"REQUIEM FOR SERGEANT MCCALL"

Written by Joe Gannon, Doug Heyes, Jr., and Roy Huggins

ACT ONE

FADE IN

EXT. SAN QUENTIN STATE PENITENTIARY - DAY - ESTABLISHING

It's a cold, grey, drizzly day; this prison of steel and
stone seems all the more foreboding. We HEAR:

MCCALL (V.O.)

My husband, Detective Sergeant
Steve McCall, was murdered in cold
blood...

INT. PAROLE HEARING ROOM - DAY (DAY #1)

A small, shadowy prison conference room. THREE PAROLE BOARD
OFFICERS are seated behind a large table at the head of the
room. Before them, at another table, are RONALD MOODY, the
sallow-faced inmate with eyes like death itself and his
attorney, HOWARD BROVARD, a cashmere-suited Howard Weitzman
clone. A couple prison guards are in evidence. To one
side, a small gallery of chairs, empty. McCall stands
before the board, her emotions under firm control.

MCCALL (CONT'D.)
...by this man, Ronald Moody, less
than five years ago.

McCall points out Ronald Moody. Moody looks hurt. The
lawyer immediately stands and addresses the board.

BROVARD
With all due respect and sympathy
to Sergeant McCall, the charge
was manslaughter, and this is not
a trial, it's a parole hearing.

PRESIDING OFFICER
(to McCall, not
without some
sympathy)
Mr. Brovard is right. Sergeant
McCall, this is only to determine
Inmate Moody's eligibility for
parole. We have to confine
ourselves to the facts of record.

MCCALL
(still under tight
control)
Unfortunately the record doesn't
reflect the truth. The most
important part of my testimony
was stricken as hearsay. That
doesn't make it any less true.
This man called my husband at
home, set up an ambush and shot
him.

BROVARD
(to the P.O.)
Really, you can't let this go
On.

PRESIDING OFFICER
Sergeant, please.

MCCALL
(getting a hard
grip)
I'm sorry. It's just that one
miscarriage of justice already
occurred when this...
(looks at Moody)
...inmate was only found guilty
of manslaughter instead of murder
in the first degree.
(to P.O.)
If he's let out now, that'll be
the second -

PRESIDING OFFICER
(cutting her off)
That'll be all, Sergeant. Will
you sit down please?

We STAY WITH HER as she turns away, crosses and sits down.

PRESIDING OFFICER
Mr. Brovard?

BROVARD
(rises)
Thank you sir. Mr. Moody's
conduct as an inmate has been
exemplary, and he has shown deep
remorse for the act which led to
his imprisonment. I am sure the
board will agree that Mr. Moody
has earned the right to parole.

ON MCCALL
listening, knowing the man will be released.

DISSOLVE TO:

INT. DEVANE'S OFFICE - DAY (DAY #2)
Devane sits on the corner of his desk, a thick file folder
in his hand, looking at McCall. She's standing in front of
him, a thick manila envelope under one arm.

DEVANE
This case was closed five years
ago, McCall.

MCCALL
I'm not asking to re-open the case
of my husband's death. I want
to re-open the homicide case he
was working on when he was killed.

DEVANE
(faintly surprised)
Homicide case?

MCCALL
Yes sir. Diana Duquesne was
murdered. My husband was close
to proving that when he was
killed...

DEVANE
Correct me if I'm wrong: didn't
the coroner's jury decide her
death was accidental?

MCCALL
Steve was close to proving it
wasn't.

DEVANE
Is all this a reaction to his
killer getting out on parole?

MCCALL
No. My husband's reputation in
this department was destroyed when
the jury brought in a verdict of
manslaughter. It meant they
believed Moody's claim that Steve
was harrassing him.
(a beat; regaining
her cool)
I wrote a summary of the case
after Moody's trial. Before you
say no - will you read it?
Please?

McCall reaches into the Manila envelope and takes out a
manuscript the size of a small mini-series. Devane does a
take.

DEVANE
(taking folder)
This is a summary?

MCCALL
(nods)
A detailed summary, Captain.
Please read it. If you do, I'll
accept your decision, no more
argument.

DEVANE
(a beat)
I'll read it tonight.

CUT TO:

INT. DEVANE'S APARTMENT - NIGHT

Charlie Devane lives alone. There isn't a woman's touch
anywhere near this old bachelor shoebox. We may or may not
SEE photographs of Charlie's divorced wife and two
grown-up-and-moved-away kids. The Captain's only live-in
companion is a very fat, very independent, very orange cat
named HARRY. Harry jumps up on the sideboard next to the
stove where Charlie Devane is whipping up a batch of
Hamburger Helper.

DEVANE
Hey, Harry - the old nose say
dinnertime?

Harry meows casually, turns and walks across the small
counter to Devane's single-malt scotch on the rocks; sticks
his face in the glass while Charlie's back is turned and
starts lapping it up. Charlie turns around, spotting the
culprit.

DEVANE
(shooing Harry)
Go on! Get out of there! You
know what they said about your
liver!

Harry jumps into a corner and sulks. Devane rescues his
drink, takes a sip, goes back to his skillet. He picks it
up with a potholder, scoops out a few big ladles-full on a
big plate, and a small ladle-full on a small plate. He
takes both plates and his drink to the dinette table.
Setting the plates down across from each other, he sits down
in front of the big one.

DEVANE
You on a hunger strike or what?
Harry strolls over unforgivingly, hops up on the table
across from Devane and sits down in front of the small
plate. He sniffs the Hamburger Helper suspiciously, then
takes a bite, finding it to his liking. Devane chuckles.

DEVANE
See? It's not such a rotten life.

Harry chows down. Devane's eye falls on McCall's report,
which is lying on the table. He considers it, absently
chewing his grub. Finally, he opens it and begins to read.

We HEAR:

MCCALL (V.O.)
This case began when my husband,
Detective Sergeant Steve McCall,
was dispatched with his partner,
Sergeant Sam Bullens, to
investigate a possible homicide
at the Bel Air home of Diana and
Roger Duquesne.

DISSOLVE TO:

EXT. DUQUESNE ESTATE - DAY - FIVE YEARS AGO (F/B DAY #1)

Several police cars, at least one unmarked, all with red and
blue lights flashing, jam the front courtyard. A Coroner's
van, with the rear door standing open, is also on the scene.

MCCALL (V.O.)
Diana Duquesne's body was found
at 6:20 p.m., face down in her
bath water by Mrs. Ann Ridley,
who had taken care of Diana since
she was a child.

INT. LUXURIOUS BATHROOM - DAY

BEGIN ON MRS. RIDLEY. She's sixty-eight, English, and
deeply anguished. She is a large woman, big-boned, only a
little overweight. She tells her story to two detectives
who, as yet, have their backs to us. A CRIME TEAM is hard
at work around the bathtub, where the naked, dead but
otherwise well-conditioned 48-year-old body of Diana
Duquesne is being removed from her bubble bath.

MRS. RIDLEY
...I'd been out in the garden.
I... cut a rose for Diana. The
yellow one, see...

She raises a finger to indicate a single, perfect yellow
rose in a crystal bud vase on the countertop. The
Detectives turn to look at the rose. They are:

STEVE MCCALL AND SAM BULLENS

Steve is 35, rugged, attractive without being conventionally
handsome. His partner, Sam, is 54, stays in shape.

STEVE
When was the last time you saw
Mrs. Duquesne alive?

MRS. RIDLEY
No more than...half an hour before
I...found her like that. When
I drew her bath.

STEVE
The two of you were alone here.
You didn't see anyone else?

MRS. RIDLEY
No, no one at all, but I was in
the garden, it's on the other side
of the house.

SAM
What makes you think she was
murdered?

The old woman gets a very intense look in her eye.

MRS. RIDLEY
They hate her. All of them. God
help me for saying so.

Sam and Steve trade looks again. Sam's look suggests that
he thinks they may have a nutcase on their hands. Steve
hasn't decided yet.

STEVE
Who hates her, Mrs. Ridley?

MRS. RIDLEY
The three of them. That...actor
she married, and those two
ungrateful children.

Mrs. Ridley loses all semblance of control, and breaks down.
Steve nods to a uniformed officer, who escorts Mrs. Ridley
out of the room.

STEVE
(to Sam)
What do you think?

SAM
I think the deceased slipped in
the tub and hit her head on the
faucet. But let's check out the
actor...and those rotten kids.
Steve and Sam start out the door. In the b.g., Diana's body
is being zipped into a body bag.

INT. LIBRARY - NIGHT

ROGER DUQUESNE sits by the fire, staring into the flames.
He's 46, strikingly handsome. He's dressed as though he's
just come off his yacht. Which, in fact, he has. Duquesne
is a semi-retired leading-man, who never achieved the
success he feels he deserves.

DUQUESNE
On the contrary, Sergeant, I loved
her very much. So did David and
Jessica, her children.

