"Presumed Guilty"

ACT ONE

FADE IN

EXT. CENTRAL DIVISION STATION - NIGHT (OF DAY #1)

Establishing.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT

McCall is at her desk putting on her lipstick. Hunter shows
up with a pizza box, puts it on his desk.

HUNTER
Want any of this action?

MCCALL
What is it?

HUNTER
California vegetarian pizza.
Green chilies, avocado,
pineapple...

He sets it down and opens it, peering inside.

HUNTER
(continuing)
Looks like some kiwi fruit...

MCCALL
(standing)
Ugh. I already got a dinner date.

HUNTER
Again. Then why'd you ask?

MCCALL
Just in case you had a better
offer.

HUNTER
(digging in)
Get out of here.

MCCALL
Save me a piece.

She takes off. Hunter watches her go.

EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT

A quiet, upscale neighborhood. An "Ace Home Repair" van
drives slowly, suspiciously down the residential street.
TOMMY ORLOWSKI, late thirties, slender, is behind the wheel,
obviously casing the area, looking for a particular address.
He turns onto a street marked "Edgemont," continues for
half a block, then seems to spot what he's been looking for
- a house on his left, no lights on. He smiles and drives
slowly by, still checking to make sure the street is clear.

EXT. ROMANTIC RESTAURANT - NIGHT - ESTABLISH

Several well-dressed couples are heading from the parking
lot to the front door.

INT. ROMANTIC RESTAURANT - NIGHT (CAN BE EXT. CAFE/
RESTAURANT)

A COUPLE in their mid-thirties are at a table, looking over
a menu. They both look extremely self-conscious, clutching
their menus for support, having trouble with eye contact,
both nervously smoking.

MAN
I had the braised duck one time.
It was really great.

WOMAN
Really?

MAN
Yeah...Really...Really great...

Long pause as they both take a deep breath.

WOMAN
That's great...

Long, uncomfortable beat.

ANGLE ON MCCALL AND LEFFLER

McCall is finishing dinner with a handsome man in his late
thirties, JASON LEFFLER. They are both uncontrollably
smiling about this little drama at the next table. By
contrast, they are completely at ease with each other.

MCCALL
How was your dinner? Great?

LEFFLER
Great.

MCCALL
Really great?

Leffler indicates the couple with his eyes.

LEFFLER
(mock innocence)
What do you think? First date?
Could be?

MCCALL
Sounds like you on our first date.

A busboy comes by and takes their plates. McCall reaches
over and touches Leffler's arm. Leffler eyes her hand.

LEFFLER
But since it's not our first
date...

MCCALL
(glances at watch)
I'd love to, Jason. But I've only
got the rest of the hour till
Hunter and I go back on duty.

LEFFLER
That's what I get for
propositioning a cop.

McCall looks disappointed.

MCCALL
And that's what I get for going
out with a Deputy D.A. who hates
to plea bargain.

LEFFLER
(intrigued)
Meaning?

McCall runs a suggestive finger down his am.

MCCALL
(smiles)
Meaning maybe we could
compromise...

EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT

The repair van parks in front of the house we saw earlier
with its lights off.

Tommy pulls on a pair of thin gloves, then casually gets
out, dressed in appropriate "repair" clothes, wearing a
utility belt with a flashlight attached. He quickly glances
around - the street is all clear - then turns towards the
house, starting to pull out his flashlight.

INT. DAWSON'S HOUSE - BEVERLY HILLS - NIGHT - ON THE
FLASHLIGHT

now wielded by Tommy inside the darkened living room
downstairs. He crosses in front of a stairway, his light
lingers on a state-of-the-art Bang and Olafson component
sound system, then continues across the wall, picking up a
display cabinet full of richly wrought silver placeware.
The light again dances back to the stereo. Tommy smiles.

TOMMY
(under his breath)
Six of one, half-a-dozen of the
other.

EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT
A private security patrol car cruises the neighborhood.

INT. DAWSON'S HOUSE - BEVERLY HILLS - NIGHT

Tommy is expertly disconnecting the wires joining the
components of the stereo system, when he hears a sudden
noise from the direction of the staircase. Surprised,
scared, he quickly turns towards it - we cut without seeing
his POV.

INT. SECURITY PATROL CAR - NIGHT

A SECURITY GUARD at the wheel. His two-way radio comes to
life.

DISPATCHER'S VOICE
Unit Seven, we've got a four-five-
nine silent at 8053 East Edgemont.
The P.D. is already rolling.

The guard guns the engine, making a sudden, screeching U-
turn.

EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT

The security patrol car blasts around a corner onto
Edgemont, just as Tommy Orlowski comes flying out the front
door, flashlight in hand, bolting for his van. The guard
bounces over the curb, as he stops his car, leaping out the
door. He pulls his gun, but looks hesitant to shoot.

SECURITY GUARD
Hold it!

Tommy keeps going, jumping into his van, as the guard gets
back into his car. Tommy screeches off, the security car
right on his bumper.

INT. TOMMY'S VAN - NIGHT

Flying up the street, the high beams of the security car
blinding him in the mirror.

TOMMY
Dammit, dammit, dammit, dammit!

EXT. BEVERLY HILLS STREET - NIGHT

Tommy whips around a corner - too fast, the van fishtails
into a 180 degree slide. The security car swerves wildly to
avoid him, careens across a yard and into a flower planter.

INT. TOMMY'S VAN - NIGHT

Tommy gleefully takes his eyes off the fate of his pursuer
and punches it in the other direction.

EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT

Tommy's van shoots down another street, disappearing as
distant sirens just start to be heard.

EXT. ROMANTIC RESTAURANT - PARKING LOT - NIGHT

where a black and white patrol car is stopped next to
McCall's parked car. The windows on the latter are
completely fogged up. The partner behind the wheel of the
patrol car is smiling wickedly, while the UNIFORMED OFFICER
raps lightly McCall's window with his baton. A beat, then
the window rolls down, letting out a blast of hormonal
humidity.

INT. MCCALL'S CAR - NIGHT

McCall and Leffler are hastily pulling themselves together.
Leffler flashes his I.D., slightly annoyed.

LEFFLER
I'm Deputy D.A. Leffler. Is
there an incredibly good reason
for this?

UNIFORMED
(ignores him; to
McCall)
Communications showed you code
seven at this address. Sergeant
Hunter's been trying to reach you.
Your, uh, radio must be off.

McCall recovers, looks at the radio as if surprised to find
it off.

MCCALL
Thank you, Thompson. Thank you
for bringing that to my attention.

She clicks it back on as the uniformed nods, the hint of a
smile on his lips. He leaves. McCall turns to Leffler as
they hear a low chuckle in the distance.

MCCALL
I'll never hear the end of this.

