, man, and it's
the truth!

HUNTER
Keep going.

CHAVEZ
I'd found out that Augustine had
another partner. They'd been
using A-One as a cover to smuggle
illegals into the country. They
made it look like I was the one
behind it. I went to Lynch for
help.

HUNTER
What'd he say?

CHAVEZ
He told me to talk with Augustine
so I did. Augustine got scared
and was ready to turn himself in
-that's why I met Lynch at the
First Street Bridge.

HUNTER
If you didn't kill him, who did?

CHAVEZ
Augustine's other partner found
out about the meet -- I'm pretty
sure he followed me and killed
Lynch after I left. I knew you'd
figure me as the killer, so I kept
my mouth shut.

HUNTER
Why didn't you tell me this
before?

CHAVEZ
You don't believe me now. Why
would you have believed me then?

HUNTER
Same old question, Carmelo -
what's the partner's name?

CHAVEZ
I swear I don't know. I broke
into Augustine's place tonight
hoping to find it -- no luck.

Hunter gestures to the box next to the barbecue.

HUNTER
Is that where you got those
papers?

Chavez nods, laughs bitterly to himself.

CHAVEZ
Augustine forged my name on a lot
of 'em. He was setting me up to
take the fall for him in case the
law found out what he was doing.
(deeply hurt)
He was my best friend for seven
years and he was trying to screw
me over. Why?

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT

On McCall's desk we see the box of papers Chavez took from
Augustine Rojas's place. The box, however, is now almost
empty, the contents are spread over McCall's desk. McCall
is going through one of the ledger books, adding a column of
figures on a sheet of paper. Hunter enters the area, coming
from an interrogation room.

MCCALL
You get any more out of Chavez?

HUNTER
He's a broken record, just
repeating himself. What's the
good word out here?

MCCALL
Money. According to these books,
Augustine Rojas pulled in over
four million dollars during the
past thirty-six months and split
it with a partner.
(re: ledgers)
Rojas kept accounts on hundreds
and hundreds of workers - I'm
betting they're all illegal aliens
and that Rojas was tunneling them
into the garment district.

HUNTER
Was he skimming their pay checks?

MCCALL
Yeah, he charged the going hourly
rate for day labor and took half
of it. If the workers were
illegal, there's no way they could
file complaints.

HUNTER
Any idea who Rojas's partner is?

MCCALL
None, but he shouldn't be hard to
track down.
(re: ledger)
If we find out where these workers
are employed, we'll probably find
Rojas's partner.

HUNTER
(re: ledgers)
See if you can find two people
named Jesse Rodriguez and Lupe De
Leon.

MCCALL
(puzzled)
Who are they?

HUNTER
Employees of the month.

CUT TO

INT. MR. CHRISTOPHER - PLANT MANAGER'S OFFICE - DAY #44

A glass partition separates the manager's office from the
main manufacturing floor. In the office we find several
I.N.S. agents going through hundreds of personnel files.
Overseeing the chore is Josh Sanders. Keith Fuller is also
in the office being confronted by Hunter and McCall.

FULLER
I've always cooperated with
I.N.S., but this is getting to be
ridiculous. Two inspections
within one week?

HUNTER
The agent who pulled the last one
was killed. Got any idea why?

FULLER
Are you looking for illegals or
trying to pin a murder rap on
someone?

HUNTER
Both.

Josh Sanders comes over to Hunter and McCall carrying a
handful of documents.

SANDERS
Most of the workers Rojas was
running tabs on are still here on
the payroll. We also checked
their citizenship papers - some
of the best looking forgeries I've
ever seen.
(to Fuller)
You know about this?

FULLER
Of course not -
(re: documents)
Let me see those.

Fuller takes the documents and scans then as Hunter, McCall,
and Sanders exchange looks.

FULLER
(continuing)
All these workers originally came
from A-One. Rojas and Chavez
must've been behind this -

HUNTER
No, Mr. Fuller. I think you and
Rojas were the brains behind this.
Rojas ran illegals into L.A. and
you counterfeited their work
documents in the company print
shop.

FULLER
Are you crazy? Why would I do
something like that?

MCCALL
Does two million dollars sound
like a good enough reason?

McCall pulls several court orders from her purse.

MCCALL
(continuing)
We took the trouble of getting
search warrants. We'll find the
money, Mr. Fuller, it's just a
matter of time.

Fuller glances from McCall to Hunter, knows the game is
over. Suddenly he bolts from the office, shouldering McCall
aside, nearly knocking her down. Hunter charges after him.

HUNTER
Tell backup he's on the run!

INT. MR. CHRISTOPHER JEANS - MANUFACTURING PLANT - DAY

Fuller hurtles through the plant, pushing aside anything or
anyone in the way. Hunter races after, closing the distance
until Fuller pulls out a small handgun, a pea shooter .22.
Hunter dives for cover along with everyone else in the room,
as Fuller unleashes a flurry of shots. Fuller takes off
again, running out of the room.

EXT. MR. CHRISTOPHER - MANUFACTURING PLANT - DAY

Fuller charges out onto a loading dock from a warehouse door
that is rolling shut. The door locks down before Hunter can
get through. Fuller spots a truck pulling away from the
dock and jumps into the back end.

INT. MR. CHRISTOPHER - MANUFACTURING PLANT - DAY

Hunter spots an open warehouse door and races toward it.

EXT. MR. CHRISTOPHER - MANUFACTURING PLANT - DAY

The truck with Fuller inside makes a turn, rolls along the
side of the plant, past another open warehouse door. Hunter
leaps from the doorway into the truck trailer.

INT. TRUCK TRAILER - TRAVELING - DAY

Fuller makes a run at Hunter, tries to knock him out of the
truck door and almost succeeds. Hunter regains his balance,
takes a swing at Fuller and knocks him flat. Before Fuller
can get to his feet. Hunter is slapping cuffs on him. As
Hunter pulls a dazed Fuller to his feet:

FADE OUT

OMITTED

END OF ACT FOUR

TAG

FADE IN

EXT. CENTRAL DIVISION STATION (STOCK) - ESTABLISH - DAY #4

INT. CENTRAL DIVISION - TASK FORCE ROOM - DAY

Hunter, McCall, Dana, and Glenn are seated around the
conference table.

HUNTER
The D.A.'s going for two counts of
murder one against Fuller - with
any luck, they should stick.

DANA
(to Hunter and
McCall)
Thanks for your help. I couldn't
have gotten through this without
you two.
(standing)
Gordon's funeral is tomorrow.

Hunter, McCall, and Glenn also stand.

MCCALL
We'll see you there.

Dana leaves the room with Glenn about to follow after her
when Hunter stops him.

HUNTER
(sotto)
Take good care of her.

KATES
I intend to.

Glenn walks out of the room. McCall turns to Hunter.

MCCALL
They're really lucky to be
partners.

HUNTER
Not as lucky as some partners I
know.

CONTINUED
McCall gives him a look.

MCCALL
Oh? You have anybody in mind?

Hunter reaches into his pocket, fakes out two tickets, hands
them to McCall who looks them over with surprise.

MCCALL
(continuing)
An Abbott and Costello film
festival?

HUNTER
Yeah, it starts tonight - whatta
you say?

McCall thinks it over for a second, simply responds.

MCCALL
You've gotta deal -
(extends her hand)
- partner.

Hunter takes McCall's hand, gives it a shake, and as he
does:

FREEZE FRAME

FADE OUT

THE END