REVEAL Steve and Sam standing by. Duquesne looks up at
them.

STEVE
Mrs. Ridley said...

DUQUESNE
Mrs. Ridley hasn't liked anyone
since Diana's first husband died.

SAM
And you were on your boat till
six-thirty this evening?

DUQUESNE
With my business manager, four
business men with an investment
to present, and three or four
assorted accountants.

ON DAVID AND JESSICA LAWRENCE

Diana's children by her first marriage, come into the
library, wealthy and beautiful. Jessica, 21, looks like the
All-American girl, tall, tanned, athletic. David, 23, is
slender, no taller than Jessica, who is barely holding it
together. We can see she has already cried a million tears.
David has his own emotions under taut restraint. When he
sees Duquesne, some of his anger boils to the surface.

DAVID
You mean you haven't arrested him
yet?

DUQUESNE
Please, David - not now.

DAVID
Not now?! Then when, for God's
sake?!

Jessica sits, saying nothing. Steve tries to ease the
tension.

STEVE
Mr. Lawrence - this is a very
difficult time for -

DAVID
Our mother's dead! And he killed
her!

SAM
We haven't established yet that
your mother's death was anything
but an accident.

DAVID
Someone hit her on the head and
drowned her! Some accident!

JESSICA
Please don't yell, David.

DAVID
(to Duquesne)
You're a vampire. You sucked my
mother's blood, and then you
killed her. I swear to God I'll
see you in the gas chamber.

The rest of the scene is shot MOS as we HEAR:

MCCALL (V.O.)
David and Jessica Lawrence had
been playing mixed doubles in a
televised celebrity tennis
tournament at the time of their
mother's death. Their alibis were
as airtight as Roger Duquesne's,
but the Coroner's findings made
Steve doubt that her death was
accidental.

We CARRY McCall's narration OVER the:

DISSOLVE TO:

INT. MORGUE - DAY (F/B DAY #2)

Steve McCall and Sam Bullens come out of the elevator and
start down the hall.

STEVE
...okay, there was blood, her
blood, on the faucet. But Barney
says there wasn't a trace of hair
or skin along with it. The blood
could have been put there, in
Barney's opinion.

SAM
He also says the Coroner's jury
will probably rule it accidental.

STEVE
I don't see how they can.

SAM
Come on, Steve! - all three of
your suspects have iron-clad
alibis. Diana had too much to
drink and did a nose dive in her
bubble bath. That's it.

STEVE
No, she also left two hundred and
seventy million bucks to three
people who were always asking her
for money. And according to Mrs.
Ridley, Diana Duquesne had started
saying no to all three of them
and they hated her for it.

SAM
Yeah, Mrs. Ridley. Now there's
a reasonable suspect; at least
she was there.

STEVE
She lost a cushy job and got a
nothing pension. Being there has
nothing to do with it. Duquesne
or one of the kids hired the job
done.

SAM
Okay, but as the senior partner
in this outfit, I'm gonna call
it in as an accident. You want
to pursue another line of
investigation? That's why they
made you a detective, kid.

DISSOLVE TO:

EXT. THE STREETS NIGHT/DAY (MONTAGE)

THE DUQUESNE HOUSE is lit against the clear night sky as we
begin another linked SERIES OF SHOTS.

INT. UNMARKED POLICE CAR - NIGHT

STEVE MCCALL is parked some distance down the street from
the Duquesne estate. He's got hot coffee and a sandwich,
neither one of which is particularly good.

EXT. STREET - DAY

Roger Duquesne walks briskly through a bustling business
district. Steve follows him on foot at a safe distance.
Duquesne turns into an office building. Steve holds back,
makes a note of the address and the time.

INT. STEVE'S CAR - NIGHT

Steve is once again staking out the Duquesne estate, dog
tired, but forcing himself to stay awake. He's dressed
differently than the night before.

MCCALL (V.O.)
Steve decided to stake out the
Duquesne family mansion and he
was getting less than four hours
sleep each night, but his
persistence finally paid off...

A STATION WAGON

pulls out of Duquesne's driveway. The headlights sweep
across Steve's position. Steve snaps awake, sees the wagon
leaving. Steve looks at his watch.

INSERT - THE WATCH

A little after one in the morning.

STEVE

lets the wagon get a good lead, then pulls out after it,
lights off.

EXT. STREET - NIGHT

The station wagon moves through the moderate, late night
traffic. Some distance back:

STEVE

lights on now, still has the wagon in his weary sights.
After a time:

THE WAGON

pulls up at a busy street corner and we catch a glimpse
of Ronald Moody stepping out of the shadows and getting into
the car.

STEVE

registers Moody's face for a fleeting instant in the neon
glow.

THE WAGON

pulls out. Steve follows at a discreet distance. It's not
long before the wagon pulls over. Moody gets out again and
makes his way toward a girly bar.

STEVE

gets another clear VIEW of Moody's face as Moody heads into
the club. Steve pulls over and parks down the street. He
gets out and follows Moody on foot toward the bar. Moody
hesitates a moment before entering the place. He shoots a
nervous look over his shoulder, spotting Steve. Steve gives
no sign of having any interest in Moody. Moody ducks into
the bar. Steve hurries after him.

INT. T&A CLUB - NIGHT

A STRIPPER is hard at it on stage, while sexily-clad
cocktail bunnies circulate among the whacked-out, late-night
clientele. Steve enters, looking around: no sign of Moody.
Steve crosses quickly to the bartender and shows his
credentials.

STEVE
A guy just walked in here. About
my height, brown hair - wearing
a grey leather jacket. You see
him?

BARTENDER
Yeah, I seen him, he came in and
walked right on through the joint
and out the back.

Steve hurries out the back.

EXT. ALLEY PARKING LOT - NIGHT

Steve hustles out, taking stock. Not a soul back here.
Moody is long gone. Steve blows off his frustration and
heads back inside.

CLOSE ON A POLICE ARTIST'S SKETCH

Bearing a fairly good likeness of Ronald Moody.

MCCALL'S VOICE
Steve and the bartender came up
with a good composite sketch of
the suspect...

INT. STEVE AND DEE DEE'S APARTMENT - NIGHT (F/B DAY #8)

The sketch is lying on the coffee table, which is strewn
with papers, files, mug books and empty coffee cups. Steve
is poring over a mug book, looking haggard and spent. He
rubs his eyes and turns the page. We HEAR a key in the
lock. The door opens and:

OFFICER DEE DEE MCCALL

five years younger and in a Metro P.D. uniform, comes home
at the end of her shift to find her husband exactly where
she left him nine hours earlier. Steve barely looks up.

STEVE
Hi.

MCCALL
(shakes her head
affectionately)
Didn't your mother ever tell you
you could go blind doing that?

STEVE
So stop me when I need glasses.

McCall moves around and clears a place for herself next to
Steve on the couch.

MCCALL
There's a very easy way to tell.
(hold up one
finger)
How many fingers?

STEVE
One.

MCCALL
Very good. Now -
(points to her
lips)
- what is that finger pointing
at?

INT. THE BEDROOM - LATER

McCall and Steve are in bed together, lying next to each
other, kissing passionately, warming up for some
love-making. We, and they, HEAR a LOUD KNOCK at the front
door. They stop kissing, exchange a look. Steve starts
to get up, but McCall gently pushes him back down.

MCCALL
Save your strength, tiger.
McCall gets out of bed, picks up her bathrobe.

INT. THE LIVING ROOM - NIGHT

Another KNOCK at the door. After a moment, McCall comes
out of the bedroom, tying the sash on her bathrobe. As she
turns on a light:

MCCALL
Who is it?

HUNTER (O.S.)
Rick Hunter, I've got some
information for Sergeant McCall.
McCall unlocks and opens the door, REVEALING:

HUNTER

He's got a file folder in one hand. McCall barely gives him
a second look - just another cop.

HUNTER
Sorry about the late hour. Steve
said he wanted this as soon as
it came in.

McCall steps back for Hunter to enter.

MCCALL
(closes door)
No, it's okay.
She turns as Steve comes in from the bedroom, pulling on
a robe over:

STEVE
Rick, this is Dee Dee. Rick
Hunter, baby.

Hunter and McCall acknowledge the introductions over:

STEVE
What've you got?

HUNTER
(hands Steve the
folder)
I think it's an I.D. on your
suspect.

Hunter hands the file folder to Steve. Steve opens it.

STEVE
(opens folder,
looks)
That's him! You got it, man!

INSERT - THE REPORT

Two mug shots are clipped to the police file. It's
definitely the man Steve saw get into and out of that
station wagon.

THE SCENE

STEVE
(reading)
Ronald Allister Moody.
Boy, this guy's a real low-life.

HUNTER
With a good lawyer - assault,
burglary, attempted fraud,
resisting arrest - and no
convictions.

STEVE
Let's pick him up.

