L.A. CONFIDENTIAL by Brian Helgeland Based on the novel by James Ellroy November 16, 1995 Minor Revisions FADE IN: OVER the opening strains of "I LOVE YOU, CALIFORNIA," a MONTAGE: a mixture of headlines, newsreel footage and live action. Economy Booming! Postwar Optimism! L.A.: City of the Future! But most prominent among them: GANGLAND! Police photographers document crime scenes. The meat wagon hauls ex-button men to the morgue. Where will it end? EXT. L.A. SKYLINE - SUNSET Palm trees in silhouette against a cherry sky. City lights twinkle. Los Angeles. A place where anything is possible. A place where dreams come true. As the sky darkens, triple-kleig lights begin to sweep back and forth. EXT. MANSION (HANCOCK PARK) - NIGHT The KLEIG LIGHTS are out front. Valets hurry to park a line of elegant cars. MAYOR (V.O.) Ladies and gentlemen, I give you the future of Los Angeles! INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The MAYOR yanks a cloth to reveal a MODEL of L.A. criss- crossed by an elaborate FREEWAY SYSTEM. The CROWD oohs. A COUNCILMAN claps. A SOCIETY MATRON nods her approval. PIERCE PATCHETT, 50, tuxedoed, watches off to one side. A behind-the-scenes power broker, Patchett exudes authority much more so than the Mayor does. MAYOR The Arroyo Seco freeway is just the beginning. We're planning freeways from Downtown to Santa Monica, from the South Bay to the San Fernando Valley. Twenty minutes to work or play is the longest you'll have to travel. More applause. One REPORTER asks a little too loudly... REPORTER How many bodies you think Mickey Cohen'll be able to hide in all that cement? The Mayor wears a plastic smile, ignores it. INT. THE MOCAMBO - NIGHT A CLUB PHOTOGRAPHER pops snapshots, but the real action is on the floor where MICKEY COHEN does a wicked "Lindy Hop" with THREE different GIRLS at once. A fireplug of a man, he hardly seems a public menace. Nearby is his bodyguard JOHNNY STOMPANATO. Over it all: HUDGEONS (V.O.) Meyer Harris Cohen, Mickey C to his fans. He's the big moocher, local L.A. color to the nth degree. You know Mickey. He runs dope, rackets and prostitution. He kills a dozen people a year. But who you may not know is bodyguard Johnny Stompanato. His hair in a slick pompadour, Stompanato keeps an eye on Cohen and comes onto a CIGARETTE GIRL at the same time. HUDGEONS (V.O.) Johnny's handsome, ladies, but the real attraction is below the belt. Second only to Steve Cochran, he's sometimes known as 'Oscar' because of his Academy Award-size appendage. Mickey works a sweat on the dance floor. A bottle of champagne pops; Stompanato reacts, nearly draws a pistol from his shoulder holster. As he laughs at himself... INT. HUSH-HUSH MAGAZINE OFFICE - DAY Lurid page one headlines cover the wall where SID HUDGEONS types. The essence of sleaze, Sid is the publisher-photographer-writer of Hush-Hush magazine and keeper of inside dirt supreme. As he continues... HUDGEONS (V.O.) Remember, dear readers, you heard it here first, off the record, on the Q.T. and very Hush-Hush. INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The party continues. The Mayor has moved off to the side with the power brokers. Patchett is a presence. MAYOR We're selling an image, gentlemen. Beautiful weather. Affordable housing. (re: model) Trouble-free transportation. And the best police department in the world to keep it all running smoothly. EXT. STOREFRONT - NIGHT A dozen people watch a display windoe TELEVISION as it rolls the opening of the hit show "Badge of Honor." Over familiar THEME MUSIC, "Sgt. Joe Reno" (actor BRETT CHASE) walks the streets of Los Angeles. CHASE (V.O.) My name? Joe Reno. The city? Los Angeles. A big town. Full of all sorts of people. It's my job to help them. I like what I do. I'm a cop. INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The Mayor continues. MAYOR But with a second rate Al Capone out there, L.A. looks like Chicago in the '30s. Something has to be done. As Pierce Patchett nods sagely. INT. OLYMPIC AUDITORIUM - NIGHT Wrestler GORGEOUS GEORGE primps and poses before flatten- ing an opponent with a drop kick. INT. MOVIE THEATER - NIGHT An enthusiastic crowd adjusts their 3-D glasses. EXT. COHEN MANSION (BEVERLY HILLS) - DAY In monogrammed silk pajamas, Mickey Cohen answers the door, his pet BULLDOG Mickey Jr. at his feet. The police are waiting. REPORTERS' flashbulbs pop. POLICE OFFICER Mr. Cohen, you're under arrest. COHEN Bullshit. What's the charge? POLICE OFFICER Non-payment of federal income tax. COHEN BULLSHIT. EXT. GRAUMAN'S CHINESE - DAY JOHN WAYNE gets his hand prints in the sidewalk. EXT. WESTCHESTER BEAN FIELD - DAY MIGRANT WORKERS hurry to finish the harvest. We PAN TO CONSTRUCTION WORKERS who wait impatiently with bull- dozers under a "Spirit of the Future" BANNER. As the last picker leaves the field, the bulldozers move in, leveling the bean rows to make way for a housing tract. EXT. FEDERAL COURTHOUSE - STEPS - DAY Flashbulbs pop as Mickey Cohen exits and starts down the steps. Accompanied by his LAWYERS, bodyguard Stompanato and mob lieutenants DEUCE PERKINS and NATE JANKLOW, Cohen ignores REPORTERS' shouts. REPORTER How's your bullshit now, Mickey?! As Cohen gets into a waiting car, the media turn their attention to District Attorney ELLIS LOEW. A singularly ambitious man, Loew loves the spotlight. LOEW Today is an auspicious one for the city of Los Angeles. Mickey Cohen has just been sentenced to ten years in federal prison for failure to pay income tax. (MORE) LOEW (CONT'D) As the District Attorney for Los Angeles County, it is my pleasure to declare our great city organized crime free. It is truly the dawning of a new day. The SONG ENDS and so does the MONTAGE. INT. PACKARD (ACROSS FROM BULLOCKS WILSHIRE) - NIGHT December 24th. Wendell "BUD" WHITE, 30, stares at the enormous Christmas tree on the deco platform over Bullocks' entrance. An LAPD cop, Bud's rep as the toughest man on the force has been well earned. In the back seat, with cases of Walker Black and Cutty Sark, is Bud's partner -- DICK STENSLAND. Older, but also a tough hump, "Stens" sucks on a pint of Old Crow. The passenger door opens and Mickey Cohen bodyguard Johnny Stompanato slides in. Guinea handsome, Johnny wears his curls in a tight pompadour. With his boss behind bars, he's out of work. Bud just stares at him. STOMPANATO Officer White. I heard you got a hard-on for wife beaters. BUD And you fuck people up for a living. That don't make me you. Capisce, shitbird? Stompanato smiles. Nervous. Through the window, Bud watches a Salvation Army Santa palm coins from a kettle. STENSLAND Bud ain't in the mood for small talk, Stompanato. STOMPANATO Look, Mickey C's doing time and half the other guys who'd hire me are dead or left town. I need money. If your snitch-fund's green, I'll get you some fucking-A collars. Impatient, Bud tugs at a finger, CRACKS a KNUCKLE. STOMPANATO There's this guy. He's blond and fat, about forty. Likes the ponies. Been pimping his wife to cover his losses. Knocks her around to keep her in line. Bud's eyes narrow at this last bit of info. Stompanato holds up a slip of paper. STOMPANATO I figure the address is worth twenty. Bud digs into his wallet, pulls out twenty bucks, exchanges it with Stompanato. Stompanato smiles smugly, grabs a bottle of Scotch from the back. STOMPANATO Yuletide cheer, fellas. Without warning, Bud grabs Stompanato's tie and yanks, slamming his forehead into the dash. BUD Happy New Year, greaseball. EXT. 1486 EVERGREEN - NIGHT A stucco job in a row of vet prefabs. A neon Santa sleigh has landed on the roof. Through the front window, we see a fat guy browbeating a woman. Puff-faced, 35- ish, she backs away as he rages at her. The Packard pulls up out front. Stensland could care less. STENSLAND Leave it for later, Bud. We got to pick up the rest of the booze and get back to the precinct. Bud KILLS the IGNITION, picks up the radio. BUD Central, this is 4A-31. Send a prowler to 1486 Evergreen. White male in custody. Code 623 point one. Domestic assault and battery. I won't be here, but they'll see him. EXT. 1486 EVERGREEN - BUD - NIGHT steps to the house. Inside, we hear SLAPS, MUFFLED CRIES. Bud grips an outlet cord coming off the roof and yanks. The sleigh crashes to the ground with REINDEER EXPLODING around it. A beat. The fat guy runs out to investigate, trips over Rudolph. Bud pounces. Fat guy takes a swing, misses. Grabbing fat guy's hair, Bud smashes his face to the pavement. Once, twice. Teeth skitter down the walk. BUD Touch her again and I'll know about it. Understand? Huh? Another face full of gravel. Fat guy's WIFE watches with apprehension from the steps as Bud cuffs her husband's hands behind his back, empties his pockets. A cash roll and car keys. Bud looks over at her. BUD You got someplace you can go? She nods. Bud hands her the keys and the cash. BUD Go get yourself fixed up. WIFE (nods, determined) Merry Christmas, huh? Bud watches as she gets into a pre-war Ford in the drive. She backs over a blinking reindeer as she goes. STENSLAND You and women, partner. What's next? Kids and dogs? INT. STAGE FOUR (VARIETY INTERNATIONAL PICTURES) - NIGHT The "Badge of Honor" set. A Christmas party in full swing. Eating, drinking, and dancing. Star Brett Chase, seen earlier on television, is holding court. LAPD Sgt. "Trashcan" JACK VINCENNES, late 30s with slick, good looks, dances with a young ACTRESS. Grinding their way through a ballad, they're obviously hitting it off. ACTRESS Brett Chase told me you're the cop who busted Bob Mitchum. (MORE) ACTRESS (CONT'D) (grinds closer) These 'Badge of Honor' guys like to pretend, but being the real thing must be a thrill. JACK Let's go someplace quiet. I'll give you the low-down on Mitchum. ACTRESS You got your handcuffs with you? JACK Two sets. ACTRESS I'll get my coat. They're interrupted by Sid Hudgeons. HUDGEONS Big V Jack Vincennes! May I have this dance? JACK Karen, this is Sid Hudgeons from Hush-Hush magazine. ACTRESS I know who he is. The Actress storms off. Jack looks to Sid. HUDGEONS We did a piece last year. 