INT. DAWSON'S HOUSE - BEVERLY HILLS - NIGHT

Follow McCall through the front door and into the living
room, where Hunter is talking with BARNEY UDALL, the M.E.,
surrounded by the normal aftermath activity.

HUNTER
How was dinner? Or more to the
point - how was dessert?

MCCALL
(scowling)
What'd they do? Put it out on the
radio?

HUNTER
(smiling)
City wide.

McCall ignores him, spots the body bag at the foot of the
stairs.

MCCALL
What's the story, Barney?

BARNEY
That's Kay Dawson, woman of the
house. Blunt force trauma to the
head.

HUNTER
Looks like she surprised a
burglar... He broke in through a
side window. Didn't have an alarm
on it.

BARNEY
Lots of contusions and abrasions.
She fell down the stairs.

HUNTER
She hit the silent alarm. Burglar
must have run into her at the top
of the stairs, then panicked and
whacked her. That's when she took
the spill.

MCCALL
Did you find the murder weapon?

HUNTER
Not yet. But we do have an
eyeball witness on our suspect.
Security patrol almost bagged him
running out the front door. And
he got a partial on the license
plate.

JERRY DAWSON, late forties, trim-looking businessman comes
in the door, carrying a briefcase, face stricken.

DAWSON
Sergeant Hunter?

HUNTER
Jerry Dawson?

Jerry nods. He can't take his eyes off the body bag.

DAWSON
Thank you for calling me... We've
been so busy at the office... I'm
sorry it took so long to find
me...

HUNTER
Mister Dawson...

DAWS ON
And then I ran into traffic
getting over here... Who would
have thought there'd be traffic at
this hour of the night...

Hunter and McCall share a glance, it's clear Dawson is
talking to keep himself from breaking down.

DAWSON
(continuing)
Ten years ago you wouldn't find
traffic like that... Even five
years ago...

HUNTER
(gently)
Mister Dawson, we need you to
identify your wife.

Dawson stops talking. Takes a ragged breath. McCall guides
him over to the stairs. Hunter unzips the bag just enough.
Dawson closes his eyes in pain. Nods his head "Yes".

A look between Hunter and McCall - this job never gets
easier.

MCCALL
I'll try to pin down that
license.

Hunter nods. McCall leaves. Off the grim look in Hunter's
eyes.

INT. CENTRAL DIVISION - COMMUNICATIONS ROOM - NIGHT - CLOSE
ON A COMPUTER SCREEN

and a long display of license plate numbers: 4 TAF 500, 4
TAF 501, 4 TAF 502 etc. - all possibles with the last two
digits as variables.

WIDE

to reveal BARBARA SIMS - fifties, handsome and strong-faced
dispatcher - operating the keyboard as McCall looks over
her shoulder. Her dispatch radio goes off.

RADIO (MALE VOICE)
One-A-forty-three requesting Code
Seven. Sixth and Vermont.

McCall and Barbara glance over at it, McCall indicates it
with a look - Barbara nods and goes back to her keyboard.
McCall leans over and picks up the dispatch radio.

MCCALL
(into radio)
One-A-forty-three, okay Code
Seven.

RADIO
Thanks...

McCall turns back to Barbara.

MCCALL
That wasn't so bad. I could get
used to this job.

Barbara laughs, hits return on the keyboard, the computer
display is replaced by only nine license plate numbers.

BARBARA
Here you go. Nine vans with the
possible license combination.

MCCALL
Bring up the drivers.

Barbara nods, hits another quick flurry of keystrokes, then
turns dramatically to the FAX machine.

BARBARA
Ta-da!

Nothing happens.

BARBARA
(continuing)
This could take awhile.

TIME CUT

INT. CENTRAL DIVISION - COMMUNICATIONS ROOM - LATER

McCall is practically nodding off by the FAX machine,
Barbara is back at her station, the place is dead. Hunter
comes into the room, full of energy. McCall looks up,
checks her watch.

MCCALL
It's four in the morning, Hunter.
Don't smile like that unless you
can back it up.

HUNTER
We found a flashlight in the
neighbor's yard. With blood on
it.

MCCALL
That's good news.

HUNTER
S.I.D.'s trying to pull a print
right now. And see if the blood
matches Kay Dawson's.

The FAX machine suddenly hums to life.

HUNTER
(continuing)
How about you?

MCCALL
(indicating FAX)
We will see...

A FAXed copy of six driver's licenses emerges out of the
machine. We scan down the page - the last one is the face
of Tommy Orlowski.

INT. CENTRAL DIVISION - CORRIDOR - DAY #2

Hunter and McCall are heading past the elevator, Hunter
holding a rap sheet. The elevator door opens as they pass
and Devane steps out, immediately catching up with them.

DEVANE
What's the progress on the Dawson
murder?

HUNTER
Tommy Orlowski was one of nine
possibles on the van.

Hunter hands the sheet over to Devane.

MCCALL
And his prints were on the
flashlight that killed Mrs.
Dawson.

DEVANE
Orlowski? We've had him in here
before.

LEFFLER (O.S.)
Unfortunately, he squirmed away.

Leffler appears next to McCall. He nods at Hunter.

LEFFLER
(continuing)
Hey, Rick.

HUNTER
Jason.

LEFFLER
Looks like we nailed Tommy good
this time.

DEVANE
Let's not get ahead of ourselves.
(to Hunter and
McCall)
You got an address?

HUNTER
Three of 'em.

DEVANE
Take off.

As Devane turns off.

MCCALL
Consider us gone.

HUNTER
(to McCall)
Take the one in Silverlake. I'll
hit Mar Vista and Venice.

MCCALL
Okay.

Hunter heads down the corridor as McCall pauses to look at
Jason.

LEFFLER
I know this fantastic Ecuadorian
restaurant in Silverlake. What do
you think? Bust a punk. Eat some
food.

MCCALL
You're insane.

LEFFLER
(mock serious)
About you, baby. And I do mean
'baby'.

He gives her a playful kiss on the cheek and heads in the
opposite direction. McCall catches up to Hunter who is
continuing down the corridor.

MCCALL
(smiling)
Will you slow down?

Hunter turns and sees her happy face.

HUNTER
You are positively beaming,
McCall.

MCCALL
Is it that obvious?

HUNTER
Yep.

A beat.

HUNTER
(continuing)
Well?

MCCALL
Well, what?

HUNTER
Well, is this the guy?

MCCALL
As in the guy?

A beat as they keep walking and McCall thinks this over.

HUNTER
Remember, you do have the right to
remain silent.

MCCALL
If I give up that right, you won't
make fun of me if it all falls
apart?

HUNTER
That's a risk you got to take.

MCCALL
(smiling)
Then let's say I'm about ninety-
nine point nine percent sure.

HUNTER
Not bad.

MCCALL
Yeah...