MCCALL
On what grounds?

STEVE
Just for questioning: a station
wagon registered to Diana Duquesne
leaves that house at one in the
morning, picks up this guy, then
drops him off a few blocks later.
I wanta know who was driving that
car.

MCCALL
But Steve, if he refuses to tell
you, haven't you just put him, and
the driver, on guard?
Steve and Hunter exchange a look.

HUNTER
She always like this?

STEVE
You mean smart, careful and by
the book...?

The three of them share an amiable chuckle.

STEVE
There's gotta be some way I can
shake this guy down.

HUNTER
Maybe Moody's parole officer can
put some pressure on him.

STEVE
Hey, good thinking. I'll call
him in the morning. Thanks
Hunter. See you tomorrow.

MCCALL
(to Hunter)
Nice meeting you.

HUNTER
It's about time - I keep hearing
about you from Steve.

MCCALL
(smiles)
Now you know the awful truth.

Hunter laughs, they shake hands briefly, and Hunter is out
the door.

MCCALL
Okay, buster, back to bed.
Steve scoops her up and carries her into the bedroom. Steve
kicks the door closed behind them.

INT. THE BEDROOM - LATER

Steve and McCall are asleep in each others' arms. It is a
rare moment of warm tranquility, shattered now by the
RINGING of the telephone. Steve and McCall both awaken at
once, disentangling as McCall reaches for the phone.

MCCALL
(into phone)
Hello?

INTERCUT:

CLOSE ANGLE - MOODY'S LIPS

speaking into a telephone mouthpiece.

MOODY
Let me speak to your husband.

MCCALL
Who is this?

MOODY
A friend and it's important.

BACK TO SCENE

McCall covers the mouthpiece.

MCCALL
(to Steve)
A man. Won't say who he is, wants
to talk to you.

Steve takes the phone from McCall.

STEVE
Hello?

We STAY ON Steve as he listens intently. (We do not see
Moody again in this sequence, nor do we hear his
instructions, since the sequence is being told from McCall's
point of view.) After a time, the caller disconnects and
Steve is left with a handful of air. He hangs up his end
and gets quickly out of bed. As he begins to dress;

MCCALL
You want to clue me in?

STEVE
(hooked)
Somebody wants to tell me who was
in that station wagon with Moody.

MCCALL
Who?

STEVE
From the voice, I'd say male,
Caucasian - probably a cigarette
smoker.

MCCALL
Where?

STEVE
He's at the "77" Club in North
Hollywood.
(off her worried
look)
I'll be back before ay pillow gets
cold.

Steve starts to get into his street clothes. McCall knew
there would be nights like this when she married a cop.
That doesn't make them any easier.

DISSOLVE TO:

EXT. 77 - CLUB NIGHT

Loud music of the worst kind. Leather-clad weirdos hang out
outside; more of the same within.

Steve's car pulls in off the wet, neon-splashed boulevard,
past the huddled weirdos, into the parking lot of this
wonderland. (NOTE: The front of the club cannot be seen
from the back parking lot, or vice versa.)

THE PARKING LOT

is pretty well crammed with cars, and badly lit. Steve's
car cruises in slowly and parks in a space near the back of
the lot. After a moment, Steve gets out and starts walking
back toward the club, passing through pockets of light and
shadow.

ON THE STREET

A group of four or five Leather-boys have gathered around.
Two of them are roughly shoving each other as a preliminary
to fighting.

LEATHER-BOY #1
Back off, man, or I'm gonna rip
your face off.

Leather-boy #2 responds by again forcefully shoving
Leather-boy #1. A black-and-white pulls up in front of the
club (hence the NOTE, above) . Two Uniformed COPS jump out
and confront the two Leather-boys.

COP #1
(ordering)
All right, break it up!

STEVE

continues walking toward his appointment. Suddenly, in an
optically-suspended moment out of time:

RONALD MOODY

steps out of one of those pockets of shadow, gripping a
revolver.

THE GUN

FIRES twice. The MUZZLE FLASHES rip into the darkness, the
thunderous, Dolby-enhanced REPORTS tear at our eardrums.

STEVE

flies backward over the hood of a car and crashes to the
ground.

THE COPS AND THE PUNKS ON THE STREET

REACT to the SHOTS. The cops yank out their guns and run
back toward the parking lot, spotting Moody running away
from Steve's body, gun in hand.

COP #1
Freeze, mister!! Drop it!!

The cops move toward Moody, weapons still brandished, as we:

DISSOLVE TO:

INT. STEVE AND DEE DEE'S APARTMENT - NIGHT

McCall is sitting up in bed, reading, trying not to look at
the clock, which informs us it's 4:18 in the morning.
McCall's heart falls into her stomach when she hears the
KNOCK at the door. She drops the book she's reading and
hurries out to the front door.

AT THE FRONT DOOR

MCCALL
Who's there?

HUNTER (O.S.)
It's Rick Hunter.

MCCALL
Is Steve with you?

HUNTER
No... he's not.
A look of dawning horror comes over McCall. She fumbles
with the chain, struggles with the lock, opens the door.

Hunter enters solemnly. McCall senses the answer before she
asks. As she closes the door:

MCCALL
Where's ay husband?...

HUNTER
(pained)
Steve's been...shot.

MCCALL
(panicking)
Where is he? What hospital did
they take him to?!

This is the toughest thing Rick Hunter has ever had to do,
and he takes a long bitter moment:

HUNTER
He...died on the way...

She already knew the truth, but hearing the words is more
than McCall can bear. She sags into a chair, buries her
face in her hands and weeps. Hunter stands by her silently
as we:

FADE OUT:

END OF ACT ONE

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

ACT TWO

FADE IN

INT. DEVANE'S OFFICE - DAY (PRESENT TIME - DAY #3)

Devane is back behind his desk, reading the last few lines
of McCall's lengthy report. McCall's NARRATION wraps up:

MCCALL (V.O.)
Ronald Moody claimed that Steve
had been harassing him, had
followed him to the "77" club and
attacked him. My testimony about
what Moody said to Steve was
rejected as hearsay, and his
attorney convinced the jury I
couldn't have recognized Moody's
voice. He was found guilty of
manslaughter.
(beat)
No connection was ever established
between Moody and the death of
Diana Duquesne. Her death was
classified as an accident.

Devane closes the report slowly, a look of deep sympathy on
his face. After a long moment, he tosses the report on his
desk and slaps a button on his intercom.

DEVANE
Ask Sergeant McCall to come in,
please.

Devane stands up and moves around, putting his attention on
anything but the report. McCall comes in.

DEVANE
Sit down, McCall.
(she does)
I read your report, and I must
say, I sympathize with your
position.

McCall thinks she sees the handwriting on the wall.

MCCALL
Captain...

DEVANE
Let me finish. Your report is
not objective. It's full of
personal opinion and debatable
conclusions...
(as McCall is about
to protest)
Let me finish, Sergeant.

MCCALL
Yes sir.

DEVANE
But I think I know you well enough
To conclude there's some truth in
it. I'm going to give you and Hunter
some time to check it out.

MCCALL
Great.

DEVANE
Probably not much time - it'll
depend on what you come up with.

MCCALL
That's okay.

DEVANE
This may be the thinnest and
oldest trail I ever put a cop on.
I might pull you off at any time.
If I do, I don't want any
arguments.

MCCALL
Agreed.

DEVANE
And keep this in mind: Moody is
a free citizen with constitutional
rights from the moment he walks
out of state prison.

HUNTER (O.S.)
He's out.

McCall and Devane react as our ANGLE ADJUSTS TO INCLUDE
Hunter, who is now standing in the doorway.

HUNTER
Just spoke to the Warden. They
cut him loose a couple hours ago.
(to McCall)
He's on a plane bound for Los
Angeles.

CUT TO:

EXT. LOS ANGELES INTERNATIONAL AIRPORT - DAY (STOCK)

A no-frills flight from the bay area touches down.

A TAXI CAB (STOCK)

leaves the airport loop.

EXT. PACIFIC COAST HIGHWAY - DAY

The taxi cruises north between Santa Monica and Malibu.

IN THE TAXI

Ronald Moody wears an ill-fitting blue suit, no tie, and
sunglasses. His complexion is pale. He sucks a Camel down
to nothing, stubs it out and lights another one. Some
distance behind:

HUNTER'S CAR

keeps pace at a comfortably inconspicuous distance.

INT. HUNTER'S CAR

Hunter and McCall. Hunter drives to keep Moody in sight and
them out of it.

EXT. OCEANFRONT CONDO COMPLEX

The cab pulls up outside this mid-scale, yuppie place.
Moody pays off the cabbie, takes his canvas bag and heads
toward the main entrance.

THE STREET

Hunter and McCall pull up to a secluded vantage point and
along with them we SEE Moody stop at a pay phone outside
the place.

Moody takes out a pencil and a scrap of paper
and writes something down.