'Ingenue Dykes In Hollywood.' Her name got mentioned. JACK Is she? HUDGEONS Beats me. Look, Jackie-Boy, a friend of mine just sold some reefer to Matt Reynolds. He's tripping the light fantastic with Tammy Jordan at 2245 Maravilla, Hollywood Hills. It's right around the corner. JACK You lost me, Sid. Who? HUDGEONS Contract players at Metro. You pinch 'em. I do you up feature in the next issue. Plus the usual fifty cash. Tell me, am I fucking Santa Claus? JACK I need an extra fifty. Two patrolmen at twenty apiece and a dime for the watch commander at Hollywood Station. HUDGEONS Jack! It's Christmas! JACK No. It's felony possession of marijuana. EXT. 2245 MARAVILLA - NIGHT WITH a VIEW of Grauman's Chinese. Jack and two uniformed patrolmen wait on the darkened street. An arc light has been set up. Hudgeons creeps back over from the house. HUDGEONS They're sitting in the dark, goofing on the Christmas tree. JACK Stand there with your camera. I'll stop here so you get Grauman's Chinese in the backgrouns. HUDGEONS I like it! I like it! INT. 2245 MARAVILLA - NIGHT The arc light floods the living room about the same time that Jack kicks the door in. The room is caught flush: Christmas tree, a bag of weed on the couch, two kids necking in their BVDs. MATT REYNOLDS and TAMMY JORDAN. JACK Police! EXT. 2245 MARAVILLA - NIGHT Jack exits, hauling Jordan and Reynolds by the neck. Jack stops with Grauman's FRAMED behind him and Hudgeons CLICKS off several shots with his CAMERA. HUDGEONS Cut! Wrap it! Windows light up. Rubberneckers appear. Jack hands the kids to the patrolmen, heads back in with Hudgeons in tow. INT. 2245 MARAVILLA - NIGHT Jack scoops the pot, flips through an address book. A card falls out. "Fleur-de-Lis. Whatever you desire..." Jack looks from the card out the window at the kids being loaded into a black and white. They're both crying now. HUDGEONS (stantorian tone) It's Christmas morning in the City of Angels, and while decent citizens sleep the sleep of the righteous, hopheads prowl for marijuana, not knowing that a man is coming to stop them. The free- wheeling, big-time Big V, celebrity crime-stopper, Jack Vincennes, the scourge of grasshoppers and junk fiends everywhere. You like it, Jackie- Boy? JACK Yeah, it's subtle. Sid hands him a President Grant 50. HUDGEONS Remember: you heard it first here, off the record, on the Q.T. and very Hush-Hush. INT. HOLLYWOOD STATION - DISPATCH DESK - NIGHT Suspects, mostly drunk and disorderly, are ushered through. Sgt. ED EXLEY, 30, bespectacled, is at the desk with a YOUNG OFFICER. Exley is an up-and-comer. Burning with ambition. The faster he rises through the ranks, the more resentment he leaves in his wake. EXLEY What's on the call sheet? YOUNG OFFICER A guy dressed as Santa has been exposing himself to kids in Los Feliz. Apparently, sir, he's decorated himself. EXLEY Decorated? YOUNG OFFICER With tinsel and plastic icicles and... on his penis, sir. EXLEY I get the idea. You got a description? YOUNG OFFICER Of his penis, sir? EXT. HOLLYWOOD BOULEVARD - HOLLYWOOD LIQUOR - NIGHT Tinsel-trimmed photos of movie stars look down from the walls as the OWNER takes an order from LYNN BRACKEN. LYNN A case each of gin, Scotch, and rum. Everything top shelf. None of that watered-down stuff you push on Errol Flynn. OWNER (laughs) Sounds like a helluva party. Her hair kerchiefed, Lynn waits as the Owner writes it up. There's glamour, a cat-girl grace about Lynn. She seems like she belongs up on the wall with the movie stars. Lynn looks across as Bud White heads toward the counter. Spotting her, Bud doesn't look so tough for a moment. OWNER You want it delivered? LYNN Before five tomorrow. The Owner spots Bud. A big smile turns to a frown. OWNER I'll be right with you, Lynn. The Owner begins indiscriminately loading hard liquor into a cardboard box, leaving Bud and Lynn to look at each other. Bud says the only thing he can think of. BUD Merry Christmas. LYNN Merry Christmas yourself, OFFICER. BUD That obvious, huh? LYNN (smiles sweetly) It's practically stamped on your forehead. As the Owner bangs a case of liquor on the counter... EXT. HOLLYWOOD LIQUOR - NIGHT Bud exits with his booze, heads for the car. Something catches his eye. A woman in the rear passenger seat of a new Cadillac. SUSAN LEFFERTS. Both her eyes are black. Bud starts over. The case on his hip, he motions for her to roll down the window. The driver's side door opens and bodyguard TURNER "BUZZ" MEEKS menaces his way out. MEEKS Get lost why don't you? Meeks stops short as Bud shoves his badge in Meeks' face. Setting the case on the car's hood, Bud spins Meeks around, pats him down. He finds a .38 in a shoulder holster. MEEKS I got a license for that. Bud removes Meeks' wallet, checks the ID. MEEKS Cut me some slack. I used to be a cop. BUD Turner Meeks? Never heard of you. LYNN (exiting store) We just call him Buzz. Bud raps on Susan's window with his badge. It comes down. BUD You okay? Beside her, a man leans over. Pierce Patchett, seen before at the freeway unveiling, is a man used to being chauffeured. Like FDR, he smokes his cigarette in a holder. PATCHETT She's fine. BUD (menacing) I'm not asking you. Patchett has no idea he's walking on thin ice. As he stares impatiently at Bud, Bud looks back to Susan. BUD Somebody hit you? LYNN It's not what you think. Bud looks to see Lynn Bracken moving to the driver's door. BUD What is it then? SUSAN You got the wrong idea, Mister. I'm fine. Susan laughs. Patchett eases back into the shadows. LYNN (getting in the car) But it's nice to know you care. Bud considers Meeks' gun license, then hands him back the .38 and wallet. Lifting his booze, Bud watches Meeks get back in the car. Stensland steps up as the cabbie starts to pull away. STENSLAND What's going on? For an odd moment, Stensland and Meeks lock eyes. BUD You know him? STENSLAND Seen him around. He used to be a cop. CUT TO: CLOSE ON DUDLEY SMITH Fifty, handsome in his police captain's uniform. Singing "Silver Bells" in a beautiful low tenor. Tough, respected, Dudley goes to bed as a cop every night of his life. He's a department power to be reckoned with. INT. PRECINCT HOUSE - MUSTER ROOM - NIGHT An L.A. Herald Express REPORTER and photographer listen along with the gathered patrolmen as Dudley finishes to applause. Dudley joins the press. REPORTER Captain Smith, I -- DUDLEY Drop the formalities; it's Christmas Eve. Call me Dudley. REPORTER Dudley, I came up with a title for the story. I'm calling it "Silent Night with the L.A.P.D." DUDLEY Excellent. How's this? (dramatic pause) The sanctity of the night is an invitation to the darker criminal element. Our vigilance will not be diminished. As the Reporter scribbles down the quote... DUDLEY That's Smith with an S. They laugh. Dudley points the way out. DUDLEY This way, gentlemen. Dudley's the last one out the door. As he goes, he turns back to give the men a wink. He's no sooner out the door when the first case of Johnny Walker is brought in. INT. PRECINCT HOUSE - DISPATCH DESK - NIGHT Ed Exley gets another report from the Young Officer. YOUNG OFFICER Two police officers were assaulted in a bar. Brown and Helenowski. He hands the report to Exley. It's now that Dudley comes through on his press junket. DUDLEY This is Sergeant Ed Exley. Son of the legendary Preston Exley. He's the watch commander tonight and a damn fine job. As the photographer snaps Exley's picture... DUDLEY I was fortunate enough to be partnered with his father when I was a rookie. It makes a man feel old. That's a fact. (a beat) Feel free to get a feel for the place. As the Reporter and photographer wander off, Dudley turns to Exley a bit more serious. DUDLEY A word with you, lad. INT. DUDLEY SMITH'S OFFICE - DAY Dudley pours two drinks, hands one to Exley. DUDLEY To the memory of your father. They drink. Exley looks to a photo on the wall. Himself as a ten-year-old standing between Dudley and his father Preston, both in police uniform. DUDLEY The day he got the Medal of Valor. A simpler time. Remembering, Exley invokes his father's favorite toast. EXLEY To the solving of crimes that require absolute justice. Exley raises his glass, but Dudley just watches him. DUDLEY That was his favorite toast. (a beat) I saw the test results on the lieutenant's exam. You placed first out of twenty-three. EXLEY The youngest applicant by eight years. DUDLEY You'll make lieutenant inside a year. Patrol division? EXLEY I was thinking Detective Bureau. We can see Dudley doesn't approve. DUDLEY You don't have the eye for human weakness to be a good detective. Or the stomach. You're a political animal, Edmund. The criticism stings, but Dudley's a straight shooter. EXLEY You're wrong. DUDLEY Am I...? Would you be willing to plant corroborative evidence on a suspect you knew was guilty in order to ensure an indictment? EXLEY Dudley, we've been over this. DUDLEY Answer yes or no. EXLEY I... No. DUDLEY Would you be willing to rig crime scene evidence to support a prosecuting attorney's working hypothesis...? Yes or no, Edmund. EXLEY No. DUDLEY Would you be willing to beat confessions out of suspects you knew to be guilty? EXLEY No. DUDLEY Would you be willing to shoot hardened criminals in the back to offset the chance -- EXLEY No. DUDLEY Then for God's sake, don't be a detective. Stick to assignments where you won't have to make those choices. Patrol, Internal Affairs, but not the Bureau. EXLEY I know you mean well, Dudley, but I don't need to do it the way you did. Or my father. DUDLEY At least get rid of the glasses. I can't think of