She pauses thoughtfully for a moment, stops walking. Hunter
stops next to her.

MCCALL
(continuing;
indicates squad
room)

Part of me really wants to hang
all this up... I really want the
white picket fence. The barbeques
on the weekend. "Father Knows
Best" on the T.V.

HUNTER
Lots of little McCalls running
around the yard.

MCCALL
Exactly... And I really think
Jason can give me that...

A beat as she looks at Hunter.

MCCALL
(continuing)
You'd lose the best partner you'll
ever have. Could you handle it?
They start walking again.

HUNTER
Long as I'm in the wedding... I'm
thinking maybe bridesmaid.

MCCALL
(laughing)
Why Rick Hunter. This is a side
of you I've never seen. But I'll
do my best. What's your color?
Pink? Lavender?

HUNTER
Lime green. And a helmet. With
two big horns sticking out of the
sides.

McCall laughs.

EXT. SMALL HOUSE - SILVERLAKE - DAY

McCall is at the front door of the house. She pounds on the
door.

MCCALL
Police! Open the door!

The door opens - nobody is there. Nobody at eye level
anyway. McCall looks down - a tiny Hispanic girl is
standing silently staring up at her. The MOTHER appears
behind the girl, carrying another baby in her arms. McCall
can see inside the house. A Hispanic grandmother is sitting
quietly on a couch - the furnishings are modest but neat.

MCCALL
Thomas Orlowski doesn't live here
anymore, does he?

MOTHER
No.

MCCALL
I didn't think so.

off the grandmother staring at McCall.

EXT. MAR VISTA APARTMENT - DAY

Hunter walks up to a side-by-side duplex. He knocks on the
right-hand door.

INT. MAR VISTA APARTMENT - DAY

Tommy Orlowski steps sleepily out of the back room, wearing
pajamas.

TOMMY
Just a minute!

EXT. MAR VISTA APARTMENT - DAY
Hunter has his gun out.

TOMMY (O.S.)
Yeah?

HUNTER
Police! Open the door.

INT. MAR VISTA APARTMENT - DAY
Tommy immediately bolts towards the back of the apartment.

EXT. MAR VISTA APARTMENT - DAY
Hunter smashes into the door and it flies open.

EXT. BACK OF MAR VISTA APARTMENT - DAY

Tommy comes flying out the back door, dashes diagonally
towards the right corner of the small yard and a gate in the
6 foot high fence.

INT. MAR VISTA APARTMENT - DAY
Hunter is running to the back door, and as he reaches it -

HUNTER'S POV
Tommy going out the back gate and making a hard left.

EXT. BACK OF MAR VISTA APARTMENT - DAY

Hunter charges straight ahead at the middle of the fence,
vaulting over it and into -

EXT. BACK ALLEY - DAY

Where Hunter lands right on top of Tommy, taking him down.
Hunter hauls Tommy to his feet, cuffs him roughly.

TOMMY
You got nothin' on me!

HUNTER
That's what they all say.

EXT. CENTRAL DIVISION - DAY

Establishing.

HUNTER (O.S)
There's been half-a-dozen
burglaries in that neighborhood in
the last four months. Your M.O.

INT. CENTRAL DIVISION - INTERROGATION ROOM - DAY

Hunter is standing, looking over a long computer printout.
Tommy is seated in front of him, next to SYD DOMBROWER, his
public defender, late thirties, wiry, physically not much
different from Tommy, acting like he's been through this a
million times. He has.

HUNTER
(off paper)
Sixteen burg arrests, two
convictions. Quite a career,
Tommy.

TOMMY
(shrugs)
Hey, it's nothin' to be proud of.
But at least I'm not on welfare.

DOMBROWER
Get to the point, Sergeant.

HUNTER
Tell me again what happened when
Mrs. Dawson came out of her
bedroom. You were upstairs.

TOMMY
I was downstairs. I heard
somebody upstairs.
(indicating sheet)
Check the rap sheet, I'm not a hot
prowl man. I didn't think anybody
was home. When I heard the noise,
I split. End of story.

HUNTER
Not quite. Somebody hit Kay
Dawson and knocked her down the
stairs.

TOMMY
Somebody else. Because it sure
wasn't me.

HUNTER
End of story?

TOMMY
End of story.

A long beat.

HUNTER
We found a flashlight in the
neighbor's yard. It had Mrs.
Dawson's blood on it.

TOMMY
So?

HUNTER
And your fingerprints.

Tommy is stunned, leaps to his feet.

TOMMY
That's impossible!

Hunter shoves him back down, Dombrower tries to intercede.

DOMBROWER
Come on - watch that!

HUNTER
Want to add another chapter to
that story?

TOMMY
Alright! I'll cop to those other
jobs!

DOMBROWER
Shut up!

TOMMY
But I didn't kill nobody! That's
the truth!

A beat as Hunter looks him over, then turns away.

HUNTER
We're not getting anywhere.

Hunter heads out the room, as Tommy again jumps to his feet.

TOMMY
Look at my record! You see any
assault beefs?

DOMBROWER
Tommy!

TOMMY
I'm strictly non-violence, that's
my policy!

HUNTER
Should've stuck with it.

Hunter is out the door, as Dombrower turns to Tommy, pissed
off.

DOMBROWER
Alright, I want you to go through
this whole thing again. From the
top. And this time, tell me
everything.

INT. COURTHOUSE CORRIDOR - DAY #3

McCall and Leffler are waiting by a courtroom door with
several other people as the previous hearing crowd exits the
room.

LEFFLER
(glances at watch)
I'd say it's about time for me to
hang Tommy Orlowski's scalp on my
refrigerator door.

MCCALL
I love it when you talk like that.

McCall grabs his arm, leading him into the courtroom.

MCCALL
(continuing)
Let's go, tough guy.

INT. COURTROOM - DAY

A JUDGE presides. Hunter and McCall are sitting up front,
McCall next to Leffler's chair. Tommy is seated next to his
public defender, Sydney Dombrower. The Security Guard who
chased Tommy is on the stand, being questioned by Leffler,
who at this particular point in time, does indeed look like
a tough guy.

LEFFLER
Is the man you saw coming out of
the house in this room?

SECURITY GUARD
Yes.

LEFFLER
Please identify him.

He points at Tommy, who looks very uncomfortable.

SECURITY GUARD
That's him. Next to defense
council. In the white shirt and
blue pants.

LEFFLER
Let the record show that the
witness identified Thomas
Orlowski.

INT. COURTROOM - LATER

A latent print EXPERT is on the stand. Leffler is holding a
bag containing the heavy "Kel-Lite" flashlight.

LEFFLER
You lifted a thumbprint and three
fingerprints. Did you match them
to a particular individual?

EXPERT
The prints match those of Thomas
Orlowski.