HUNTER
You get one guess why he's writing
down the phone number.

MCCALL
He figures his phone may be
tapped. He'll be getting a call
there, right?

Hunter nods.

INT. CONDO

Moody opens the unlocked door, closes and double-locks it
behind him, takes a glance around; nice, but not too nice.
The place overlooks the water, which is certainly a better
view than Moody's had for the last several years.

Even though Moody has never been to this place, we get the
feeling he knows where everything is. He opens a guest
closet near the front door. Inside is a variety of clothing
from casual to dressy. (NOTE: Include the clothing Moody
will wear in Scene 83.) He crosses to the bar.

A good bottle of champagne (on ice), a condo key and a big
bouquet of flowers are waiting on the bar. Moody picks up
the card from the bouquet and reads it.

INSERT - THE CARD

which is printed and reads: "I ARRANGED SOMETHING FOR YOU.
I HOPE SHE'S YOUR TYPE. CALL 465-5800." The card is
unsigned.

MOODY
tosses the card on the bar, ignores the bottle, and picks
up the flower basket. Under the basket is a thick envelope.
Moody snaps up the envelope, puts the flowers back. He
tears into the envelope and pulls out a set of car keys with
a note attached.

INSERT - THE NOTE

Which is printed: "RED T-BIRD CONVERTIBLE - PARKED IN
FRONT." (NOTE: Check with production for accurate
description of car.)

BACK TO MOODY

as he tosses the keys on the bar, digs back into the
envelope and finds a sheaf of hundred-dollar bills - ten
in all. Moody flips through the bills disgustedly, clearly
not pleased. The TELEPHONE RINGS. Moody answers abruptly.

MOODY
Hello.
(a beat)
Shut up. Don't talk, just write
down this number: 555-9195. Go
to a pay phone and call me at that
number in exactly thirty minutes,
we gotta talk about money.

Moody hangs up.

CUT TO:

EXT. CONDO COMPLEX

Hunter and McCall are right where we left them.

ON MOODY

He comes walking out of the place wearing the sport coat,
shirt and slacks he found in the closet. He has showered,
shaved and slicked himself up to look almost human. He
heads for the phone.

ON HUNTER AND MCCALL

HUNTER
We're a pair of geniuses, huh
McCall?

MCCALL
Only if it rings.

ON PAY PHONE

it RINGS and Moody grabs it.

ON HUNTER AND MCCALL

They exchange a gratified glance.

CLOSE ON MOODY

on the phone.

MOODY
First thing I need from you is
a safe number I can call you at.
(listens, writes)
a beat, then
No, first you listen up: I did
five years 'cause you let a cop
follow you, to me! You know how
I spent my time? Figuring what
it was gonna cost you when I got
out.
(a beat, overriding)
...I know how much you got out
of the little job I did for you.
Our original deal doesn't even
come close. We need to talk a
settlement.

Hunter and McCall observe, wishing they could hear the
conversation.

MOODY
I'll tell you exactly. One
million bucks for every year I
spent inside. Five million
dollars. I want it in bearer
bonds and I want it in forty-eight
hours. Or I sell the rights to
the untold story. I'll be in
touch.

Moody hangs up the phone and exits the booth. He walks to
the street, spots the red Thunderbird, and pulls the keys
from his pocket. He gets inside, starts the car, and drives
off.

McCall and Hunter make themselves invisible as Moody roars
past their position. McCall catches a flash of the license
number and calls it in as Hunter fires up the car.

MCCALL
L-56...request a DMV on California
2-Baker-Edward-Mary 4-5-9.

Moody hangs a turn at the end of the block. Hunter pulls
out after him.

A SERIES OF SHOTS - HUNTER AND MCCALL TAIL MOODY
ON THE COAST.

Moody cruises south, not in a hurry. Hunter
hangs back at a safe distance, keeping him in sight. We
HEAR:

DISPATCHER'S VOICE
California 2-Baker-Edward-Mary
4-5-9...1986 Ford Thunderbird
registered to Angeles Leasing
Company, 8970 Wilshire, Beverly
Hills - leased to Moody, Ronald
A. - 18 New Park Row, Santa
Monica.

MCCALL
Roger dispatch...L-56 out.

HUNTER
Who do you s'pose arranged that
nice car for Moody?

MCCALL
(bitterly)
Probably a going-away gift from
the parole board.

EXT. LA ROUGE RESTAURANT - DAY

Moody drives in. The Valet takes his car. Moody heads
inside.

HUNTER AND McCall

slip inconspicuously into a parking space down the street.

HUNTER
You take him. I'm gonna check
out the car-leasing company.

McCall gets out and heads into the restaurant as Hunter
drives off.

INT. LA ROUGE

The place is intimate and expensive, full of large flowering
plants. McCall comes in, looking around cautiously.

WHAT SHE SEES:

Moody is escorted to a table where a hot, high-priced tart
named DEBBI is waiting for him sipping a drink. Moody
slides into the booth, hard pressed to keep from leering.

MCCALL

keeps out of Moody's eyeline. The MAITRE D' comes up to his
book, addressing her.

MAITRE D'
Yes, Madame, the name please?

McCall discreetly flashes her shield.

MCCALL
The name is Sergeant. I have one
of your patrons under
surveillance.
(indicates)
And I'd like that booth over
there, please.

The Maitre d' is no dummy. Without skipping a beat:

MAITRE D'
Of course. I can seat you right
away. This way, please.

He leads McCall to the specified booth, where she can keep
an eye on Moody from the other side of some lush foliage.
Again, she can't get close enough to hear the conversation.
But we can.

THE SCENE

Debbi finishes her drink. Moody can't take his eyes off
her.

DEBBI
(sultry bitch)
I'd like another one.

MOODY
Babe, you can have as much as you
want - of whatever you want.

DEBBI
So can you. If you'll stop
looking at me like that.

MOODY
Sorry...It's just that...I don't
think I've ever seen anyone as
beautiful as you.

DEBBI
(dryly)
Well, not for a few years anyhow.

MOODY
Waiter, let's have some drinks
over here!

MCCALL

pretends to scan the menu, all the while keeping an eye on
Moody. She is suddenly startled by a WOMAN'S VOICE, O.S.:

WOMAN (O.S.)
Dee Dee McCall! What a surprise!

Dee Dee blanches at the sight of a large WOMAN in a business
suit striding toward her table.

MCCALL
(to the woman)
For God's sake, keep moving. I'm
running a surveillance here.

The woman reads Dee Dee's meaning, but it's too late. Moody
is looking directly at McCall. The woman moves away quickly
as Moody stands and comes walking over to McCall's table.
Smugly:

MOODY
Sergeant Dee Dee McCall. Straight
from the land of hearsay
testimony. Still out for blood?

McCall makes no reply, her look of cold contempt far more
eloquent than words.

MOODY
I got good news for you, Sergeant:
I am a fully re-habilitated
citizen.

McCall still makes no reply, but she never takes her eyes
from his.

MOODY
I shot your husband for exactly
the reasons I gave at my trial.
I have regretted it deeply ever
since, and I have done my time.

MCCALL
You killed Diana Duquesne and
you're going to the gas chamber,
creep.

MOODY
I'm gonna call my P.O., I still
got rights. They won't let some
vigilante cop follow me around
makin' death threats. You got
that?

McCall falls SILENT again and Moody locks eyes with her.

MOODY
Okay, little lady, you called the
game. You've probably got a wire
on you, so I'll say this in a way
that just the two of us will
understand.

Moody points a bony finger at McCall and mimes the hammer of
a gun falling with his thumb. It's too much. McCall's
pent up rage explodes. She half-rises and delivers a
roundhouse that sends Moody sprawling to the floor. A few
startled shrieks, and the restaurant falls dead quiet, all
eyes on McCall. Moody looks up at her, rubbing his jaw.
without a trace of humor:

MOODY
You just lost the first round,
babe.

CUT TO:

INT. DEVANE'S OFFICE - DAY

BEGIN ON A NEWSPAPER, a page 3 feature, captioned; "METRO
DETECTIVE ASSAULTS HUSBAND'S KILLER". PULL BACK to REVEAL
McCall, Hunter, Devane and DEPUTY CHIEF WYLER. Wyler
speaks to McCall in a firm and sympathetic manner.

WYLER
I can understand why you decked
the guy, but you shouldn't have
done it in a crowded restaurant.
(reluctant)
I've got to turn Bernie
Terwilliger loose on this.
Otherwise the press is going to
make a martyr out of Moody.

McCall nods, knowing Wyler is doing the best he can to help
her.

MCCALL
I understand, sir.

DEVANE
Moody has agreed to drop his
complaint, in exchange for you
agreeing to cease to follow,
harass or interfere with him in
any way. Agreed?

MCCALL
(emotionless)
Yes.
(then: realizes
with relief)
I'm not being suspended?