one Bureau man who wears them. INT. PRECINCT HOUSE - MUSTER ROOM - NIGHT A large impromptu bar has been set-up. The party is in full swing, the floor packed with nightwatch blues. A PHONOGRAPH SPEWS DIRTY CHRISTMAS CAROLS. Stensland pours eggnog and Old Crow into the water cooler as Bud elbows his way in with another case. STENSLAND Hey, partner. Grab a cup. BUD I got to write my report first. PASSING COP #1 Hear about Helenowski and Brown? They got into a helluva scrap with six taco benders at some bar. Helenowski lost six pints of blood. Brown's in a coma. PASSING COP #2 We ought to teach Paco and his friends a lesson. More cops vocie their agreement. Bottles are passed. Only Bud doesn't seem as caught-up as the rest. INT. PRECINCT HOUSE - NARCO PEN - NIGHT Jack Vincennes at his desk. Holding the Fleur-de-Lis card, Jack dials the number. A corkboard on the wall is posted with press clippings. "Dope Crusader Wounded in Shootout." "Actor Mitchum Seized in Marijuana Shack Raid." That one includes a shot of Jack ushering Mitchum into jail. WOMAN (V.O.) (over phone, like silk) Whatever you desire. JACK Hi... I'd like to get a delivery to Beverly Hills. WOMAN (V.O.) (over phone) I don't think I know you. CLICK. The line goes dead. Jack redials. WOMAN (V.O.) (over phone) Whatever you desire. JACK Look, a friend of mine gave me this number. I just -- The line goes dead again. Jack dials a new number. OPERATOR (V.O.) (filtered) Pacific Coast Bell. JACK This is Sgt. Vincennes. Requesting a name and address on a phone number. Hollywood zero-one- two-three-nine. OPERATOR (V.O.) (filtered) Please hold the line... No such number is assigned. JACK I just called it. OPERATOR (V.O.) No, Sergeant. I checked twice. JACK (realizes, hangs up) A bootleg... INT. MUSTER ROOM - NIGHT Exley surveys the carousing rowdies. Raising his voice... EXLEY All right, men. You've had your fun. Time to break it up. The party continues undiminished. From across the room, Stensland eyes Exley with disdain. STENSLAND Fucking Exley. Guy's got a pole so far up his ass, every time he farts the flag waves. WATCH COMMANDER'S OFFICE The command not really his, Exley reads a report, ignores the party, though his window looks into the thick of it. Suddenly a ripple goes through the room. The men begin to push out through a rear door. Exley stands, stops a COP. EXLEY What's going on? COP They got the spics who japped Helenowski and Brown. Helenowski lost an eye and Brown's got brain damage. EXLEY I have the report right here. They're home with bruises and muscle pulls -- Oh shit... Exley starts out after them. INT. CELL BLOCK - NIGHT Stensland in the lead. Pulling out a blackjack, he enters Cell #4, begins wailing on one of the Mexicans -- Dinardo. STENSLAND For ours, Pancho. And you're getting off easy. Cheered on by drunks in the tank and his fellow officers, Stensland goes wild. He's joined by Lentz, Crumley and Tristano. Shaking his head, Jack Vincennes moves away. INT. SQUAD ROOM - NIGHT Bud types his report with one finger. Jack looks in. JACK White, you better get a lease on Stens before he kills someone. INT. CELL BLOCK - NIGHT Followed by Jack, Bud forces his way through the crowd. The men who see it's him quickly clear a path. Swigging from a pint of gin, Stensland works skinny GARCIA. Head saps. The kid drops to his knees drooling blood. Bud grabs Stensland, hauls him off of Garcia who looks up. GARCIA Fuck you, pendejo. BUD Yeah yeah... GARCIA And fuck your mother too. Bud sees red. Letting go of Stensland, Bud White picks up Garcia by the neck. There are cheers, "Attaboys" and "Holy Fucks" as Bud bangs Garcia's head on the ceiling. EXLEY (arriving) Stop, Officer! That's an order! Cops block Exley's way. As Bud looks over, Garcia kicks him in the balls. A dangling shot. Bud keels into the bars, Garcia stumbles out of the cell, smack into Jack. Jack looks down aghast at blood on his cashmere blazer, then puts Garcia down with a left-right. Exley pulls a pad of paper and pen form his pocket. EXLEY You're going in my report! All of you! Exley has just started taking names when Bud grabs him by the scruff of the neck and hauls him off balance into... HALL As Exley struggles, a cop opens the door to the store room. Bud slings Exley inside, then slams the door tight. Exley is locked in. As Bud moves off, we hear POUNDING. EXLEY (V.O.) Let me out! That's an order! CELL BLOCK The Herald Reporter and photographer enter unchaperoned and unnoticed. Stensland swings like a madman. That's when a flashbulb goes off. Freezing everyone in black and white. DISSOLVE TO: INT. CHIEF'S OFFICE - DAY The CHIEF sits behind a desk in a four-star uniform. Dudley Smith sits to his left, D.A. Ellis Loew to his right. Seen earlier at the Mickey Cohen press conference, Loew is the only civilian. Bud White stands across from them. There to be judged. CHIEF Officer White, you've refused to cooperate with Internal Affairs. But you should know this is bigger than a police board. Indictments may be handed down. Quite frankly, we need police witnesses to offset the damage done to the Department's image. Will you testify? Bud glances to a gray tinted mirror, then to the Chief. BUD No, sir. I won't. The Chief sighs, looks to Loew. CHIEF District Attorney Loew. Loew steps to Bud, holds up a newspaper with the cell block photo. The headline: "BLOODY CHRISTMAS." LOEW Bloody Christmas. The press love to label. You and Officer Stensland brought the liquor into the precinct. Stensland was already drunk. Do you see how appearing as a voluntary witness against him could offset the damage you've done to yourself? BUD I won't do it. (staring at mirror) I won't testify against my partner or anyone else. LOEW This man is a disgrace. CHIEF Your badge and gun, Officer. Bud sets them on The Chief's desk. CHIEF This is the new L.A.P.D., White. You're suspended from duty and dismissed. Turning, White shoots the mirror a stiff middle finger as he makes his way out. Dudley Smith hides a smile. OTHER SIDE OF GLASS Exley watches, involuntarily leans back as Bud passes on the other side of the glass. THE CHIEF'S OFFICE Dudley, Loew and The Chief wait as Exley enters. CHIEF Ed, your observations have been astute. What's your assessment of this situation? EXLEY The public demands justice, sir. This was a full-fledged riot of policemen. Shift the guilt to men whose pensions are secured. Force them to retire. But someone has to swing. Indict, try and convict Stensland and Bud White. Secure them jail time. Feed them to the sharks, sir. Protect yourself; protect the department. Dudley gives Exley a look. He's angry with him. DUDLEY Stensland's a disgrace. Straight D fitness reports from every C.O. he ever served under. But White is a valuable officer. EXLEY White's a mindless thug. DUDLEY No, Edmund. He's a man who can answer yes to those questions I ask you from time to time. The Chief interrupts with his own concern. CHIEF I want to know who we give the public in contrast? The department needs role models. Clean-cut, FORTHRIGHT men the public can admire. EXLEY I'll testify, sir. I'm not afraid to do what's right. CHIEF And I'll promote you. You'll be a lieutenant immediately. Exley seizes the moment, going over Dudley's head. EXLEY DETECTIVE lieutenant. The Chief and Dudley exchange a look. Neither approves. CHIEF Ed, you're 30. Your father didn't make lieutenant until he was 33. EXLEY I know that, sir. I also know that when he made lieutenant, it was as a detective. LOEW (interrupting) Before we start polishing our laurels, it would look better if we had a corroborative witness. DUDLEY That'll be hard to come by. The men hate a turncoat. EXLEY Jack Vincennes. He's the technical advisor on 'Badge of Honor,' sir. He lives for it. That's the way to get him. CHIEF All right, Ed. (into desk intercom) Call Sergeant Vincennes. As Exley starts out, Dudley pulls him aside, speaks low. DUDLEY You'll reap the benefits, but are you truly prepared to be despised within the department? EXLEY Yes, Dudley. I am. DUDLEY So be it. JACK VINCENNES Looking sharp, he strides down the hall, enters the... CHIEF'S OFFICE Round two. Centred on Jack. Exley is gone. DUDLEY Sergeant, we'll get right to it. Nine civilian witnesses have identified you as hitting Ezekiel Garcia. LOEW But my office has a stellar witness who will tell the grand jury that you hit back only after being hit. JACK What do I have to do? LOEW Testify against the three officers who have already earned their pensions. Our key witness will testify roundly, but you can plead ignorance to questions directed at the other men. CHIEF I'll guarantee you a slap on the wrist. A brief suspension followed by a temporary transfer from Narcotics to Ad Vice. (a beat) When you transfer out of Vice, you'll be back on the show. JACK The show, sir? CHIEF Badge of Honor, Vincennes. We need to tone down your profile for a bit. The Chief just got Jack where he lives. DUDLEY John, I doubt you've ever drawn a stupid breath. Don't start now. JACK Okay. I'll do it. Smiles all around. Loew smiles at the two-way. A move not lost on Jack who wonders who might be on the other side. CHIEF Dismissed, Vincennes. Jack leaves. The Chief steps to the mirror, looks through. CHIEF So be it. DETECTIVE Lieutenant. OTHER SIDE OF GLASS Exley clenches his fist in victory. The Chief continues. CHIEF Ace them at the grand jury tomorrow, son. Wear the smart- looking suit and ace them. And, Ed? Lose the glasses. INT. ROOM 114 (GRAND JURY WITNESS ROOM) - DAY Glasses off, Exley waits, looks up as Jack enters. JACK You're the key witness? EXLEY That's right. JACK I should've known. What's the Chief throwing you? EXLEY THROWING ME? JACK Yeah, Exley. What's the payoff? EXLEY You're the payoff expert. I'm just doing my duty. JACK You're playing an angle, college boy. You're getting