Tommy is increasingly pale, like the walls are closing in on
him.

INT. COURTROOM - LATER

Dombrower is summing up his position, standing at his chair,
Tommy seated next to him.

DOMBROWER
The evidence is entirely
circumstantial. Will you
entertain a bail motion?

Leffler leaps to his feet, appalled.

LEFFLER
Your Honor! I'd hardly call a
murder weapon covered with the
defendant's fingerprints
circumstantial evidence! This is
a capital offense! I strenuously
oppose any form of bail!

DOMBROWER
(mock appalled)
Your Honor -

Tommy looks freaked. Like anything could push him over the
edge.

JUDGE
(to Dombrower)
- The court agrees. Your bail
motion is denied.

ON TOMMY AND DOMBROWER

As the judge continues his rap, the defender leans over to
Tommy.

DOMBROWER
Don't worry about it. We cop you
to second degree - you'll be up
for parole in ten.

That did it. Tommy stands as a Marshal steps towards him.
Tommy explodes into movement, grabs the guy's gun and bolts,
smacking Leffler on the face as he goes, turning the
courtroom into a screaming mess of bodies inelegantly diving
for cover.

Hunter leaps over two rows of chairs, tackles Tommy, who is
waving his gun crazily but ineffectually. Hunter rolls with
him on the ground, knocking the gun out of his hand. Tommy
looks up into Hunter's face with pure terror in his eyes as
the huge guards converge.

TOMMY
(choking)
I didn't do it.

It's only loud enough for Hunter to hear.

TOMMY
(continuing)
Help me... You gotta help me...

Tommy is suddenly hauled out of frame by the guards, leaving
Hunter with Tommy's voice echoing in his ears.

END OF ACT ONE

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

ACT TWO

FADE IN

A TV SCREEN

Jason Leffler is facing a cluster of microphones held by
reporters outside the courtroom where Tommy went berserk,
wiping his bloody lower lip with a handkerchief.

LEFFLER
I'll seek the strongest penalty
the law provides.

REPORTER
The death penalty?

PULL BACK TO

INT. LEFFLER'S LIVING ROOM - NIGHT (OF DAY #3)

Reveal McCall and Leffler nestled together on a couch in
front of the TV set, McCall dabbing his slightly swollen lip
with a cotton ball dipped in alcohol.

LEFFLER ON TV
(nodding)
The members of this community must
feel safe in their own homes.
Women especially.

MCCALL
(off the TV)
Hear, hear!

Leffler switches the TV off with his remote.

LEFFLER
I tried him on a residence burg
three years ago and he walked
because of a search and seizure
problem. Syd Dombrower is a damn
sharp defender. He takes it
personal - Orlowski and him go
way back. But this time around
they're both going nowhere.

MCCALL
Jason! Are you talking about
revenge? And here I thought you
were trying to make our community
safe for women. I think maybe I'm
gonna have to reconsider spending
the next several decades under
your protection.

LEFFLER
Is that what you think? Guess I
better try to redeem my good name.

She dabs his lip - he grimaces.

LEFFLER
(continuing)
Ouch!

He's playing it up, like he's a knight wounded in battle.

LEFFLER
(continuing)
Careful! You're dealing with a
very delicate instrument there.

McCall leans closer. The heat goes up a few notches.

MCCALL
Am I now?

LEFFLER
Yes you am.

McCall starts kissing his hurt lower lip - he winces,
indicates his other lip.

LEFFLER
Try to keep it upstairs.

They laugh and go into each other's arms.

INT. CENTRAL DIVISION - INTERROGATION ROOM - NIGHT

Tommy is alone in the room at a table, hands cuffed in front
of him, banged up from the courtroom fracas, so agitated he
can hardly stay in his chair. The door opens and Hunter
appears flanked by Tommy's public defender, Syd Dombrower.
Tommy leaps to his feet.

TOMMY
Get him out of here! I'm not
talking to you!

Hunter shrugs and takes a step back, as if to leave the
room.

TOMMY
(continuing)
Not you!
(points at
Dombrower)
Him!

Both Hunter and Dombrower are taken aback.

DOMBROWER
Tommy...

TOMMY
Don't 'Tommy' me, you Judas
bastard!

Tommy turns his back to them.

TOMMY
(continuing)
Get him out of here, Man! I'm not
talking to him! I don't even want
to look at him!

Dombrower scowls.

HUNTER
(to Dombrower)
You always inspire such confidence
in your clients?

DOMBROWER
I ought to object to this.

TOMMY
Object all you want! I'm talkin'
to him. Alone.

Dombrower backs out of the room, softens a bit.

DOMBROWER
(to Tommy)
You need me, I'll be right
outside.

Tommy doesn't answer. The P.D. scowls, then closes the door
behind him, leaving Hunter inside.

HUNTER
Want to tell me why you dragged me
over here in the middle of the
night?

Tommy turns around, indicates the door where Dombrower just
left.

TOMMY
Dombrower's been defendin' me
since forever. We went to high
school together! And he thinks I
did it!

HUNTER
That seems to be the general mood.

TOMMY
Look, I'll admit to every job I
pulled since I got out of Junior
High. I'll take you on the grand
tour. There's probably two
thousand of 'em. I never lifted
a finger against anybody!

HUNTER
You certainly proved that in the
courtroom.

TOMMY
I freaked out! They're gonna bury
me!

Hunter looks unconvinced.

TOMMY
(continuing)
Gimme a polygraph. I'll take it
right now. I didn't kill her. I
didn't even know she was in the
house.

Hunter considers.

HUNTER
Even if you passed the poly - it
might not admissible.

TOMMY
It doesn't have to be! Not for
you.

Tommy leans towards Hunter, eyes intense.

TOMMY
(continuing)
Crooks can read cops as good as
cops can read crooks. I know you
believe me. I didn't kill that
lady. You know it in your gut.

Off Hunter's face.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY

Hunter is at his desk, going over a polygraph printout on
top of an open file folder. McCall arrives, surprised to
find him already there.

MCCALL
And I thought I was early.

Hunter looks up, quickly closes the file, as if not wanting
her to see the poly. McCall notices the action.

MCCALL
(continuing)
Whatcha got?

HUNTER
Nothing.
(standing)
I'm gonna go talk to Jerry Dawson.

MCCALL
What for?
(indicating a file
on her desk)

We have to get a start on that
driveby.

HUNTER
I want to see if he identified
whether any property was taken.

He takes off before she can object.

EXT. PACIFIC ELECTRONICS - DAY #4

Establishing. A low, sleek electronics firm building.

INT. PACIFIC ELECTRONICS - OFFICE FLOOR - DAY

Hunter is standing in front of a desk. Jerry Dawson's
secretary, CAROLINE LEVEL is seated behind it. She is in
her late forties, competent but a little shy and not an
Einstein.