DEVANE
Bernie will turn in his report.
(re Wyler)
...and we'll review it. If we're
lucky, this thing'll blow over.

MCCALL
Thank you.

DEVANE
That's all, Sergeant.

McCall shoots a glance at Hunter and exits without a word.
Hunter goes after her.

INT. SQUAD ROOM - DAY

Hunter catches up to McCall on her way out.

HUNTER
Moody ruined your life once
already. Don't let him do it
again.

MCCALL
Don't worry, I won't. What'd you
get from the car leasing agency?

HUNTER
The arrangements were made by
telephone and paid for by
cashier's check through Moody's
attorney - guy named Brovard.

MCCALL
Same one he had at the parole
hearing. Brovard's one of the
priciest criminal lawyers in
California. Makes you wonder,
doesn't it? - Who's picking up
the tab?

HUNTER
You can guess how far I got with
that.

MCCALL
(she knows)
Attorney-client privilege.

She starts away.

HUNTER
(admonishing)
McCall...

MCCALL
I'm not going near Moody. But
there are at least three cages
I plan to rattle real hard. Wanta
come with me?

They're out the door together, and we:

CUT TO:

EXT. DUQUESNE ESTATE - DAY

The place hasn't changed much in five years, but then it
hasn't changed much in fifty. The front courtyard looks
like an ad for the Exotic Auto show - with one exception.
In the company of a Rolls, a V-12 Jag, a 635 BMW and a
brand-new DeVille, L-56 looks like something that should
have been parked on the street. In some other neighborhood.

INT. LIBRARY - DAY

Hunter and McCall are escorted into the grand library by a
real, live BUTLER (he didn't do it). Occupying separate
quarters of the cathedral-like room are Roger Duquesne with
his business lawyer, a portly, 60 year-old man named BERT
SORENSEN, and David and Jessica Lawrence. Roger is now 51,
glowingly tan and healthy. He has allowed his hair to grey
at the temples since last we saw him, five years ago. David
is an angry, intense 28, a frustrated and resentful young
man. Jessica has gone the other way. At 26, she's very
quiet, withdrawn deep into herself. The butler leaves.

DUQUESNE
Sergeant Hunter - I'm Roger
Duquesne. This is my friend and
business advisor, Bert Sorensen,
and my wife's children, David and
Jessica Lawrence.

HUNTER
Thank you for agreeing to see us.
This is my partner, Sergeant
McCall.

The name drops like a nerve bomb, simultaneously paralyzing
and electrifying. Abrasively, and for the record:

MCCALL
That's Detective Sergeant Dee Dee
McCall, widow of Detective
Sergeant Steve McCall. Name ring
a bell?

SORENSEN
(heavy beat)
What is this?

MCCALL
Diana Duquesne's death has been
re-classified as a possible
homicide and is once again under
investigation.
(to Duquesne and
the kids)
So you have the right to remain
silent, but if you give up -

DAVID
(stands,
interrupts-her)
This is the best news I've heard
in years! Are you finally going
after this blood-sucker?
(meaning Duquesne)

JESSICA
David, please don't start this
again! I won't have all this
dredged up all over again!
Please! Sit down!

David sits down again and falls silent. We feel that he is
genuinely fond of Jessica and respects her wishes.

MCCALL
(to Duquesne)
We understand that half your
wife's estate went to you, and
the other half to these two. Is
that correct?

DUQUESNE
Sergeant, I'll answer any
questions you put to me about my
wife's death, but - I'm afraid
our financial affairs are private.

SORENSEN
No, Roger, that aspect of your
financial affairs is not private,
it's a matter of public record.
(to McCall)
Mr. Duquesne and these two young
people share in the income from
the estate, which is quite
substantial, but they were equally
well off when Mrs. Duquesne was
alive.

HUNTER
(to Duquesne)
What happened to Mrs. Ridley?

JESSICA
(a surprised tone)
Why?

HUNTER
We'd like to talk to her.

JESSICA
She worked for me after mother
died, but she sort of...just let
go, started drinking, developed
diabetes...She died a few months
ago.

Hunter and McCall exchange a glance. This is news to them.

MCCALL
All right, thank you. Sergeant
Hunter and I will be available
if any of you would like to speak
with us in private. You can reach
us at Metro Division, homicide.

DUQUESNE
(surprised)
Is that it? That's all?

HUNTER
You've got something more you'd
like to tell us?

DUQUESNE
No, I just assumed, when you asked
for this meeting, that you had
something substantial to tell us.

MCCALL
I'm sure we don't have to tell
you Ronald Moody got out of prison
Monday, on parole.

DUQUESNE
You have my sympathy on that,
Sergeant.

HUNTER
(to Duquesne)
His lawyer is Howard Brovard, a
friend of yours?

DUQUESNE
No. We've never met.

DAVID
Well look him up, Roger, I've got
a feeling you're going to need
him.

JESSICA
David, if you say another word
I'm leaving!

HUNTER
(smiles)
It's all right, folks, meeting's
over. We just stopped by to say
hello.

MCCALL
And if any of you are interested
in seeing the truth come out,
about what happened here five
years ago, you know where to find
us.

They turn and walk out as we

CUT TO:

INT. DIVISION HEADQUARTERS - NIGHT

McCall is virtually alone in the half-dark squad room,
typing a report. Captain Devane comes in, ready to leave
for the night. McCall looks up and sees him.

DEVANE
I just spoke to Hunter. He said
you'd still be here.

MCCALL
Just about finished.

DEVANE
(a beat)
You know I'm in your corner, don't
you?

MCCALL
Then why did you tie my hands,
Captain?

DEVANE
You tied your own hands when you
popped Moody in the mouth.

MCCALL
(beat)
Yeah, I know. But it was worth
it.

DEVANE
Off the record, I know what you
mean. But if you ever...

MCCALL
Oh, come on - you were doing real
good there for a second.

Devane stops and smiles at McCall.

DEVANE
You and Hunter are important to
me, McCall. I don't want either
of you getting into departmental
trouble. You're good cops, both
of you.

MCCALL
(off guard)
Aw, shucks...

DEVANE
I mean it.

MCCALL
Thanks. You're forgiven for
wrecking my life.

DEVANE
(laughs)
Goodnight, McCall.

MCCALL
(as he goes)
'Night, Captain.

Devane exits. McCall smiles for a moment, then goes back to
work. We STAY with her for several beats as she works on
her report. The TELEPHONE RINGS. McCall frowns, answers
it.

MCCALL
Homicide. Sergeant McCall.

McCall sits up, recognizing the caller.

MCCALL
Yes...
(face lights up,
excited)
All right. Twenty minutes? See
you there.

She pulls the report out of the typewriter and sticks it in
a drawer, grabs her pocketbook and is out the door.

CUT TO:

INT. COCKTAIL LOUNGE - NIGHT

It's quiet and dark. There is soft music and we FIND David
Lawrence sitting alone, drinking vodka.

McCall enters, spots David and crosses to his table. David
stands, wobbles, sits down as McCall takes a seat. The girl
comes over.

MCCALL
A wine spritzer, please.

DAVID
And another one of these.

The girl nods and moves off. David downs his existing vodka
and looks steadily at McCall. After a moment:

DAVID
You know - you're a very
attractive woman.

MCCALL
(beat)
Somehow I don't think that's what
you called me here to tell me.

DAVID
I mean - you probably could have
been anything. Why'd you want
to be a cop?

MCCALL
You doing an interview for the
Peace Officer's Gazette?

DAVID
I was just trying to...break the
ice.

MCCALL
Consider it broken. Let's get
to why you called me.

DAVID
I called you...
(as the girl
returns with the
drinks)
...because I wanted to have a
drink with you.

The girl sets the drinks down and moves away. David picks
up his glass and raises it to McCall.

DAVID
To our mutual interest...

McCall doesn't pick up her glass. David shrugs, drinks and
bangs down his glass.

DAVID
... in seeing Roger Duquesne on
Death Row.

McCall considers him soberly.

DAVID (CONT'D.)
Are you always this much fun?

MCCALL
Mister Lawrence, I'm tired and
I have a lot of work to do.
You're not making my life any
easier at this moment.

DAVID
That's what you think.
(leans forward
conspiratorially)
That guy you were talking about?
Moody?

MCCALL
Yes?

DAVID
I saw him and my ex-stepfather
together yesterday morning.

MCCALL
Where? What time?

DAVID
A little after nine, at the house.
I keep some of my cars there.

MCCALL
(skeptically)
Why didn't you mention this
before?

DAVID
I didn't put it together till
Moody called again after you left
today. I happened to pick up the
extension.

McCall considers David carefully. She knows he's more than
a little drunk, but that doesn't mean he has to be lying.

MCCALL
How did you know it was Moody?

DAVID
Roger called him by name.

MCCALL
What did they say?