something out of this so you don't have to hobnob with the fucking rank and file cops who'll hate your guts for snitching. If they're making you a detective, watch out. Some Bureau guys are gonna burn in this and you're gonna have to work with friends of theirs. EXLEY What about you? JACK I'm snitching three old timers who'll be fishing in Oregon next week. Next to you I'm clean. And smart. At that, a CLERK steps in from the hallway. CLERK Edmund J. Exley to chambers. As Exley's about to go... JACK Just remember, Bud White'll fuck you for this if it takes the rest of his life. They already suspended him. Just pray he cops a deal and stays on the Department because that is one civilian you do not want on your case. INT. TWILIGHT LOUNGE - NIGHT An old black guy in a frayed, threadbare tux plays piano. Bud, nursing a highball at the bar, steps over to a REDHEAD with too much make-up on too many miles. BUD That an old fashioned you're drinking? (as she nods) My name's Bud. REDHEAD Nobody was born with the name Bud. BUD They stick you with a name like Wendell, you look for an alias. REDHEAD What do you do, Bud? BUD I'm sorta between jobs. Look, what do you say we, uh... A hand on Bud's shoulder. He turns to see Dudley Smith. DUDLEY Lad, may I have a word with you? BUD This business, Captain? DUDLEY Say goodnight to your friend and join me by those back tables. Dudley starts off. Bud turns back to Redhead, but she's already talking to a sailor. BOOTH Dudley sits at a table. A newspaper is opened, a little mound underneath. Bud joins Dudley. BUD Does that paper say we've been indicted? Does it say Exley's a hero for squealing me and Stensland off? DUDLEY He made his play amd he got what he wanted. They're making him a detective. BUD Captain, what do you want? DUDLEY Call me Dudley. BUD Dudley, what do you want? DUDLEY Lad, I admire your refusal to testify and your loyalty to your partner. I admire you as a policeman, particularly your adherence to violence as a necessary adjutant to the job. And I am most impressed with your punishment of wife beaters. Do you hate them, Wendell? BUD (looks away) Yeah, I hate them. DUDLEY And for good reason judging from what I know of your background. Bud looks back over. Dudley's getting too personal. BUD What's going to happen to Stensland? He'll give himself cirrhosis over this. HE'S ONE YEAR FROM HIS PENSION. DUDLEY It would've happened years ago if you hadn't carried him. Why the loyalty, Wendell? BUD He helped me out once. That's all. DUDLEY Your partner's through. Department scapegoat on the Chief's orders. He's been billed, he'll be indicted and he'll swing. BUD Him and me both. FUCKING EXLEY. DUDLEY Don't underestimate his skills. As a politician he exceeds even myself. But the department needs smart men like Exley and... direct men like yourself BUD WHAT DO YOU WANT? DUDLEY Wendell, I want you to come to work for me. BUD Doing what? Mowing your fucking lawn? Smith yanks the newspaper revealing Bud's badge & .38 Special. Bud can't believe his eyes. DUDLEY They're yours. Take them. BUD I knew you had juice, but... There's no goddamn bill on me? DUDLEY Four of the defendants recanted their testimony. BUD How? Dudley dismisses the question with a wave of his hand. DUDLEY I need you for an assignment the Chief's given me the go-ahead on. A duty few men are fit for, but you were born for. You'll be working out of Homicide. BUD (excited) Homicide? A detective? CHIEF Your talents lie elsewhere, Wendell. It's a muscle job and shooting job. You'll do what I say and not ask questions. Do you follow my drift? BUD (disappointed) In Technicolor. DUDLEY Will you work for me? BUD Of course... But how? DUDLEY How what, Wendell? BUD How'd you get them to retract? Dudley lays brass knuckles on the table. They're chipped, caked with blood. DISSOLVE TO: L.A. MONTAGE Over the pop song "STRANGER IN PARADISE." A) EXT. GRAUMAN'S CHINESE - NIGHT Frank Sinatra at the premiere of From Here to Eternity. B) INT. KLUB ZAMBOANGA - NIGHT Charlie "Bird" Parker makes magic before an appreciative, mostly black crowd. C) TORCH SONG TAVERN (RIVERSIDE) - NIGHT Nate Janklow exits with his latest flame. A mob lieutenant, Nate was last seen with Mickey Cohen outside the Federal Courthouse in the opening montage. A CAR SCREECHES up. TWO GUNS aim and Nate and his date do down in a proverbial HAIL OF LEAD. D) EXT. FREEWAY - DAY A groundbreaking. The Mayor scrapes at the ground with a gold shovel. Pierce Patchett is among the distinguished guests. END OF MONTAGE EXT. HOLLYWOOD HIGH SCHOOL - DAY The marquee gushes: "Today Sgt. Joe Reno: Badge of Honor Star Brett Chase." INT. HOLLYWOOD HIGH SCHOOL - AUDITORIUM - DAY A nerdy 14-YEAR-OLD asks Brett Chase: 14-YEAR-OLD Why'd you become a policeman? CHASE I'm not a policeman. I just play one on television. But I think I can answer for them. To help people. That's why I do the show. Chase looks over and winks at Jack who waits in the wings. CHASE To protect and serve. It's not just a motto. As the kids applaud, Chase joins Jack who gives him a quick drag of a cigarette. A nervous PA joins them. Chase points out a fetching girl in the second row. CHASE That one. In the sweater. (to Jack) They also serve who only stand and wait. Chase and Jack watch the PA ask "Sweater" a question while pointing to Chase. Maybe sixteen, she nods "yes" eagerly. CHASE Jack, I'll see you Monday on set. JACK I won't be there. They're toning down my profile. PRINTING PRESS The latest issue of Hush-Hush flies through. On the cover: "Gail Russell Caught In Love Nest. Nymph or No?" INT. CITY JAIL - DAY Bud White flips through today's booking slips, finds one that's interesting. Reading to himself... BUD Domestic. Assault and battery. Containment Squad strong-arms, BREUNING and CARLISLE pause as they pass. CARLISLE Ready to go, Bud? BUD I'll be there in five minutes. CITY JAIL - HALLWAY Bud walks to a door covered in sheet metal. He opens it to reveal a holding tank with a burly, jumpsuited PRISONER. BUD I hear you like to hit women. PRISONER My wife. She's dropping charges so it's none of your business. Bud enters, closes the door behind him. A beat, we hear the sounds of FISTS ON FLESH. It's Bud's business now. INT. BEVERLY HILLS MANSION - STUDY - NIGHT Deuce Perkins (the Mickey Cohen narcotics lieutenant seen earlier) stands at the bookshelf. He pulls down books to reveal a shoe box. He sets it on his desk, pulls back the cover to reveal several bags of white powder. Heroin. A BRANCH SNAPS outside. Perkins opens a drawer, fishes a revolver. Turning off the light, he heads to the window. His finger parts the curtains. At that instant, he staggers, falls as GUNFIRE rips into him. The heroin just sits there on the desk. EXT. McNEIL PENITENTIARY - DAY Grim-faced guards scan the yard from machine-gunned towers. INT. McNEIL PENITENTIARY - VISITOR BOOTH - DAY Mickey Cohen sits across from visitor Johnny Stompanato. Cohen is going off the handle. COHEN What do you mean Deuce Perkins got clipped last night?! STOMPANATO They shot him in his library. COHEN I don't want a floor plan; I want to know who! Who's taking the ticket for this, Johnny? STOMPANATO Nobody. At least not yet. COHEN And what about the merchandise Deuce was holding for me? STOMPANATO Gone. Not a trace. COHEN Some ferstunkener is moving in and we don't know who?! Maybe we should ask Hedda Hopper! As "STRANGER IN PARADISE" ENDS, so does the MONTAGE. INT. BRIEFING ROOM - AD VICE - DAY Addressing the squad, a no-nonsense VICE CAPTAIN picks up a stack of magazines. VICE CAPTAIN Picture-book smut, gentlemen. There's been a bunch of it found at collateral crime scenes lately. Mostly narcotics and prostitution collars. As the Vice Capt. hands it out for the men to examine, new member Jack Vincennes arrives late. VICE CAPTAIN Look who's back from suspension. We're honored, Sergeant Jack. The men laugh. Jack sits, flips a magazine. Men and women. Men and men. Girls and girls. Girls and horses. JACK Gee. The Great Jerk-Off Book Caper of 1953. VICE CAPTAIN Vincennes, is there someplace you'd rather be? JACK Yeah, Cap. Back in Narcotics. VICE CAPTAIN Oh? Anyplace else? JACK Working whores with squad two. VICE CAPTAIN Maybe you should have thought of that before you made Bloody Christmas page one. Vice Capt. retrieves the magazines, hands them to Jack. VICE CAPTAIN They're yours. Make a major case, Sergeant. It's the only way you're getting out of here. Exaggerated "oohs" and "aahs" from the men. VICE CAPTAIN Dismissed, gentlemen. As they go, Jack sees the books are stamped: "Fleur-de-Lis Whatever you desire." Jack takes the matching business card from his wallet, the one he found on Christmas Eve. VICE CAPTAIN Roll, Vincennes. No sidetracks. This is Ad Vice, not Narco. INT. HOLLYWOOD STATION - NARCO PEN - DAY Jack Vincennes is at his desk. Holding the Fleur-de-Lis card, magazines spread before him, Jack dials the number. INT. HUSH-HUSH MAGAZINE OFFICE - DAY Sid Hudgeons sits behind his desk, answers the phone. HUDGEONS Hush-Hush. Off the record and on the Q.T. JACK (V.O.) Sid, it's Vincennes. HUDGEONS Jackie, are you back on Narco? I need copy. INTERCUT WITH Jack at his desk: JACK No. But I've got something going with Ad Vice. HUDGEONS Something good? JACK Don't know. I'm chasing picture books. Fuck shots, but the posers don't look like junkies. It's well done stuff. I thought you might have heard something. Hudgeons reaches into a stack of papers, pulls out a magazine like the one Jack has. HUDGEONS Not a word. JACK What about Fleur-de-Lis? Their slogan's 'Whatever you desire.' HUDGEONS No. No, I've heard bupkis. Jack, I'll talk to you later. Call me when you get something I can use. Smut's from hunger. For sad sacks who can't get their ashes hauled The LINE CLICKS off. Jack hesitates a moment before cradling the receiver. Something's