CAROLINE
I'm sorry, Mister Dawson took the
day off. To make funeral
arrangements for his wife. I
thought I told you when you
called.

HUNTER
You did. Is there anybody else I
could talk to about Mrs. Dawson?
Just a few questions.

CAROLINE
Susan Stevens, our manager. She
worked a lot with Mrs. Dawson. I
think she's in Mister Dawson's
office right now.

INT. PACIFIC ELECTRONICS - DAWSON'S OFFICE - DAY

Hunter enters, encountering SUSAN STEVENS, 30ish,
attractive, aggressive, waiting for him.

HUNTER
(flashing badge)
Sergeant Hunter, Homicide.

SUSAN
(shaking his hand)
Sergeant. I'm Susan Stevens. I'm
the manager here.

HUNTER
I was hoping to find Mister
Dawson. Just routine follow-up.

SUSAN
I'm afraid he's not in today. But
I'm sure he'll be here tomorrow.

Hunter nods.

HUNTER
Great place you got here.

SUSAN
Isn't it?

She proudly indicates the trappings of success around her.

SUSAN
(continuing)
We developed a computer keyboard
for Chinese characters about five
years ago. Opened up the entire
Asian market. We now sell systems
to both Chinas, Korea - even
Japan. The Pacific Rim - That's
the future. And we'll be there.

Hunter nods. Susan laughs.

SUSAN
(continuing)
I sound like a corporate film. A
bad one.

HUNTER
Jerry Dawson runs the company?

SUSAN
He does now. Kay's always been
the heart of the operation. She
started the company fifteen years
ago. Jerry came on board when
they were married.

HUNTER
Nice woman, Kay Dawson?

SUSAN
A strong woman.
(beat)
If you haven't heard already -
Kay and Jerry did have their
differences about running the
company. Loud differences. But
they certainly agreed about the
important things in life... It's
really awful what happened. I
miss her already...

HUNTER
Thanks.

They shake hands, Susan turns back to the desk as Hunter
goes in the door.

INT. PACIFIC ELECTRONICS - OFFICE AREA - DAY

Hunter is walking out. He pauses by Caroline, Dawson's
secretary.

HUNTER
Thank you.

CAROLINE
You're welcome.

Hunter pauses a moment.

HUNTER
Worked here long?

CAROLINE
About five years.

HUNTER
Same as your boss?

CAROLINE
(nodding)
Mister Dawson hired me the first
day he was in the office.

HUNTER
Mister and Mrs. Dawson were pretty
happy people? Good working with
them?

CAROLINE
Well, to be honest, they did have
some...spats. But that was
always between the two of them.
They've always been very generous
to me.

Hunter nods and smiles and heads for the door.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY

McCall is at her desk, looking over a file when Hunter
arrives and goes to his desk.

MCCALL
How's it going?

HUNTER
(dismissive)
Great.

Hunter's phone rings and he picks it up.

HUNTER
(continuing; into
phone)
Hunter.

INT. MORGUE - DAY

Barney is on the phone, Kay Dawson's covered body on a slab
in front of him.

BARNEY
(into phone)
It's Barney. I'm finished with
the Dawson murder. Got some
interesting news.

INT. CENTRAL DIVISION - HOMICIDE - DAY

Hunter on the phone.

HUNTER
(into phone)
I'll be right over.

He hangs up, stands. McCall indicates the file in front of
her.

MCCALL
I could use some help.

Hunter checks his watch.

HUNTER
Can it wait a couple minutes?

MCCALL
Well, yeah -

HUNTER
- Great.

He takes off, leaving her a little puzzled by his
distraction.

INT. MORGUE - DAY

Barney showing Hunter the body, lifting the sheet so he can
see under her arm.

BARNEY
Bruises under both arms.

HUNTER
Hard to do falling down the
stairs.

BARNEY
(nodding)
Yeah. It is consistent with
somebody dragging her a short
distance.

HUNTER
Like from the bedroom to the top
of the stairs?

BARNEY
That would do it.

Barney pulls the sheet back over the body.

BARNEY
(continuing)
She also had an awful lot of
tranquilizers in her blood.
Enough to sleep through an
earthquake.

HUNTER
Or a burglary.

Barney shrugs.

EXT. DAWSON'S HOUSE - NIGHT (OF DAY #4)
Establish.

INT. HUNTER'S CAR - NIGHT
Hunter is parked down the street, watching the Dawson house.

HUNTER'S POV

A nice late model car pulls into Dawson's drive. Susan
Stevens gets out.

BACK TO HUNTER
He reacts.

HUNTER'S POV

Susan goes to the front door, which immediately opens -
Jerry Dawson is waiting for her. They go into each other's
arms for a romantic clinch.

BACK TO HUNTER
as he digests this development.

INT. CENTRAL DIVISION - DEVANE'S OFFICE - DAY #5

Hunter is spilling his recently obtained info to Devane as a
surprised McCall and a slowly boiling Leffler stand by.

HUNTER
I surveilled Dawson. He's having
an affair with Susan Stevens, the
manager of his company. And when
Kay Dawson was alive, she and her
husband fought like cats and dogs.

LEFFLER
Completely irrelevant.

HUNTER
Mrs. Dawson's body was full of
tranquilizers. She had bruises
that suggest she was dragged from
her room.

LEFFLER
Pure speculation! Orlowski killed
Kay Dawson. That's as clear as it
can be.

HUNTER
I had him polygraphed. The
examiner believes Tommy didn't
kill Kay Dawson.

LEFFLER
Polygraphed? Voodoo technology!
20th century witchcraft! Who are
you working for - the public
defender?! I got a murder weapon
with Orlowski's prints on it!

HUNTER
Maybe it's a frame.

LEFFLER
Whoa, whoa, whoa. This is crazy.

He turns to McCall and Devane as if looking for sanity.

LEFFLER
(continuing)
All of Hunter's investigation can
be subpoenaed! Dombrower finds
out about this poly - if he
doesn't know already - and it
could turn into the cornerstone
of his defense!
(to Hunter)
They suckered you into this. Any
evidence of doubt on our part
gives them leverage. Maybe even
enough to plea bargain to a lesser
charge.

A long beat as Devane turns to Hunter.

DEVANE
You think that Dawson killed his
wife?

HUNTER
He says he was working late that
night - but he's having an affair
with his alibi. It's a
possibility.

Devane considers. Makes up his mind.

DEVANE
Individually, what Hunter's got
isn't enough. But together it
makes for a pretty weird wrinkle.
Let's keep the investigation
going.

Leffler scowls. As Hunter and McCall leave the room,
Leffler turns to McCall.

LEFFLER
I'll catch up.

She nods and goes out the door with Hunter, shutting it
behind them. Leffler turns angrily to Devane.