DAVID
I don't know, I heard someone
coming and hung up.
(off her skeptical
look)
I picked up again a few minutes
later but they were saying
goodbye, so I missed the good
part.

MCCALL
You willing to make this statement
under oath?

DAVID
Are you kidding? Roger Duquesne's
a killer! He even knows how to
hire killers.

MCCALL
It's not much use if you won't
back it up.

DAVID
You can use it, act on it, and
when you get enough to put Roger
away I'll back you up under oath
- but not before he's in custody.

INT. DIVISION HEADQUARTERS - DAY (DAY #5)

The usual morning watch grind. Hunter and McCall are at
their desks, interrupted in their pursuit of paperwork by
Captain Devane, who tosses a report file on McCall's desk.

DEVANE
Forget it, McCall.

MCCALL
You gotta be kidding!

DEVANE
Do I look like I'm kidding?

HUNTER
(observes)
He doesn't look like he's kidding.

DEVANE
I can't order an around-the-clock
surveillance based on hearsay from
an openly hostile party.

He turns and heads back into his office. McCall steams.

HUNTER
(a beat)
sympathetically)
C'mon, McCall. I'll buy you some
breakfast.

MCCALL
I'm not hungry.

HUNTER
Sure you are. I can hear your
stomach growling.

MCCALL
That's me growling. Hunter, I need
help and I'm not getting it.

HUNTER
How about this: you take Duquesne
12 hours, then I'll take him 12
hours.

MCCALL
Can you catch a few Z's this
afternoon?

HUNTER
I can sleep anywhere, anytime.

MCCALL
(grins)
Yeah, I know.
(pause)
Thanks, big guy, I'll call you.

And she is gone.

CUT TO:

EXT. HOLMBY HILLS - DAY

Roger Duquesne's Rolls Royce purrs elegantly along, the
surroundings reflecting in distorted opulence over the
hand-polished hood. Some distance back:

McCall

wearing a scarf and sunglasses, is discreetly following the
Rolls in her car.

DISSOLVE TO:

BUSINESS DISTRICT

Duquesne pulls into a spot near a ten-story building, the
first story of which houses a bank. He gets out of the car,
drops a few quarters in the meter and heads into the
building. PAN up the street to REVEAL McCall, who locates a
space up the street, parks, and hurries on foot toward the
building.

INT. BUILDING LOBBY

Bustling with comers and goers. McCall, being careful not
to be recognized, arrives just in time to see Duquesne
getting into a crowded elevator. When the door closes,
McCall crosses to the building directory and scans the
names, stopping at one listing in particular.

INSERT - THE DIRECTORY LISTING

Reads: SORENSEN 6 ASSOC., INC. - BUSINESS MANAGEMENT -SUITE
916

THE SCENE

McCall registers this information. As soon as she turns
around, she SEES none other than Ronald Moody entering the
building. Moody is dressed in a way we will recognize later
at a distance, a bright yellow windbreaker and jeans.
McCall turns quickly back to the directory and pretends to
be reading, all the while keeping an eye on Moody, who does
not spot her. McCall watches Moody as he looks through the
glass doors into the bank. He turns, walks to the door to
the stairwell and disappears through it. McCall slides over
in that direction, hesitates several moments, then follows
Moody into the stairwell.

INT. STAIRWELL

McCall listens for a moment to Moody's footfalls, about two
floors up. She removes her shoes and starts gliding up the
stairs behind Moody, quiet as a cat. We FOLLOW her until
she passes the floor level sign which reads "2". PUSH IN on
McCALL'S FEET as they start up the next flight and:

DISSOLVE TO:

SEVEN FLOORS LATER

BEGIN ON MCCALL'S FEET, climbing toward camera, and WIDEN TO
INCLUDE the rest of her as she pauses for a moment beside
the floor level sign which reads "9". It's been a long
climb, but McCall hasn't stopped because she's tired. She
has stopped because of a distinctive SOUND above her: a
heavy, metal door being pushed open.

EXT. THE ROOF

Moody emerges from the stairwell, lets the heavy metal door
bang shut behind him. He takes a couple steps out onto the
roof, looking off SCREEN LEFT as if he expects to see
someone there. FROM SCREEN RIGHT a gloved hand hits Moody
on the back of the head with a pipe. Moody drops OUT OF
FRAME. (NOTE: Aside from the gloved hand, we see nothing
more of Moody's attacker.)

INT. STAIRWELL

McCall listens for a beat, hears nothing, slips on her shoes
and hurries up the stairs.

THE ROOF ACCESS DOOR

One of those big, heavy, metal jobs with a push bar and a
sign which reads "ROOF ACCESS". McCall arrives and stops.
She suspects there may be something on the opposite side
of that door other than the roof. She takes out her gun.
Play the tension as she starts to push the door slowly open,
using it for cover.

EXT. THE ROOF ACCESS DOOR

which is opening one inch at a time. McCall appears, gun
ready. And as we WIDEN, we expect to see Moody's body, but
along with McCall we discover no one in sight. McCall
advances cautiously out onto

THE ROOF

which houses enough industrial hardware to provide cover
and geography. McCall starts searching the area, staying
low, and finds a protected spot from which to get her
bearings. She looks around and, with a POV SHOT, we
discover, along with McCall, that the roof appears deserted.

She begins moving, searching, her gun ready and now we play
the suspense and the mounting feeling that McCall may be
attacked at any second. As she edges around some equipment
near the roof line, the SOUND OF AN APPROACHING SIREN from
the street below is HEARD above the hum of traffic. McCall
hurries to the edge as the SIREN UNWINDS TO SILENCE, and
she looks down to the street below. Her expression turns
to one of shock.

WHAT SHE SEES - MOODY'S BODY

is a twisted, bloody smear on the sidewalk ten floors down.
A crowd of horror-stricken gawkers gathers. Traffic
screeches about in confusion as a police car comes slamming
up to the curb.

MCCALL

starts to back away from the edge of the roof. Suddenly
there's a rough, male VOICE behind her.

GUARD (V.O.)
Drop the gun, lady!!

The ANGLE ADJUSTS to REVEAL a big SECURITY GUARD, his gun
trained on McCall.

MCCALL
I'm a cop!

GUARD
I said drop it! Now!

McCall drops it and turns around slowly, looking down the
barrel of the big man's gun.

FADE OUT

END OF ACT TWO

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

ACT THREE

FADE IN

INT. DEVANE'S OFFICE - DAY

Devane is on the phone, otherwise alone, at his desk.

DEVANE
Just file your report, Bernie,
I'll talk to McCall.
(listens)
No, I'm not going to confine her
to her desk, I'm sending her home.
(listens)
Yes, Bernie, if that term makes
you feel better: she'll be under
"house arrest".
(looks up)
She's here now, goodbye.

He hangs up as McCall steps into the office and closes the
door behind her.

DEVANE
I.A. has instructed me to put you
under suspension.

MCCALL
Yeah, I heard.

As she steps over and lays her badge and gun on Devane's
desk:

DEVANE
I don't want you hanging around
here. Go home and stay there till
you hear from me.

MCCALL
Yes sir.

DEVANE
You're in deep trouble McCall.
Not because of I.A., not even
Bernie thinks you had anything
to do with Moody's death.

McCall looks puzzled: Why is she in deep trouble then?

DEVANE (CONT'D.)
The D.A. looked at the facts:

Moody shot your husband; you tried
to kill Moody's parole; he gets
out of the slam and you punch him
out; and you were found on that
roof with a gun in your hand just
minutes, maybe even seconds, after
Moody hit the sidewalk.
(pauses)
The D.A. thinks you're guilty as
hell and he's put together a
special investigative team to go
to work on you.

McCall takes a quick breath, realizing for the first time
that she is indeed in deep trouble. Devane puts her gun and
badge in his desk drawer.

DEVANE
If I thought it would help, I'd
tell you not to worry.
(pauses)
Go home. And stay there. Don't
talk to the press, don't talk to
anybody.

MCCALL
Yes sir.

She turns and walks out.

IN THE SQUAD ROOM

Every cop in the place has attention on McCall as she comes
out of Devane's office. Activity is subdued. The place is
disconcertingly quiet. Hunter intercepts her on the way to
the door.

HUNTER
You want to go for some coffee
or something?

MCCALL
(shakes her head)
I'm going home.

HUNTER
I thought you might need someone
to talk to.

MCCALL
Thanks, Rick, but all I want to
do is to get the hell outta here.

She moves past him and out. Hunter watches her go, the
weight of his regret lying heavy. After a few moments, he
turns and heads into Devane's office, closing the door
behind him.

CUT TO:

EXT. MCCALL'S FRONT DOOR - NIGHT

A big, strong HAND knocks on McCall's door. We HEAR from
inside:

MCCALL (O.S.)
Who is it?

WIDEN

to INCLUDE Hunter's head and shoulders.

HUNTER
It's me. Your ex-partner.