not right here. EXT. HOLYWOOD STATION - PARKING LOT - TWILIGHT As Exley pulls in, his two-way drones: DISPATCHER (V.O.) Park Rangers report three Negro youths discharging shotguns into the air in Griffith Park. Suspects are driving a late model purple Mercury Coupe. As the report ends, Exley switches off the two-way and gets out of his car. INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT Accompanied by Bud, Dick Stensland crams the contents of his desk into a box. Well-wishing cops pat him on the back, offer words of encouragement, but Stensland looks like he's going to cry. It's very bad timing as Exley enters, comes face-to-face with them. This is hatred. Acting on impulse, Bud goes after Exley. It's a mauling. Four vicious body shots. A potentially lethal head shot sails wide as Exley falls to the ground. As four men move to hold Bud back, Exley looks up at him. EXLEY (gasping) You're just a thug, White. That's all you'll ever be. Dudley steps into the fray. He helps Exley to his feet. DUDLEY You should stay away from a man when his blood is up. EXLEY His blood's always up. Four cops are genuinely having trouble holding Bud back. Dudley watches with something bordering on admiration. DUDLEY Then maybe you should stay away from him all the time. EXT. HOLLYWOOD STATION - PARKING LOT - NIGHT Accompanied by Bud, Stensland reaches his car, loads his box of stuff into the trunk. Bud is moody, pensive. STENSLAND Don't look so down in the mouth, Bud. You nailed him good. BUD Yeah, sure... I got a couple of hours before I have to be at the Victory. Want to grab a beer? STENSLAND Rain check me, partner. I got something big going on tonight. BUD What? That new mystery girl you've been seeing? STENSLAND No. I'll tell you sometime. Not now. Don't want to jinx it. But it could take the edge off that jail time I got coming. BUD What are you talking about? STENSLAND It's confidential, Bud. Like that magazines Vincennes scams for. Hush-Hush. (smiles) I'll see you tomorrow. And hey, if it works out, you'll get a piece of it. Stensland gets in the car, drives off. Bud is left alone. INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT Exley sits alone in a sea of desks. The SQUAWK BOX DRONES. Exley squints at the clock on the wall, can't make it out. He takes his glasses from the inside of his jacket. 2:00 A.M. Finally, something to do. He walks to the wall calendar, tears off Feb. 28 to reveal Mar. 1. As Exley sits, the call SQUAWK BOX booms to life. VOICE Squad call! Nite Owl Coffee Shop One-eight-one-two-four Cherokee! Multiple homicides! Multiple homicides! Code three! EXT. HOLLYWOOD AND CHEROKEE - NIGHT Patrol cars. Blues setting up a crime scene blockade. Exley pulls up, DOUSES his SIREN. PATROLMAN #1 runs over. PATROLMAN #1 Loads of people down. Men. Women. I stopped for coffee -- Exley pushes him aside, heads for the door. It's wide open. INT. NITE OWL - NIGHT Exley takes mental snapshots. Ten stools front a counter. The side wall mural-papered: winking owls perched on street signs. On the right a string of tables. Three in disarray. Food spilled, dishes broken. A high-heel pump by an upended chair. Heel drag marks across the linoleum floor heading back toward the kitchen. Exley follows. Past an open, empty cash register. Outside -- SIRENS. SERVICE RUNWAY Crisscrossed drag marks connect, lead to a walk-in... FOOD LOCKER Blood-soaked bodies on the floor. Five, maybe six in a tangle. Dozens of shotgun shells float in the pools of blood. As Exley struggles to maintain his composure... ROOKIE (O.S.) Holy shit fuck... Exley looks at a green-faced ROOKIE in the locker doorway. ROOKIE S-s-sir, there's a captain outside wants to see you. EXLEY Don't get sick! Not in here! Exley shoves the Rookie, puking, out the door. EXT. NITE OWL - NIGHT Patrolmen hold back a swarm of reporters and rubber- neckers. HORNS BLAST. Motorcycles run interference for meat wagons cut off by the crown. As Ed emerges, reporters surge, shout questions. Exley hurries past, finds Dudley in command and barking orders. EXLEY Sir, I took the call. It's my case. DUDLEY Edmund, you don't want it and you can't have it. EXLEY Yes, I do, sir. DUDLEY It's mine. I'll make you my second in command. Exley spots a photographer moving in. He looks properly serious as the flash bulb pops. INT. NIGHT OWL - NIGHT Forensics Chief RAY PINKER walks Exley and Dudley through. PINKER We got a total of forty-five spent 12-gauge Remington shotgun shells. Three men with five-shot-capacity pumps. All of them reloading twice. EXLEY Hold on... We need to canvass. See if a purple Mercury was seen around here tonight. DUDLEY Why? EXLEY We got a call earlier on three Negro youths. Firing shotguns in Griffith Park from a late-model purple Mercury Coupe. DUDLEY (to his adjutant) Get on it. A FORENSICS COP approaches Pinker. FORENSICS COP We got an I.D. on one of the victims, sir... I think it's Dick Stensland. Exley and Dudley react, look at each other. EXT. VICTORY MOTEL - DAWN Set in a no-man's-land of bulldozed homes. A sign proudly announces the impending arrival of the freeway. The motel is surrounded by a barbed-wire fence. Abandoned but for a pair of LAPD cars and a light burning in room 6. An unmarked pulls up and Exley and Dudley step out. They start forward, but a SCREAM inside 6 stops Exley short. DUDLEY With Mickey Cohen in prison, Los Angeles is organized crime free. The Chief wants it to stay that way, Edmund. The means are not for the weak-hearted. INT. VICTORY MOTEL - ROOM 6 - DAWN Bare. A table and chair bolted to the floor. A tough FLAT-NOSED GANGSTER is cuffed to the hot seat. On the table are a .45 and a fat roll of $100 bills. Breuning and Carlisle watch as Bud White delivers a couple of short, stiff body shots. Flatnose is not used to being on the receiving end. All the same, we get the idea Bud's a bit reluctant. Bud's back is to Dudley and Exley who enter behind him. DUDLEY Come, Wendell, you can do better than that. Bud turns, sees Exley and Dudley. A beat. As Bud looms over Flatnose, the gangster babbles. Snitch-frenzied. FLATNOSE I know things. I hear things. Like with the Mick inside, things are on this weird slowdown. (MORE) FLATNOSE (CONT'D) These shooter teams, bang bang bang, they're 86-ing Mickey Cohen's men. DUDLEY We know all that, lad. Tell us, who do these shooters work for? FLATNOSE I don't know. No one knows. Maybe they're mavericks. You want a prostie roust? Huh? Some narco action? (breaking down) What do you want?! DUDLEY We want you to go home. (to Breuning) Uncuff him, Michael. Dudley turns to Exley. DUDLEY Mr. Sifakis is a known loan shark from San Francisco. He arrived this afternoon at Union Station. Looking for business opportunities in our fair city. An organized crime associate in need of re- education in the ways of polite society. Uncuffed, Flatnose rubs his wrists. Wary. As Breuning steps back, Flatnose snatches the .45 off the table. FLATNOSE Motherfuckers! Exley dives for cover, but the other four cops just stand there. Dudley looks down on the floor at Exley. DUDLEY It's part of the play, Edmund. A sincerity test. Flatnose looks at the gun a beat, then squeezes the TRIGGER. CLICK CLICK. No bullets. DUDLEY (to Breuning) Sit him back down. CLICK, CLICK. They shove Flatnose back in the hot seat. Dudley offers a hand to Exley, helps him to his feet. DUDLEY Wendell, you need to accompany Detective Lieutenant Exley on official police business. I'll finish up here. INT. EXLEY'S PLYMOUTH - DAY They drive in silence. No love lost here. Finally. BUD Where are we going? EXLEY It's a surprise. You like surprises, don't you, White? EXT. COUNTY MORGUE - DAY Exley pulls up. Bud looks to him. Really curious now. INT. COUNTY MORGUE - HALLWAY - DAY Exley and Bud walk. An orderly wheels a covered corpse toward them from the other end of the hall. Bud's spooked. The orderly wheels the body in to the examination room. As Bud and Exley pass, the CORONER pulls back the sheet, is surprised at the sight of a woman who we don't quite see. CORONER Call me crazy, but for a second I thought it was Rita Hayworth. MORGUE MEAT LOCKER Exley and Bud walk past a wall of drawers to where a coroner's assistant waits. EXLEY We need you to I.D. the body. There's no next of kin and you knew him best. So tell me... The assistant pulls open drawer 12. A naked man. A tag on his toe and half his face blown off. EXLEY Is that Dick Stensland? Stunned, Bud stares at what's left of his old partner. BUD Yeah, that's Stens. EXLEY Hell of a way to avoid a prison sentence. Bud's torn between wanting to smash Exley and finding out why Stensland is dead. He squeezes out the words. BUD What happened? EXLEY Someone held up a coffee shop, panicked and killed six people. Then, from the hall... WOMAN (O.S.) Not my baby! Not my little girl! INT. COUNTY MORGUE - EXAMINATION ROOM - DAY HILDA LEFFERTS, 50, enters with the coroner to ID the body of her daughter, Susan. There's stray buckshot in the upper chest and shoulders, but a sheet hides the real damage. It's the girl Bud saw outside Hollywood Liquor. Without the black eyes, she does look like Rita hayworth. As Bud and Exley appear, Mrs. Lefferts looks confused. CORONER Is this your daughter, Mrs. Lefferts? MRS. LEFFERTS I -- I don't know. EXLEY We know this is difficult. Just take your time and look again. Exley doesn't realize, but Bud recognizes the deceased. MRS. LEFFERTS It seems like my Susan, but... EXLEY When was the last time you saw her, Mrs. Lefferts? MRS. LEFFERTS At Christmas. We had fought. I didn't like her boyfriend. I -- she has a birthmark on her hip. The Coroner lifts the sheet. Mrs. Lefferts gasps. MRS. LEFFERTS It's her. My baby. Dear God... As Mrs. Lefferts swoons, Bud and Exley both hold her up. INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY The room buzzes, jammed