LEFFLER
(continuing)
Captain, this is bizarre! We've
got this creep practically fried.
What's the point?

DEVANE
The point is that Hunter has a
reasonable doubt. Supported by
some interesting developments.
That's good enough for me.

LEFFLER
Charlie, I can't count the times
I've built probable cause to keep
those jerks you send me off your
streets.

DEVANE
(coolly)
Jason, I don't owe you anything
for doing what you're paid to do.
(beat)
We're gonna follow this out.

End of subject. Devane picks up some papers on his desk,
starts to go through them. Leffler takes a deep breath and
heads for the door.

INT. CENTRAL DIVISION - CORRIDOR - DAY
Hunter and McCall walking, McCall is angry.

MCCALL
I can't believe you would do this
behind my back.

HUNTER
I thought you might be too close
to it since it's Jason's case.

MCCALL
We've worked on the same case
before and it's no problem. I
think maybe you're overprotective
or something because Jason and I
have gotten real serious lately.

HUNTER
Nope. I like Jason. But he's
made this case a personal
vendetta. He can't see anything
else.

They stop.

MCCALL
I don't believe that. Jason just
doesn't like to compromise. He's
seen too many killers get off with
a slap on the wrist and go right
out and murder somebody else...
You've seen it too.

HUNTER
I've also seen ambitious Deputy
D.A.s put away an innocent man
while the real killer skates.

McCall considers this.

MCCALL
(torn)
Yeah...

HUNTER
Don't look at this like you have
to make some big choice right now.
Let's follow the leads and see
what turns up.

MCCALL
Alright. But let's just keep
Jason's position in mind. Make
sure we don't do anything that
might screw up his case if we run
into nothing but dead ends.

HUNTER
Deal.

MCCALL
You said Dawson and his wife
fought a lot. I'll visit their
lawyers. Maybe they could tell us
what the stakes were.

HUNTER
Good. I'm gonna look at the
murder scene again and swing by
Tommy's apartment. See if we
missed anything.

Hunter takes off as Leffler catches up to McCall.

LEFFLER
Devane wouldn't budge. Bet you
dinner your jealous partner's
gonna put the curse on my case.

MCCALL
It's not like that. He just
thinks you're too wrapped up in it
to see an alternative.

LEFFLER
There is no alternative.

MCCALL
That's what Hunter is talking
about.

Leffler looks at her like she's just stabbed him.

LEFFLER
Et tu, Dee Dee?

MCCALL
Jason, come on. A man's life is
at stake.

Leffler pauses, doesn't want to keep arguing.

LEFFLER
(colorless)
Right. I'll talk to you later.

He gives her a brusque peck on the cheek and takes off.
McCall didn't expect this reaction - there's a quick
glimpse of pain on her face.

EXT. DAWSON'S HOUSE - BEVERLY HILLS - DAY

Hunter is around the side of the house, where a piece of
cardboard covers the window Tommy broke. Hunter pushes
his hand through the edge of it, reaches in and opens the
side door from the inside.

INT. DAWSON'S LIVING ROOM - DAY

Hunter is looking over the living room. He stares at the
blood-stained carpet for a few beats, then again sweeps his
eyes around the room. Not seeing anything unusual, he goes
to the front door and tries to open it. The bottom knob
turns but the door doesn't open. The top lock above keeps
it shut.

Hunter looks at it - it's a key lock, locked from inside
and there's no way to get out except with a key. Hunter
digests this piece of information. Then takes off the way
he came.

EXT. MAR VISTA APARTMENT - DAY

Hunter approaches the first floor door of Tommy's apartment
- the police seal across it has been broken. Surprised,
Hunter pulls his gun and cautiously turns the knob, opening
the door.

INT. MAR VISTA APARTMENT - DAY

Hunter steps into the apartment, gun ready, listening. He
hears a door slam from the other end of the apartment. He
takes off towards it.

OMITTED

EXT. BACK OF MAR VISTA APARTMENT - DAY

Hunter dashes out the back, opens the alley gate just as a
white Nissan tears by, a blonde at the wheel. Hunter checks
the license - no plates, it's a new car.

Off Hunter's face - who the hell was that?

FADE OUT

OMITTED

END OF ACT TWO

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

ACT THREE

FADE IN

EXT. CENTRAL DIVISION STATION - NIGHT (OF DAY #5)

Establishing.

INT. CENTRAL DIVISION - CORRIDOR - NIGHT

McCall is standing with Leffler by the elevator. She looks
enthusiastic, he doesn't share it - but she hasn't noticed
yet.

MCCALL
I couldn't believe it, either.
But it's really starting to look
like Dawson had a motive for
killing his wife. It'll be
interesting to see what Hunter
turned up.

Leffler has a distracted look on his face, he's staring off
at anything but her.

MCCALL
(continuing)
Jason, are you listening to me?

LEFFLER
I have to admit that, yes,
unfortunately, I am.

MCCALL
What is that supposed to mean?

LEFFLER
Take a deep breath, Dee Dee.
That's the somewhat unpleasant
fragrance of my case going up in
smoke.

MCCALL
Why are you acting like this? I'm
trying to find the truth.

LEFFLER
And I'm trying to maintain it.
The truth that says you don't let
the guilty prey on the innocent.
That's my job. I think you've got
your loyalties really screwed up.

MCCALL
Don't turn this into something it
isn't. Don't make me choose
sides. Loyalty has nothing to do
with the way I do my job.

The elevator dings and the doors open.

LEFFLER
Apparently not.

Leffler gets in and the doors close, leaving McCall a little
shell-shocked outside. She slowly starts moving away from
the elevator, trying to process the doubt that is now all
over her face.

Hunter pulls up next to her, sees the look on her face.

HUNTER
Trouble on the home front?

MCCALL
I don't want to talk about it.

HUNTER
Well, if you change your mind, I
know the number of this terrific
976 party line.

McCall smiles in spite of herself, they start walking.

MCCALL
You're all heart.

HUNTER
So I've heard...
(sincerely)
But seriously...

She smiles at the gesture.

MCCALL
Thanks, I'm okay.

HUNTER
Find anything?

MCCALL
Yeah. Kay Dawson's lawyer said
Kay and Jerry were at each other's
throats constantly. They had a
prenuptial agreement that cut
Jerry out of everything in case of
divorce.

HUNTER
Is that reason enough to bump her
off?

MCCALL
With Kay dead, Jerry still
retains control over the company.
And it's worth millions. We miss
anything at the murder scene?

HUNTER
There's no way Tommy could have
come flying out that door like the
security guard said unless he had
the key to open it.

MCCALL
I thought he always goes in
through a side window.

HUNTER
I think that was to cover up his
real M.O. Somehow, Tommy gets the
keys to these houses. And I
think he's got an accomplice.

McCall reacts.