McCall opens the door. She's in jeans and a sweat shirt.
Looks like she's been crying.

MCCALL
Ex-partner, huh? Thanks a lot.

HUNTER
Just kidding. I brought you a
pizza.

Now we REVEAL that Hunter is holding a large pizza box.

INT. MCCALL'S HOUSE

Hunter comes in. McCall closes the door.

MCCALL
Pizza?

HUNTER
I thought you might need cheering
up.

MCCALL
It's gonna take more than pizza
to cheer me up.

Hunter puts down the pie and faces his partner.

HUNTER
Name it. Anything.

McCall's lip quivers, then the tears come again. She's not
fighting them anymore. She leans against him; he just holds
her for a time.

MCCALL
It's crazy...It's sick!

HUNTER
I know.

The anger beneath the tears boils up, giving McCall the
strength to stand alone.

MCCALL
They all know damn well I didn't
push Moody off that rooftop -
even Bernie Terwilliger!

HUNTER
(nods)
Bernie's just doing his job.

MCCALL
I followed Roger Duquesne into
that building. Then Moody showed
up! I keep wondering if it was
just a coincidence or if I was
set up.
(looks intently
at Hunter)
Just like Steve was set up.

HUNTER
No, you were just in the wrong
place at the wrong time.
(pauses)
Roger Duquesne has a witness
who'll swear he was in his
business manager's office when
Moody hit the sidewalk.

MCCALL
Who? Sorensen?

HUNTER
No, Sorensen was in a meeting,
but his receptionist logged
Duquesne in at 2:08. Moody hit
the cement at 2:16. Duquesne
didn't leave the office till after
3:10.

MCCALL
You just - decided to check that
out on your own?

HUNTER
Moody's death was a homicide.
I told Devane I wanted it.

MCCALL
(beat)
It's your case?

HUNTER
That's right.

MCCALL
Could you use a little help? I'd
like to check out that
receptionist.

HUNTER
You really like to live
dangerously, don't you, McCall?

MCCALL
You know any cops who don't?

EXT. DUQUESNE ESTATE - DAY

OVER the glittering opulence, we HEAR:

HUNTER'S VOICE
...if you'd like an attorney and
cannot afford one, one will be
appointed for you. Do you
understand these rights as I have
read them to you?

INT. FRONT HALL

Roger Duquesne stands with a look of disbelief as Hunter
finishes reading him his rights. In b.g. we HEAR a phone
RING.

DUQUESNE
Am I under arrest?

HUNTER
If a cop stops you on the street
and asks a question, you're
technically under arrest, it's
all a matter of degree.

DUQUESNE
What degree is this?

BUTLER
Telephone for you, sir. It's Miss
Jessica.

The butler withdraws as Duquesne steps over to the phone.

DUQUESNE
Hello Jessica...
(a beat)
No, I - can't just now. Sergeant
Hunter is here...No, I'll call
you later, where are you? At the
beach house?
(listens)
Okay.

Duquesne hangs up the telephone.

HUNTER
You used to be an actor, right?

DUQUESNE
I am an actor. I just haven't
found a script I like lately.

HUNTER
Ten years at last count.

DUQUESNE
I can afford to be selective.

HUNTER
Isn't that because your wife left
you an income of two or three
million dollars a year?

DUQUESNE
Please get to the point.

HUNTER
Somebody hired Ronald Moody to
kill your wife. Then Moody got
greedy. And got tossed off the
roof of a building you went into
just ahead of him.

DUQUESNE
I was also in an office of that
building when Moody was pushed
off of it - by your partner,
Sergeant McCall I'm told - I
suggest you take a look at the
receptionist's log-book.

HUNTER
Is that receptionist the same one
who worked for you before she went
to work for your business manager?

DUQUESNE
If you're claiming she made a
false entry, I wish you luck
trying to prove it. Wasn't
Sergeant McCall on the roof at
the very moment Moody hit the
pavement?

HUNTER
(ignores that)
I also have a statement from a
witness that puts you and Moody
together forty-eight hours before
Moody was killed.

Duquesne levels a measured look at Hunter, then:

DUQUESNE
Since no such meeting took place,
I can tell you who gave you that
statement. David Lawrence, right?
(OFF Hunter's
silence)
David has accused me of killing
his mother since the day she died.
But I didn't kill her, and I never
met Moody in my life. There's
obviously a great deal you don't
know about David Lawrence.

HUNTER
Like what?

DUQUESNE
David is sick. He'd do or say
anything to hurt me.

Hunter just looks at him, hoping he'll go on.

DUQUESNE
(long, tense beat)
That's all I have to say. If you
need anything else from me, talk
to my lawyer.

HUNTER
I plan to. You should, too. Have
a nice day.

Hunter turns and leaves. Duquesne stares heavily after him,
wheels churning. After a moment, he turns to the telephone,
snaps up the receiver and punches out a number. As the
number rings, Duquesne takes a deep breath and composes
himself. Sounding as best he can like a benevolent father:

DUQUESNE
Hello, David...I'd like to see
you, now. I'm coming over. Be
there.

Duquesne hangs up and we:

CUT TO:

EXT. DUQUESNE ESTATE - DAY

Roger's Rolls roars down the driveway, screeches into the
street and speeds away. Somewhere in its wake, we FIND:

HUNTER

Slouched behind the wheel of his car. He allows Roger a
sizeable lead, then pulls out after him.

EXT. BRENTWOOD/PACIFIC PALISADES - SERIES OF SHOTS

The Rolls makes time, twisting elegantly through the
expensive, residential curves. A safe distance back,
Hunter's car keeps pace.

EXT. DAVID LAWRENCE'S HOUSE - DAY

A bougainvillea-covered, Spanish hillside gem. Roger's
Rolls pulls into the driveway behind David's 635. Roger
gets out and hurries to the front door. He rings the bell.
No answer. He knocks loudly. Still no answer. Tries the
knob, finds it unlocked, pushes the door open and enters.

INT. DAVID'S HOUSE

Duquesne makes his way through the house, calling David's
name.

DUQUESNE
David?! David!

OUTSIDE - HUNTER

parks his car where he has a view of the house. He gets out
of his car and gets closer to the place on foot.

IN THE HOUSE

Duquesne keeps moving, calling.

DUQUESNE
David?

He turns a corner into a sunny den, where he FINDS:

DAVID LAWRENCE

standing there, facing him, a chrome .357 in his hand.

DUQUESNE
Put that down.

DAVID
You killed my mother and you
killed Ronald Moody! Is it my
turn now?

DUQUESNE
You lied to the police! You told
them you saw me and Moody
together.

David remains silent, a bit surprised that Duquesne knows
this, and frightened, even though he is holding the gun.

DUQUESNE
You invented that story, David.
Why?

DAVID
(his confidence
fading)
If it helps put you away, I'll
swear to it, since your friend
Moody's not around any more to
deny it.

DUQUESNE
I'm not going to take any action
against you for what you said,
except to deny it.
(a change of tone)
You may not know this, but I tried
very hard to be a father to you.
I finally gave up because you
couldn't forgive me...for taking
your mother away from you.

DAVID
Oh, you're a psychiatrist now,
huh?

DUQUESNE
No, I think I'm still trying to
be a father. Maybe I should have
consulted a psychiatrist. God
knows, if you're sick enough to
claim you saw me with Moody, you
probably need one. Or...God
forgive me for asking this...did
you kill your mother?

The odd thrust of what Duquesne has been saying has David
thoroughly confused. Instead of denying that he even talked
with Moody, Duquesne is talking about David, and his needs,
and the possibility that he may have killed his mother.
For the first time in five years David allows himself to
wonder if he might be wrong about Roger Duquesne.

DAVID
Do you mean that? You can even
think I may have killed my mother?

DUQUESNE
No, David. Until this man Moody
was killed I always thought
Diana's death was an accident,
but I know you could never have
killed her. And you can't kill
me, so put down the gun.

DAVID
It sure as hell wasn't an accident
and that cop, Steve McCall, knew
it! Someone killed her! If it
wasn't you...
(as a terrible
thought occurs
to him)
...who was it?

Duquesne walks over and takes the gun. He lays it aside and
puts his hands gently on David's shoulders.

DUQUESNE
It doesn't matter. It's history.
And it still could have been an
accident.

DAVID
(not even hearing
him)
If it wasn't you...

DUQUESNE
(knowing what David
is thinking)
Don't even say it, David, we have
to put all this behind us!

DAVID
You think it was Jessica, don't
you?

DUQUESNE
David, I want this to stop right
here!

DAVID
I've got to see her!

Duquesne grabs David's arm and stops him.

DUQUESNE
You can't do that. What if she's
innocent?

DAVID
That's what I've got to find out!

He tries to pull away but Duquesne holds tight to his arm.

DUQUESNE
No. I'll talk to Jessica. And
even if she's guilty we're not
going to do anything about it
except get her some private,
professional help.
(off David's
despairing look)
We can all get through this if
we pull together as a family.