to the rafters with every detective standing ready. The Chief waits as Dudley Smith takes the mike, holds up an L.A. Times headline. DUDLEY 'Nite Owl Massacre.' Hyperbole aside, this is a heinous crime that requires a swift resolution. The public will demand it and this department will provide it. Six victims. One of them, one of our own -- Dick Stensland. (as the cops react) As it happens, he was a Nite Owl regular. In the wrong place at the wrong time. Bud White listens, not too sure. Stensland said he had something big going on... DUDLEY Robbery looks like the motive. We have rubber glove prints on the register and preliminary forensics strongly lean toward a trio of gunmen. We do have one hot lead, so listen well. Three Negro youths were seen last night discharging shotguns in the air at Griffith Park. (MORE) DUDLEY (CONT'D) A park ranger I.D.ed them as driving a 1948 to 1950 Mercury Coupe, purple in color. An hour ago, a canvassing crew found a news vendor who saw a purple Merc Coupe parked across from the Nite Owl around 3:00 A.M. The room goes loud, a big rumbling. Dudley holds up a list. DUDLEY The D.M.V. worked all night to get us a registration list on '48 to '50 purple Mercs. There are 142 registered to Negroes in L.A. County. Fifty two-man teams will shake three names apiece. Hot suspects you'll bring here. Interrogation rooms have been set up. They'll be run by Lieutenant Edmund Exley. Hollywood Squad. Catcalls. Boos. The Chief steps to the mike. CHIEF Enough on that. Gentlemen, just go out and get them. Use all necessary force. The people of Los Angeles demand it. The men exchange knowing looks. The real message: kill them clean. Exley doesn't approve. As the men hurry out... EXLEY He might as well have put a bounty on them. INT. SQUAD ROOM - DAY Detectives pairing up and moving out. Scanning his three name list, Bud joins his PARTNER for the day. BUD Can you take them? I got I got something I gotta do. PARTNER Christ, I don't know. What if one of these names... BUD What I gotta do is for Stensland. My partner. The guy looks at him a beat, nods. As Bud heads off... EXLEY watches everyone go. Wishes he could be part of the action. He spots Jack talking to his REDNECK partner for for the day. JACK AND REDNECK Redneck chews tobacco, has a Texas drawl. REDNECK Where to, Trash? JACK If we go by the list, we have about zero chance of making the collar. But I know a guy who knows what's going on south of Jefferson. I'm betting he could put us at 50/50. REDNECK I don't know... As Redneck thinks, Exley steps up. He's overheard. EXLEY I'll take those odds. (to Redneck) Take off. We got it from here. Jack stares. Redneck shrugs, spits tobacco juice in a cup. REDNECK Between the two of you guys, you should bring along a photographer. INT. HOLLYWOOD LIQUOR - DAY Last time we saw the Owner was Christmas Eve. He looks up from a customer as Bud strides in, badge out front. BUD I need an address on a customer of yours. Her name was Lynn. OWNER That's all I have to go on? BUD Yeah. And I think you already know who I mean, so cough it up. OWNER Lynn Bracken. There's a billing address and a delivery address. BUD Give me both. Billing first. EXT. 1184 GRETNA GREEN, BRENTWOOD (PATCHETT'S) - DAY A big, pink Spanish mansion with lots of tile. Also last seen outside Hollywood Liquor on Christmas Eve, Pierce Patchett is in the front yard, chipping golf balls over a koi pond. They land in a tight grouping. As he tees up: BUD (O.S.) You must slay 'em at the country club. Bud's halfway up the walk. Patchett sees the cuffs hooked to his belt. Patchett is cool as can be. BUD Are you Pierce Patchett? PATCHETT I am. Are you soliciting for police charities? The last time, you people called at my office. BUD I'm a homicide detective. Where were you last night? PATCHETT I was here, hosting a party. Who was killed and why do you think I can help? BUD Richard Stensland. PATCHETT I don't know him. Mr... BUD Officer White. How about Susan Lefferts? You know her? PATCHETT (sighs, concedes) You know I do or you wouldn't be here. How did you find me? BUD We met outside Hollywood Liquors on Christmas Eve. This is where Lynn Bracken's booze bills go. PATCHETT Of course... BUD Sue Lefferts died at the Nite Owl. I'm investigating. Patchett studies Bud a beat, weighing his options. Patchett's burly BODYGUARD starts over from the house. BODYGUARD Everything alright, Mr. Patchett? PATCHETT (waves him off) Fine, Philip. Thank you. BUD Where's the other guy? Buzz. PATCHETT He no longer works for me. (a beat) Find Susan's killer, Mr. White. I'll give you a handsome reward. WHATEVER YOU DESIRE. If only Jack had been around to hear that. BUD Thanks, but no thanks. PATCHETT Against your code? BUD I don't have one. Lefferts looked beat-up Christmas Eve, but didn't act it. How come? PATCHETT Do you care about criminal matters peripheral to Susan's murder? BUD No. PATCHETT Then you wouldn't feel obligated to report them? BUD That's right. PATCHETT Then listen closely, because I'll only say this once and if it gets repeated, I'll deny it. I run call girls. Lynn Bracken is one of them and so was Susan Lefferts. I treat my girls very well. I have grown daughters, myself, and I don't like the thought of women being hurt. I sense you share this feeling. BUD (ignores comment) Why were Lefferts' eyes black? PATCHETT I think she'd been hit in the face with a tennis racket. She is -- was -- a big doubles fan. BUD You wanna go downtown and discuss this officially? PATCHETT Wait. Our deal still holds? Bud nods, his patience running thin. PATCHETT I needed a Rita Hayworth to fill out my little studio. BUD What little studio? PATCHETT There's Gardner, Hepburn, Grable, Turner. Lynn Bracken is my Veronica Lake. I use girls who look like movie stars. Sometimes I employ a plastic surgeon. BUD That's why her mother couldn't I.D. her... Jesus fucking Christ. PATCHETT No, Mr. White. Pierce Morehouse Patchett. Now, I sense you're on your best behavior, but that's all I'll give you. If you persist, I'll meet you with my attorney. Now, would you like Miss Bracken's address? I doubt she knows anything, but -- BUD I got her address. PATCHETT Of course... this is personal with you, isn't it, Mr. White? Bud turns, heads down the walk. Patchett hits his golf ball. It lands just past the koi pond, with the rest. Ice. EXT. 1736 NOTTINGHAM, LOS FELIZ (LYNN BRACKEN'S) - DAY A modern-looking triplex. A projector's flicker strobes against the closed curtains. We hear a PHONE RING. INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY The film is This Gun For Hire with Alan Ladd and Veronica Lake. It's projected on a wall in front of which stands Lynn Bracken and an OLDER GENTLEMAN, in his underwear. Lynn's long, blonde hair hangs down over one eye. She looks more like Veronica Lake than Veronica Lake. The film flashes over them as they kiss. The PHONE RINGS. Lynn ignores it as long as she can before breaking away to go answer it. LYNN Hello? OLDER GENTLEMAN (Alan Ladd) Is it the cops? She waves him off. As he practices pointing his finger like Ladd points a gun, Lynn reacts to the news on the phone. EXT. 9781 SOUTH DUQUESNE - DAY A South Central plywood and tar-paper dive. A BLACK BOXER pounds a heavy bag/speed bag combo bolted to the porch. Wiry, a welterweight, he doesn't see Jack and Exley till they're almost on top of him. JACK Leonard Bidwell? The Boxer leans on the bag to catch his breath. Looking them over, he finally nods. JACK How's the left these days? BOXER What's it to you? JACK I saw you fight Kid Gavilan. I like your style. BOXER What do you want, Mr. Policeman? JACK You got a brother up in Folsom. I know because I put him there. BOXER Till 19-fucking-70. JACK How'd you like to make it 1960? I know the judge and Sergeant Exley here is friends with hte D.A. Exley nods, this is true. The Boxer's still listening. JACK We're looking for three colored guys who like to pop off shotguns. One of 'em owns a purple Merc coupe. BOXER You wanna get me a fuckin' snitch jacket? JACK You wanna buy your brother ten years...? You don't have to say anything. Just look at this list and point. Here. Jack holds the DMV list out to the Boxer, who waves it off. BOXER He's bad, so I'll just tell you. Sugar Ray Coates. Drives a '49 coupe, a beautiful ride. Don't know about shotguns, but he gets his thrills killing dogs. He is righteous trash. Jack and Exley scan the list. Jack's finger stabs down on, "Coates, Raymond, 9611 South Central, Room 414." JACK That's five minutes from here. EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY Lynn does her best to usher the slightly disheveled Older Gentleman out the door. OLDER GENTLEMAN I don't understand, doll, we just got started. LYNN I'm sorry, but I'll make it up to you. I promise. OLDER GENTLEMAN Gosh, kitten, I don't know... As he begins to mash up against her... BUD (O.S.) Hit the road, gramps. Bud's standing at the bottom of the stairs. The Older Gentleman strikes a pose. He still thinks he's Alan Ladd. OLDER GENTLEMAN Alright. This time I'll go, but next time -- BUD (flips badge) L.A.P.D., shitbird. Get the fuck out of here or I'll call your wife to come get you. Sputtering, the Older Gentleman exchanges a look with Lynn then hurries away, giving Bud a wide berth. LYNN I've been expecting you. Pierce called. Told me what happened to Sue. INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY A nice breezy feel. The perfect place to shack up. LYNN It's Officer White, isn't it? Bud nods, eyeballs the place. LYNN Can I get you a drink? BUD Yeah, plain scotch. Bud watches her move to the bar. God, she's beautiful. LYNN I was friendly with Sue Lefferts, but we weren't really friends. You know what I mean? BUD Are you sorry she's dead? LYNN Of course I am. What kind of question is that? She steps back with