HUNTER
(continuing)
I surprised a blonde back at
Tommy's apartment. She drove off
before I could grab her.

MCCALL
But why hide that from us now?
The guy's facing the gas chamber.
It's no time to be worried about
revealing an accomplice.

HUNTER
Unless she means a lot to him.

MCCALL
One hell of a lot.

They arrive at their desks.

MCCALL
How does Jerry Dawson fit into
this?

HUNTER
Say Dawson wants to kill his wife.
It's gonna be tough because
everybody knows he wants to kill
his wife. So he figures a way to
frame Tommy for the job.

MCCALL
Okay. But to do that he had to
know exactly when and where Tommy
was gonna break in. He had to be
able to predict it.

HUNTER
Which is what we have to be able
to do.

MCCALL
We could go back to the six
burglaries Tommy admitted to in
the neighborhood. Start by
interviewing the housewives. See
if we can find anything that
connects what they've been doing
with Tommy breaking in. Maybe
they all called the same repair
service or something.

HUNTER
(nodding)
Anything that could give Tommy
access to the house keys.

Hunter grabs a file.

HUNTER
(continuing)
Okay, I'll round them up and
confirm their stories. You get to
interview them.

MCCALL
(lightly)
You got something against
interviewing Beverly Hills
housewives.

HUNTER
Nope. Not a thing.

Hunter is out of there before she can argue about it, but
something in his exit suggests he knows something she
doesn't.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT

Beverly Hills wife #1 is sitting opposite McCall, her
expensive clothes at odds with the environment.

MCCALL
The morning of the break-in. Can
you tell me exactly what you where
doing?

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT (LATER)
Beverly Hills WIFE #2, matronly, is on a chair opposite.

WIFE #2
I had breakfast at the Bel Air
Hotel...And I spent the rest of
the morning with Sam...
(a look)
My personal trainer.

MCCALL
I see.

WIFE #2
Then... Well, it was Wednesday, so
I had a facial at Jennine's.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT (LATER)

McCall is taking notes opposite Beverly Hills WIFE #3, both
seated.

WIFE #3
I went to Jennine's... Then, I'm
pretty sure I dropped Maurice off
for shots.

She indicates her large purse. Puzzled, McCall looks inside
- a tiny lap dog yaps once at McCall.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - NIGHT (LATER)

McCall is still taking notes, listening to yet another trip
down memory lane from Beverly Hills WIFE #4.

WIFE #4
...And then I guess I went to
Jennine's. For a facial.

McCall's smile is just a bit weary.

MCCALL
I figured.

INT. CENTRAL DIVISION - DEVANE•S OFFICE - DAY #6
Hunter, McCall and Devane.

HUNTER
All six of the victims had an
appointment at the same facial
salon the day Tommy broke in.

DEVANE
Sounds promising. Hunter, McCall
- go get a mudpack.

INT. JENNINE'S FACIAL SALON - DAY - CLOSE ON A MUDPACKED
FACE

OMITTED

INT. JENNINE'S FACIAL SALON - DAY

Hunter and McCall enter and show their badges to the
RECEPTIONIST.

HUNTER
We're police officers.
(fishing)
We need to speak with Tommy's
girlfriend...

RECEPTIONIST
Christy?

HUNTER
Blonde hair? Drives a white
Nissan?

RECEPTIONIST
Uh huh.

HUNTER
That's her.

The woman indicates the station way at the back of the shop.

RECEPTIONIST
She's in back.

ON CHRISTY

Long dishwater blonde hair, washing up in one of several
sinks at the back of the shop.

HUNTER (O.S.)
Glad we finally caught up with
each other.

Startled, she looks up to find Hunter and McCall, both
flashing badges.

WIDER

HUNTER
(continuing)
Sergeant Hunter, Homicide. You
remember. Back at Tommy's? I
recognized your car outside.

She's anxious to the point of collapse. She looks more like
a weak person who would go along with something illegal,
rather than a criminal who would initiate it.

CHRISTY
I... I don't know a Tommy.

HUNTER
That's strange. Because I've got
six of Tommy's burglary victims
who'll swear they had an
appointment with you the day they
got hit. Quite a coincidence.

Christy looks close to tears.

MCCALL
(gently)
Tommy obviously cares for you a
great deal. So much that he's
willing to risk getting put away
forever to keep you out of it. If
you feel the same for him, you
have to tell the truth...

CHRISTY
(breaking)
He told me not to say anything.
He doesn't want anything bad to
happen to me... I'm so worried
about him...

MCCALL
Things are different now. You
could help his case. We think
somebody may have framed Tommy for
the murder.

Christy nods, gives in with a halting voice.

CHRISTY
The ladies always tell me what
they're doing that night. If
they're going out to a party or
something... So Tommy had this
idea.

She opens a drawer and pulls out a flat metal pad (three
inches square) filled with clay.

CHRISTY
(continuing)
I made an impression of their keys
while the ladies were soaking...
Tommy made the keys from that...
And then he went over to their
houses that night. He broke the
window on the way out so the
police wouldn't know how he got
in.

HUNTER
The day he broke into the
Dawson's. You took the keys from
Mrs. Dawson?

CHRISTY
(confused)
But that's what was so weird. The
picture in the paper of Mrs.
Dawson. The lady who got killed.
That wasn't the Mrs. Dawson I took.
the keys from.

INT. PACIFIC ELECTRONICS - DAY
Hunter arrives at the desk of Dawson's secretary, Caroline.

HUNTER
Where's Mr. Dawson?

CAROLINE
(indicating)
In his office with Miss Stevens.
(picking up phone)
I'll tell him -

Hunter blows past and opens the office door.

INT. PACIFIC ELECTRONICS - DAWSON'S OFFICE - DAY

Jerry Dawson is at his desk, Susan Stevens is standing
behind him, looking over his shoulder at a report, her hand
on his shoulder as a lover would. They both look up with a
start as Hunter enters, Susan automatically dropping her
hand.

HUNTER
Is this what you were doing the
night of the murder? I've got a
different story. Starting with
you somehow finding out Tommy's
M.O.

DAWSON
Don't be ridiculous.

HUNTER
Susan made an appointment with
Tommy's girlfriend under your
wife's name. And with your keys
in her purse. Your wife took an
awful lot of tranquilizers that
night, how come?

DAWSON
Maybe she was tired. How do I
know?

SUSAN
(to Dawson)
Don't say anything.

HUNTER
I think you doped her up so she
wouldn't hear Tommy break in.
After he did you smacked her and
threw her down the stairs.

DAWSON
I was here!

HUNTER
You pulled the alarm and then you
came here.

SUSAN
Jerry!

He shrugs her off.

DAWSON
What about the flashlight? It had
his fingerprints on it!