DAVID
That's a laugh! We weren't a
family when mother was alive!
Always squabbling over my father's
money!

DUQUESNE
David, just shut up! And wait,
right here. I'll call you as soon
as I speak to Jessica.

Duquesne exits in a hurry.

IN THE HALL

Duquesne walks quickly down the hall from the den, passing
an open door to an adjacent room. We LOSE Duquesne and PEEK
into:

THE OTHER ROOM

where we SEE Hunter pressed against the wall beside an open
glass door. After Duquesne passes, Hunter slips out through
the door, presumably the way he got in.

FADE OUT

END OF ACT THREE

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

ACT FOUR

FADE IN

EXT. HOLMBLY HILLS - DAY - ON DUQUESNE'S CAR

heading down toward Sunset at a good clip.

ON HUNTER'S CAR

He pulls out from the side street and heads toward Sunset
after:

DUQUESNE'S CAR - HUNTER'S POV

The car is over a quarter of a mile in front of Hunter.

EXT. HUNTER'S CAR - DAY

It suddenly brakes to a stop as a MOVING VAN comes out of a
driveway, tries to turn to head down the street Hunter is
on but can't make it.

ON HUNTER

frustrated. There isn't room on either side of the van to
go around it.

THE VAN

backs up, finishes the turn slowly.

ON HUNTER'S CAR

as it wheels around the van at top speed.

ON HUNTER

As he looks:

HUNTER'S POV

No car in sight.

ON HUNTER

He keeps traveling but picks up his mike.

HUNTER
(into radio)

This is L-56. Patch me through
to 555-6847.

HIT. MCCALL'S HOUSE - DAY

The phone RINGS and:

MCCALL
(answers)
Hello.

HUNTER
McCall, did you ever run across
the address of Jessica's beach
house?

MCCALL
Where are you?

HUNTER
In Holmby Hills! This is an
emergency, McCall. Yes or no?

MCCALL
Come on, Hunter, take five seconds
and up-date me.

HUNTER
Duquesne's on the way to her beach
house and I'm not sure what his
plans are. He may be going there
to kill her.

MCCALL
Meet me in front of the market
at Sunset and P.C.H., I'll be
waiting for you!

McCall hangs up, cutting short Hunter's protests. She goes
to a cabinet and reaches up to the top shelf, taking down a
polished wooden box. She puts the box on the table and
twists the combination lock. Opens the box. Takes out a
perfectly cleaned and oiled .38. She removes the badge
that once belonged to her husband. She studies it for a
moment, then puts it back in the box, a precious memory.
She closes the box with a snap.

EXT. P.C.H. PARKING LOT - DAY

Hunter pulls up outside the market, gumball flashing.
McCall is waiting for him. She jumps in the car and it
pulls out.

HUNTER'S CAR

races north on Pacific Coast Highway.

CUT TO:

EXT. JESSICA'S BEACH HOUSE - DAY

A luxurious, architecturally exquisite jewelbox, built four
stories down the side of a rock face overlooking the water.
Duquesne's Rolls pulls in and stops. Duquesne hurries up
the steps to the front door and rings the bell. After a few
moments, Jessica looks through the door-window, surprised
to see Duquesne.

JESSICA
(from inside;
surprised)
Roger!
(opens the door)
You said you were going to call.
What's up?

INT. BEACH HOUSE - DAY

Duquesne walks in and Jessica closes the door behind him.

DUQUESNE
It's about David: He's determined
to keep us on the front pages of
all the scandal sheets.

As they walk into the living room.

JESSICA
I'll talk to him. I can handle
David.

INT. LIVING ROOM - DAY

DUQUESNE
Not anymore, Jessica.

JESSICA
(stops, surprised)
What?

DUQUESNE
That man, Ronald Moody, his death
changed everything.

JESSICA
(puzzled)
Why? The newspapers practically
accused that police woman of
killing him.

DUQUESNE
Not a chance. You think Moody
Would've let her lure him to the roof of that
building?

Jessica doesn't answer. She begins to pace thoughtfully
around a drumtable in the off-center of the room. Finally;

JESSICA
Are you saying you think that cop
was right? - that someone hired
Moody to kill my mother?

DUQUESNE
(nods)
Someone who could have lured Moody
to that building - where we keep
our accounts, our safe deposit
boxes, our business office...

JESSICA
Did you point all this out to
David?

DUQUESNE
No.

JESSICA
(surprised)
Why not?

DUQUESNE
David couldn't kill anyone if his
life depended on it.

Jessica stops pacing, stares at Duquesne. The purpose of
his visit is becoming uncomfortably clear. In his own
fashion, Duquesne is accusing Jessica of killing her mother.
Although the accusation hangs in the air, Jessica pretends
to ignore it. Finally she says:

JESSICA
I guess that leaves you and me,
huh? What is this? A confession?

DUQUESNE
David thinks you did it. And he's
right.

Jessica reacts to the fact that the accusation no longer
hangs in the air. She begins to pace once again, averting
her eyes from Duquesne, moving closer to the drumtable.
Duquesne's voice is filled with compassion.

DUQUESNE
I'll talk him out of it and shut
him up.

Jessica gives Duquesne a look that asks, "Is this guy for
real?" Her pacing continues. Duquesne addresses her in a
consoling manner, as if to expiate the guilt Jessica does
not seem to feel.

DUQUESNE
Your mother used money like a
whip, to keep you and David
permanent dependents, permanent
adolescents. I never blamed you
for hating her...but I never
guessed you could kill her.

Jessica stops pacing, stands by the drumtable, looks at
Duquesne for a long, icy beat. She suddenly opens one of
the drawers in the drumtable and comes up with a toy-like
two-barreled derringer. Without pausing or any hesitancy
whatsoever, Jessica lifts the gun and aims it at Duquesne:

HUNTER'S VOICE
(quietly)
Drop the gun, Jessica.

She freezes, the gun still aimed directly at Duquesne.

MCCALL'S VOICE
Drop it! Now!

Jessica looks off to her right, the gun still raised.

MCCALL

Her .38 pointed at Jessica's heart.

MCCALL
(hard as nails)
Don't tempt me. Just drop the
gun.

After another beat Jessica lets go of the gun, which drops
almost silently to the floor.

ON HUNTER

as he steps over and picks up the derringer.

MCCALL
(to Jessica)

Turn around and put your hands
behind your back.

Jessica doesn't move. Hunter takes out his handcuffs.

HUNTER
(quietly)
You're under arrest for murder.
Turn around.

Jessica looks at Duquesne like a child looking at a parent,
waiting for guidance.

DUQUESNE
(gently)
Do as he says, baby, and don't
say a word, not one word. I'll
have the best lawyer in the
country representing you by
tomorrow morning.

Hunter and McCall look at Duquesne and for the first time
see him as the compassionate man that he is. Hunter and
McCall exchange a look. Hunter leads Jessica from the room.
McCall follows and we HOLD on Duquesne as he stands
unmovinq, his eyes brimming with tears.

FADE OUT.

END OF ACT FOUR

TAG

FADE IN

INT. DIVISION HEADQUARTERS - DAY (DAY #7)

BEGIN CLOSE on McCall's face as she listens to Wyler reading
a letter, just OUT OF FRAME.

WYLER(O.S.)
...and all of us who had the
privilege of knowing and working
with this man, whose life embodied
the noblest spirit of our
profession. It is therefore my
solemn and belated honor to award
the Medal of Valor to Detective
Sergeant Steven J. McCall.
Signed: William J. Barker, Chief.

PULL BACK TO REVEAL Devane, Hunter, Terwilliger and a
collection of our squad room regulars, gathered around to
listen. There is a smattering of applause as Wyler finishes
reading and hands the letter to McCall.

MCCALL
Thank you.

McCall takes the letter and glances at it with a small, sad
smile. The moment quiets those assembled. Devane looks
around.

DEVANE
Okay, people, we're not on
vacation here.

The group breaks up and people go back to work. Hunter,
Wyler and Devane remain with McCall.

WYLER
I'm sorry it took so long,
Sergeant.

MCCALL
Steve's record's clean
now...that's all that matters.

WYLER
Good.

DEVANE
(smiles)
Pretty good job for someone whose
hands were tied.

Wyler and Devane walk off together, leaving Hunter and
McCall alone. McCall takes a last look at the letter, then
puts it away in a desk drawer. She takes a deep breath and
looks at Hunter, renewed.

MCCALL
You know what?

HUNTER
What?

MCCALL
I could really go for a pizza!

He grins at her and the two of then start out together.
As they cross the squad room (toward CAMERA), Hunter puts
an arm around McCall's shoulder and gives her a partnerly
squeeze. A smile of deep mutual understanding passes
between them as they continue TOWARD CAMERA. We FREEZE
FRAME.

FADE OUT.

THE END