a scotch for both of them. BUD Have you ever heard of Dick Stensland? LYNN No I haven't. Do you know why Pierce is humoring you? BUD You use words like that, you might make me mad. LYNN Yes. But do you know? BUD Yeah I know. Patchett's running whores and judging by his address, probably something bigger on the side. He doesn't want any attention. LYNN That's right. Our motives are selfish, so we're cooperating. BUD Why was Susan Lefferts at the Nite Owl? LYNN I don't know. I never heard of the Nite Owl till today. BUD Did Lefferts have a boyfriend? LYNN Like I said we were friendly, not friends. BUD How'd she meet Patchett? LYNN Pierce meets people. Sue came on the bus with dreams of Hollywood. This is how they turned out. Thanks to Pierce, we still get to act a little. BUD Tell me about Patchett. LYNN He's waiting for you to mention mention. BUD You want some advice, Miss Bracken? LYNN It's Lynn. BUD Miss Bracken, don't ever try to fucking bribe me or threaten me or I'll have you and Patchett in shit up to your ears. Lynn smiles again. She likes Bud. A beat. LYNN I remember you from Christmas Eve. You have a thing for helping women, don't you, Officer White? BUD Maybe I'm just fucking curious. LYNN You say 'fuck' a lot. BUD You fuck for money. LYNN There's blood on your shirt. Is that an integral part of your job? BUD Yeah. LYNN Do you enjoy it? BUD When they deserve it. LYNN Did they deserve it today? BUD I'm not sure. LYNN But you did it anyway. BUD Yeah, just like the half dozen guys you screwed today. LYNN (laughs again) Actually, it was two. You're different, Officer White. You're the first man in five years who didn't tell me I look like Veronica Lake inside of a minute. BUD You look better than Veronica Lake. Now, PIERCE PATCHETT. LYNN He takes a cut of our earnings and invests it for us. He makes us quit the life at thirty. He doesn't let us use narcotics and he doesn't abuse us. Can your policeman's mentality grasp those contradictions? BUD He had you cut to look like Veronica Lake? LYNN No. I'm really a brunette, but the rest is me. And that's all the news that's fit to print. Lynn starts toward the door. Bud watches her a moment, then follows. She takes his glass at the door. LYNN It was nice meeting you, Officer. Out the door, Bud turns back. Blurts: BUD Look. I want to see you again. LYNN Are you asking me for a date or an appointment? BUD (suddenly unsure) I don't know. LYNN (another smile) If it's a date I think you'd better tell me your first name because I -- BUD (feeling foolish) Forget I asked. It was a mistake. Lynn watches thoughtfully after Bud as he walks away. He opens his car door like he's going to tear ir off. A last glance back at Lynn and as he gets in the car... EXT. TEVERE HOTEL - DAY An L-shaped walk-up. Jack coasts the car to the curb. He leaps out with Exley. Exley holds up at the sight of a late model sedan. He leans down to look in the window at the two-way on the dash. EXLEY L.A.P.D. JACK SHIT. Someone beat us here. VOICES from the carport ahead. We see a chrome bumper, the purple fender of a '49 Mercury coupe. A door slams. Drawing a .45, Jack starts over with Exley, .38 in hand. CARPORT Toting shotguns, Dudley's boys from the Victory Motel, Breuning and Carlisle, stand by the purple Mercury. Jack and Exley come around the corner, lower their guns. JACK Hey. Breuning wheels, pumps a round into the chamber. He very nearly fires before he sees who it is. CARLISLE What the fuck are you guys doing here? EXLEY Think of us as back-up. JACK What do you got? As Jack moves to peer through the Merc's window. BREUNING Three Ithaca pumps, an empty box of double-ought buck and cash. Jack spots them. Three shotguns on the passenger side floor, an empty box of shells and loose dollar bills. JACK So long, Vice. Badge of Honor, here I come. CARLISLE Fuck you, Vincennes. It's our collar. Breuning actually has to restrain his partner. EXLEY Quiet. I'm ranking officer here. We go as a team. End of story. INT. CORRIDOR - TEVERE HOTEL - DAY Breuning and Carlisle lead the way with Jack and Exley bringing up the rear. Squinting, Exley reaches to his pocket for something. Not there. EXLEY Damnit... JACK What? EXLEY Glasses. JACK (chuckling) Just don't shoot me. The door to 414. Two men on either side. Breuning rears back. Jack rears back. They kick at the same instant. The door flies off its hinges to reveal two young black men, LARRY FONTAINE and TY JONES, waking from a couple of flop mattresses. ROOM 414 Fontaine jumps up. Entering, Carlisle aims, but Exley grabs his arm. The BLAST rips the ceiling. Jack aims. JACK Freeze! Fontaine freezes. Jones doesn't dare get up. CARLISLE Ace him, Jack. EXLEY Shut up, Carlisle! Jack and Exley burst into a... SECOND BEDROOM Another black, RAY COATES, passed out on mattress, sur- rounded by empty beer cans. Jack sticks his .38 in his back, starts to cuff him. As the cuff ratchets down... INT. OBSERVATION ROOM - DAY Dudley watches intently as Ed Exley skims a report, memorizing names and dates. Jack and other brass are also here along with a stenographer. So's Bud. One of these guys killed Stensland. Through tinted glass, the three suspects in three different rooms. EXLEY Casitas Youth Camp... Coates twenty-two, a boxer... Manager saw them burning clothes. Satisfied, Exley sets the report down. DUDLEY Ed, I want confessions. EXLEY I'll break them, sir. As Exley steps into the #1 room, Jack joins Dudley. JACK You think golden boy can handle it, Cap? DUDLEY I think you'll be surprised what Edmund's capable of. INT. #1 ROOM - DAY Exley closes the door. Ray Coates is cuffed to a chair, dressed in baggy County denims. One eye swollen shut, lip split, a smashed nose with one nostril split. Exley unlocks his cuffs. drops cigarettes and amtches on the table. As Coates rubs his wrists... EXLEY They call you Sugar Ray because of Ray Robinson? (no answer) They say Robinson can throw a four punch combination in one second. Do you believe that? Coates just stares at him. EXLEY You're twenty-two, aren't you, Ray? COATES Say what and so what. EXLEY Did one of the officers work you over a little? No bite. Coates just stares back. EXLEY You look like Robinson after that last LaMotta fight. 'Course LaMotta looked a lot worse. So you're twenty-two, right? COATES Man, why do you keep asking me that? EXLEY Just getting my facts straight. Twenty-two makes it a gas chamber bounce. (MORE) EXLEY (CONT'D) You should have pulled this caper a couple of years ago. Get life, do a little Youth Authority jolt, transfer to Folsom a big man. Orbit on some of that good prison brew, get yourself a sissy -- COATES I never truck with no sissies! EXLEY That fucking Larry. I almost believed him. COATES Believed what? EXLEY Nothing, Ray. (laughs) That Larry, he's a pisser. You did the Casitas Youth Camp with him, didn't you? COATES Man, why're you talkin' about Larry? His business is his business. Unseen by Coates, Exley reaches under the table, takes hold of one of three toggle switches. EXLEY Sugar, Larry told me you went sissy up at Casitas. You couldn't do the time so you found yourself a big white boy to look after you. He said they call you 'Sugar' because you gave it out so sweet. Exley flips the toggle. #3 ROOM The speaker over Larry Fontaine's head crackles to life. COATES (V.O.) Larry gave it at Casitas! Man, I was the fuckin' boss jocker on my dorm! Larry's the sissy! Larry gave it for candy bars! #1 ROOM Exley flips up the second toggle. EXLEY Ray, you protected Ty and Larry up in Casitas, didn't you? COATES You ain't woofin' I did. Stupid down home niggers got no more sense than a fuckin' dog. Exley flips the switches off. EXLEY I heard you like to shoot dogs. COATES Dogs got no reason to live. EXLEY Oh? you feel that way about people, too? COATES Man, what're you saying? EXLEY Ray, we got the shotguns. COATES I don't own no shotguns. EXLEY Why were you throwing clothes in the building incinerator? COATES (trembling) Say what? EXLEY You guys were arrested this morning, but none of you have last night's clothes. YOU were seen burning them. Add to that the fact that you hid the car you were cruising around in last night and it doesn't look good. COATES I got nothin' more to say till I see a judge. EXLEY Were you on hop? You were passed out when you got arrested. Were you hopped up, Ray? COATES Ty and Larry fuck with that shit, not me. EXLEY Where do they get their stuff? Come on. Give me one to feed the D.A. Just a little one. Coates nods. Exley flips up the toggles as he leans in. COATES Roland Navarette. Lives on Bunker Hill. He runs a hole-up for parole absconders and sells red devils. Exley flips down the switches, stands. EXLEY I'm going to take a break. Exley opens the door, looks back in afterthought. EXLEY You know, Ray, I'm talking about the gas chamber and you haven't even asked me what this is all about. You got a big guilty sign around your neck. Exley exits. OBSERVATION ROOM Exley enters. DUDLEY Masterful, Edmund. Your father would've been proud. (pointing) This one's on the verge. Exley looks through the glass into #2. Larry Fontaine is weeping. A piss puddle on the floor by his chair. EXLEY Fontaine next, but give Jones the newspaper. I want him primed. #2 ROOM Fontaine tries to control his sniffles as Exley enters. EXLEY Larry, Ray Coates ratted you off. He said the Nite Owl was your idea. You want to tell me about it? No answer. EXLEY I think it was Ray's idea. Talk and I think I can save your life. No answer. EXLEY Larry, this is a gas chamber job. If you don't talk, you'll be dead in six months. No answer. EXLEY Son, six people are dead and somebody has to pay. It can be you or it can be Ray. No answer. EXLEY Larry, he called you queer. He said at Casitas you took it up the ass. He said -- FONTAINE I DIDN'T KILL NOBODY! The voice is strong, full