HUNTER
Once you knew about Tommy you
could have taken the flashlight
out of his van a long time ago.

DAWSON
You're wrong!

HUNTER
Let's find that out. You both
have the right to remain silent...
You have the right to an
attorney... If you give up that
right...

OFF a look between Dawson and Susan.

INT. CENTRAL DIVISION - LINE UP - DAY

Susan is in a line-up with several other women of similar
appearance.

ON CHRISTY, HUNTER, MCCALL AND LEFFLER

As Christy looks them all over, lingering on Susan for a
beat, then moving on. Shaking her head, frustrated.

CHRISTY
I'm sorry.

Hunter and McCall are dumbfounded, Leffler vindicated.

LEFFLER
What did you expect?

MCCALL
Jason, please.
(to Christy)
Look again. Is the woman who made
an appointment as Kay Dawson in
that room?

CHRISTY
No. I did look again. Three
times. She isn't in there.

Leffler turns to an Officer in the room.

LEFFLER
Release Dawson and Miss Stevens.

The Officer leaves.

LEFFLER
(continuing; to
Christy)
Of course it was the real Mrs.
Dawson who came to see you. You
just didn't recognize her in the
newspaper. That's all.

He turns to Hunter and McCall, unable to keep the edge out
of his voice.

LEFFLER
(continuing)
Let's consider this case
officially closed, shall we? And
move on to more important issues?
Like solving crimes?

Leffler leaves. Off a look between Hunter and McCall - has
he been right all along?

END OF ACT THREE

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

ACT FOUR

INT. CENTRAL DIVISION - CORRIDOR - DAY #6

Hunter and McCall are escorting Tommy's girlfriend towards
the elevator. Hunter's mind racing.

MCCALL
Are we missing something? Is it
possible that Jason's right?

HUNTER
Just a second...

He pauses a beat, then looks up at Christy.

HUNTER
(continuing)
Can I get you to look at one more
thing for me?

She nods.

INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY - CLOSE ON
HUNTER'S DESKTOP

covered by several statement sheets of individuals in any
way involved with the Dawson case, xeroxes of each person's
driver's license stapled to the top of each sheet.

WIDEN

to include Christy looking over them, flanked by Hunter and
McCall. She excitedly points.

CHRISTY
It's her! That's who I got the
keys from! That's who said she
was Mrs. Dawson!

Off a surprised look between Hunter and McCall.

INT. PACIFIC ELECTRONICS - DAY

Hunter shows up at Caroline's desk. She's surprised to see
him again so soon.

CAROLINE
Did you forget something, Sergeant
Hunter?

HUNTER
Yeah. I think maybe you might
have something to tell me.

CAROLINE
(suddenly anxious)
About...?

HUNTER
About Jennine's? The facial
salon?

CAROLINE
Oh, God...

She starts shaking.

CAROLINE
(continuing)
I'm so sorry. I didn't mean
anything... Mister Dawson told me
to... I'll pay them back...

She starts digging into her purse, pulls out a checkbook.

CAROLINE
(continuing;
blubbering)
I'll pay for the whole thing...

Hunter puts out a hand to stop her.

HUNTER
It's okay... You're saying Mister
Dawson set up the appointment?

CAROLINE
(nodding)
He made a bunch of them. For his
wife. For Kay. He paid for them
in advance.

Hunter is figuring it out as he goes.

HUNTER
And then he told you she couldn't
go?

CAROLINE
Uh, huh.

HUNTER
He wanted you to go instead?

CAROLINE
That's right. And to tell them I
was her.

HUNTER
So it wouldn't go to waste.

CAROLINE
Yes. Then I was supposed to tell
them I was going out of town that
day and I needed a refund on the
rest of the appointments.

HUNTER
Did Mister Dawson give you another
set of keys?

She seems puzzled at the question.

HUNTER
(continuing)
Maybe he let you take his car?

CAROLINE
That was it! I had to get his car
washed the same trip...
(her face is
suddenly
desperate)
Am I under arrest?

HUNTER
Not even close, Miss Level. Is
Mister Dawson in the building?

CAROLINE
He was. Then he went home.

EXT. DAWSON'S HOUSE - DAY

Hunter is again at the side of the house, and again pushes
through the cardboard covered window and opens the side door
from the inside, letting himself in.

INT. DAWSON'S HOUSE - LIVING ROOM - DAY

Dawson is coming down the stairs, suitcase in hand. He gets
to the bottom step and is surprised by Hunter, who is
waiting for him.

HUNTER
Need a ride to the airport?

Dawson swings the suitcase at Hunter who ducks it and grabs
Dawson, slamming him against a wall, cuffing him.

HUNTER
(continuing)
You really ought to get that
window fixed.

He roughly hauls him off.

OMITTED

END OF ACT FOUR

TAG

FADE IN

INT. COURTHOUSE CORRIDOR - DAY #7

An DEPUTY D.A. is being interviewed by reporters outside the
courtroom door. McCall is standing with Leffler, Hunter is
a short distance from them.

DEPUTY D.A.
Susan Stevens saw Mister
Orlowski's girlfriend lift the
keys out of a client's purse. She
provided that information to Jerry
Dawson and told him how he could
kill his wife.

REPORTER
Does that make Miss Stevens an
accessory?

DEPUTY D.A.
It makes her a co-conspirator.
I'm trying them both for first
degree murder.

Leffler turns away, McCall is with him.

LEFFLER
The perfect frame.
(bitterly)
Good enough to fool me.

MCCALL
There's something I've been
wanting to ask you... The 'perfect
frame' did have some ragged edges.
You just kept your eyes shut.

LEFFLER
I got taken in!

MCCALL
I think you let a personal grudge
get the better of you. Even if it
meant sending an innocent man to
the gas chamber. You did your
best to convince me to go along
with it. And I almost did.

A long, painful beat. Jason is defensive.

LEFFLER
Yeah...Well, it happens...

MCCALL
Jason, have to be sure about the
people around me... It keeps me
sure about myself.

LEFFLER
I'm no different from you.
There's always a line between what
you believe you're doing and what
you actually are doing.

MCCALL
But that line comes in a
completely different place for us.

McCall looks incredibly sad. Leffler looks more like he
wants to cut his losses.

LEFFLER
Okay... If that's what you want.

Leffler turns and leaves. McCall looks in the opposite
direction, where Hunter stands a few feet away. She walks
numbly towards him. He walks slowly with her when she
arrives.

MCCALL
I guess it's better to find these
things out now than five years and
two kids from now.

HUNTER
Yeah...

They walk a few more steps.

MCCALL
But you know, Rick...

McCall stops walking. He stops next to her. She looks up
at him, her eyes filled with pain.

MCCALL
(continuing)
Ouch.

Hunter puts his arms around her as she buries her face in
his chest.

FADE OUT

THE END