of conviction. Exley glances at the mirror. Then... EXLEY Why'd you burn the clothes? FONTAINE (sobbing) I just wanted to lose my cherry. I didn't mean to hurt her. Exley can't hide his surprise at this. EXLEY Hurt who? Was she a hooker? Hurt who? But Fontaine is gone. Head lolling, eyes squeezing out tears. OBSERVATION ROOM Exley steps out of the interrogation room. Dudley braces him. DUDLEY Don't get sidetracked. Stay with the Nite Owl. EXLEY She may still be alive, whoever she is. Bud's all ears. #3 ROOM Reading, Jones has his feet on the table. Exley bursts in. JONES This newspaper shit ain't shit. EXLEY Where's the girl? Did you kill her? No answer, but Jones looks nervous. EXLEY You wanted Larry to lose his cherry, but things got out of hand. Is that right? OBSERVATION ROOM Everyone's attention is riveted, particularly Bud's. They watch, listen over the speaker. EXLEY (over speaker) Kick loose, Jones. I know you made her bleed, but that doesn't mean you killed her. No answer, but Jones is squirming. EXLEY (over speaker) If that girl's alive, you've still got a chance on this one. JONES (over speaker) I think she's alive. EXLEY (over speaker) You THINK? Jack turns to Dudley. JACK He's good. I'll give him that. They don't notice as the chair back begins to splinter in Bud's hands. #3 ROOM Exley sits across from him, tries to wrap it up. EXLEY Where is she now? (no answer) Did you leave her someplace? (no answer) Did you sell her out? Give her to some of your buddies? Tell me where the girl is! The door blasts open. Bud slams Jones up against the wall. As Exley stands, he bangs his knee on the table. Pulling a .38, Bud breaks the cylinder, drops 5 shells on the floor. BUD One in six. Where's the girl? EXLEY Officer White, put down that weapon and -- Bud shoves the barrel into Jones' mouth, pulls the trigger twice. CLICK, CLICK. Jones starts to slide down the wall. Bud jerks him back up, roars. BUD WHERE?! Two more clicks. Jones spills. JONES S-sylvester F-fitch one-o-nine and Avalon gray corner house... EXT. AVALON BOULEVARD - EVENING A four cordon. They coast up to a GRAY CORNER HOUSE. Dudley Smith behind the wheel of the lead cruiser. Bud White rides shotgun, reloading his revolver. BUD Give me one minute. DUDLEY You've got it, Wendell. STREET Bud is out the door and scooting down an alley. Exley moves to follow, but Dudley cuts him off. DUDLEY We're going through the front. ALLEY Bud vaults a fence, pads up the back porch. A screen door. Bud slips the catch with a penknife and walks inside. SCREEN PORCH Bud heads for a blind-covered door. Unlocked, he enters... A HALLWAY Light bouncing from side rooms. We hear the opening spiel of "Badge of Honor" from the left. Bud wheels into a... BEDROOM A NUDE GIRL spread-eagled on a mattress. Bound with neckties. One in her mouth. Her eyes grow wide at the sight of Bud, then flicker to the adjoining room. Directing him. Raising the .38, Bud enters... THE KITCHEN Sylvester Fitch sits naked at the table wolfing Rice Krispies and watching "Badge of Honor" on a flickering TV. He looks up, sees the .38 before he sees Bud beyond it. Fitch drops his spoon, raises his hands. Bud SHOOTS him in the face. Dead, Fitch just sits there. Bud moves behind him. Pulling a spare piece from an ankle holster, Bud FIRES back at the door from Fitch's line of fire, then puts the gun in Fitch's hand. We hear the FRONT DOOR CRASH OPEN. As Fitch slides off the chair to the floor, Bud dumps the Rice Krispies on him. EXT. GRAY HOUSE - NIGHT The Girl on a stretcher. Being carried to an AMBULANCE. Bud White walks alongside, looking like some ferocious pet pit bull. The ATTENDANTS get her inside. One joins her. The other closes the door, pauses to light a smoke. Bud rips the cigarette out of his mouth, nearly taking the guy's lips with it. BUD Get her to the fucking hospital. One look at Bud, and the Attendant is running around to the driver's side. Exley arrives, steamed. EXLEY A naked guy with a gun? You expect anyone to believe that? BUD Get the fuck away from me. Bud starts away, but Exley gets right in his face. Other cops begin to take notice. The ambulance pulls out. EXLEY How's it going to look on your report? BUD It'll look like justice. That's what that fat fuck got. JUSTICE. EXLEY You don't know what the word means, you dumb bastard. Bud goes after Exley, but ten hands pull them apart. Dudley on Exley. Four cops genuinely having trouble on Bud. And as if things couldn't get crazier, shouts from the cops on the street. POLICE RADIOS CRANKED UP. DISPATCHER (V.O.) Repeat, three suspects escaped from the Hall of Justice jail. The Nite Owl killers: Raymond Coates, Tyrone Jones and Larry Fontaine. They are considered armed and extremely dangerous. Descriptions are as follows... INT. SQUAD ROOM - DAY Electrified, "Nite Owl Killers" on everyone's lips. Exley strides through with purpose, beelines to a filing cabinet. Exley pulls the file he's looking for. He scans an interrogation transcript, reads to himself the words he's looking for: EXLEY 'Give me one to feed the D.A.... Roland Navarette. Lives on Bunker Hill. Runs a hole-up for parole absconders.' INT. HOLLYWOOD STATION - JACK'S DESK - DAY Police rush back and forth. Exley hurries over to the desk, but he's not there. EXLEY Anyone seen Jack Vincennes? A few cops mumble they haven't. As Exley decides what to do, Carlisle from the original arrest steps over. CARLISLE Is something up, Lieutenant? EXT. 1ST & OLIVE - DAY Exley and Carlisle pull up across the street from a four-story Victorian with paint peeling off the clap- boards. They jump out of the car toting SHOTGUNS. Carlisle waits as Exley checks the mail slots: "R. Navarette, 408. " INT. STAIRWELL - VICTORIAN BUILDING - DAY Exley and Carlisle take the steps two at a time. INT. 4TH FLOOR HALLWAY - VICTORIAN BUILDING - DAY Exley squints, reaches to a pocket. NO GLASSES. He passes an elevator, rounds a corner. There's 408. Exley pumps the shotgun, nods to Carlisle who kicks the door in. NAVARETTE LIVING ROOM Exley and Carlisle burst in on four men eating sandwiches. Fontaine and Caucasian NAVARETTE at a table. Coates on the floor. Jones by the window. Exley squints. EXLEY Nobody move! Fontaine and Navarette raise their hands. A jostled BEER BOTTLE CRASHES to the floor. Reacting, Carlisle JERKS the TRIGGER. Fontaine goes down. Navarette draws a .38, SHOOTS Carlisle twice in the chest. Exley BLASTS Navarette. Screaming, Jones pulls a .45 from his belt. Exley FIRES, blowing him right THROUGH the WINDOW. Coates draws and FIRES, makes a run for it. A bad pull takes out half a back wall. Coates is out the door. ELEVATOR Coates makes it inside, frantically pushes buttons. HALLWAY Here comes Exley. Stumbling, wiping Navarette's blood out of his eyes, he closes on the... ELEVATOR Coates watches as the elevator doors begin closing. HALLWAY Exley charging. ELEVATOR The shotgun barrel juts through. The doors bang against it. BLAM! DISSOLVE TO: L.A. MONTAGE TONY BENNETT belts "BOULEVARD OF BROKEN DREAMS." INT. HOLLYWOOD STATION - DAY Exley returns to grudging respect. His white shirt flecked with blood, he's clapped on the back by Dudley who dubs him "Shotgun Ed." Exley doesn't enjoy it. He's numb, stumbling along. As he notices the blood on his hands... INSERT - NEWSPAPER HEADLINE NITE OWL HERO! Over a photo of Exley. EXT. CEMETERY - GRAVE - DAY A coffin is lowered into the ground. A WIDOW leans on the Chief's arm, accepts a tri-folded American flag from Dudley Smith. Exley drops a handful of earth on the casket, has trouble getting the wet dirt off his hands. CHIEF We mourn the passing of a good man. The loss of Sgt. William Carlisle is the loss of his wife, his family and the entire Los Angeles Police Department... A sea of dress blues. Jack looks bored, dressed too flashy for a funeral. Bud looks grim, rain dripping off the brim of his cap. As a TWENTY-ONE GUN salute is FIRED... EXT. CEMETERY (SOUTH CENTRAL, L.A.) - DAY Larry Fontaine's mother mourns alone as her son is buried. INT. CITY OF ANGELS HOSPITAL - RECEPTION AREA - DAY Exley talks with a tough, starchy NURSE. EXLEY I need the girl to give me a chronology of events. No details. Just times. NURSE Absolutely not. She barely remembers her own name. EXLEY But -- NURSE I was told the case was closed. Should I call your superior to double-check? EXLEY No. that won't be necessary. The Nurse turns, marches away. Exley is left with a nagging doubt. EXT. ORANGE GROVE (ANAHEIM) - DAY People cheer as bulldozers mow down orange trees. A banner heralds the future: "On this site: The World's Biggest Amusement Park." Cartoon characters dance among the fallen trees. INT. STATE ASSEMBLYMAN'S OFFICE - DAY Sitting behind a desk is the Older Gentleman last seen doing his best Alan Ladd impersonation at Lynn Bracken's. He stares emphatically at the SMARMY LAWYER who stands before him holding a manila folder. OLDER GENTLEMAN You tell Mr. Patchett I have no intention of changing my vote. The Lawyer simply hands him a stack of photographs. From Lynn Bracken's apartment. The first is the Older Gentleman naked except for his socks and garters. INT. STATE ASSEMBLY - CHAMBER - DAY The Older Gentleman rises for an assembly vote. OLDER GENTLEMAN It may surprise some, but a mature man, enlightened by the facts, can change him mind... EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - NIGHT Rain. A limo disgorges a heavy-set man who climbs steps, knocks on the door. Lynn answers in an evening gown. He gives her a peck on the cheek and continues in past her. Lynn's about to follow him in when she pauses to deadpan a look down the street. Bud's Packard is parked there and we can see his darkened silhouette behind the wheel. Smiling a bit sadly to herself, Lynn disappears inside. This is no stake-out. Bud watches after her with yearning