L.A. Confidential (1997)

by Brian Helgeland. Based on the novel by James Ellroy.

Draft script. November 16, 1995.

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.

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.

(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 oneyear 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 toEternity

.

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.

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.

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.

INT. TROCADERO CLUB - NIGHT

Cigarette girls and club photographer make the rounds.

Johnny Stompanato enjoys the frenzien floor show.

EXT. WILSHIRE BOULEVARD - DAY

A horse parade, heavy on the law enforcement contingent,

Out of place in his suit and tie, District Attorney Ellis

Loew awkwardly rides atop a sleek Palimono.

INT. OLYMPIC AUDITORIUM - NIGHT

The crowd in a frenzy as Vincennes-snitch, the

welterweight black boxer, beats the shit out of a white

fighter.

INT. MIDDLE CLASS LIVING ROOM - NIGHT

A father holds out his hand, counts along as Jack slaps

$100 bills into his palm.  Maybe four thousand dollars.

Jack says something about "We appreciate your

understanding during this difficult time."  As "Badge of

Honor" comes on the TV, the father responds with "Goddamn

actors."

Leading, Jack looks through an open door where Brett

Chase's high school "Sweater Girl" is being comforted by

her mother.  As she locks eyes with him an instant...

INT. PIERCE PATCHETT'S HOUSE - NIGHT

The monied johns watch horny as hell as "Ginger Rogers"

twirls around the room with a female "Fred Astaire."

Clothes fly as they spin.  Still, most eyes turn to Lynn

Bracken as she enters oozing that cat-girl grace.

EXT. POLICE HEADQUARTERS - DAY

Reporters scribble as the Chief speaks.  Uniforms

everywhere along with Exley and Loew.  Bus sits in the

back.

CHIEF

Edmund J. Exley has amassed a

brilliant record in his seven

years with the L.A.P.D.  Recently

he evinced spectacular bravery in

the line of duty.  It is my honor

to present him with our highest

honor, the Medal of Valor.

Exley steps up.  The Chief hangs a gold medallion around

his neck.  Flashbulbs pop as the two men shake hands.

Exley then accepts a handshake from Dudley.  The

policemen stand on cue, applaud without enthusiasm.

Dudley lifts the medal from his chest.

DUDLEY

Your father would've been proud.

Exley uses the noise to have aprivate chat with Dudley.

EXLEY

There are loose ends out there,

Dudley.  I --

DUDLEY

There always are.  But there are

also three men and three guns.

Matched forensically.  A few loose

ends don't matter.

EXLEY

Something's wrong.  I feel it

inside.  Doesn't that sound crazy?

Dudley puts an arm around Exley's shoulder, smiles out as

more bulbs flash.

DUDLEY

Breaking a big case sticks you in

a whirlwind.  A little self-doubt?

It's natural.  Just keep it

inside.  Between you and you.

Exley considers his medal.  It is an appealing thing.

In the back, Bud stays sprawled in his seat.  No one's

watching as he takes out his gun, kisses it, and blows

pretend smoke off the barrel.  As the song ends...

INT. VARIETY INTERNATIONAL PICTURES - STAGE 4 - NIGHT

A "Badge of Honor" fund-raiser for D.A. Loew's re-

election cmpaign.  Hot dogs and sauerkraut.  Fishbowls

stuffed with cash.  Jack is here, returns a smile half-

heartedly.  Loew sits with his wife and teenage daughter

as Brett "Joe Reno" Chase speaks.

CHASE

This election is about the future

of law enforcement in Los Angeles.

Ellis Loew represents that future.

So dig deep and let's get a moral

man re-elected.

Applause.  Leaving the podium, Chase smiles at Ellis

Loew's daughter who absolutely gushes.  Chase then winks

knowingly to Jack who returns a tired, humorless smile.

Jack scans the room.  An odd moment as Jack catches his

own reflection in a mirror across the way.  He puts a

hand to his face.  Is that him?

HUDGEON (O.S.)

Big V Jack Vincennes!

Jack turns to see Sid Hudgeons approaching.

HUDGEONS

You're back, boychick.

JACK

Sid, how are they hanging?

HUDGEONS

Down around my ankles.

Hudgeons scans the crowd, points someone out.

HUDGEONS

You remember Matt Reynolds?

Jack spots Matt Reynolds -- one of the young actors Jack

arrested on Christmas Eve.

HUDGEONS

The Grauman's Chinese pot bust.

He just got off the honor farm.

JACK

What's he doing here, Sid?

HUDGEONS

You tight with the D.A., trash?

JACK

Sure, he just tried to throw me

off the force last Christmas as a

little joke.

HUDGEONS

How'd you like a little payback?

Not to mention a donation to the

widows and orphans fund.  Did you

know Loew was a swish?

JACK

And Reynolds?

HUDGEONS

He's queer too.  Metro paid him

two grand a week to fake it with

ingenues.  On screen and off.  I'm

getting him to fuck the D.A. for a

hundred bucks.

(winks)

That's twice the fifty you got for

wrecking his career.

Even Jack's not immune to a comment like that.

HUDGEONS

Matt!  Over here!

As Hudgeons heads over, Hudgeons points out...

HUDGEONS

That's D.A. Loew right there.

Reynolds gets a nervous bead on Loew.  Hudgeons realizes:

HUDGEONS

You need a drink, kid... Jack,

look after him a minute.  Kid,

this is Jack.  No secrets between

me and him.

Hudgeons heads off.  Reynolds, plae, nods at Jack.

REYNOLDS

Have we met before?

JACK

Yeah.

Jack doesn't really feel like talking to him.  Reynolds'

nerves won't let him stay quiet.

REYNOLDS

Was it a party?

JACK

Something like that.

REYNOLDS

(misreading)

Oh, I know.  A Fleur-de-Lis party,

right?

Jack remembers the name, plays along for what it's worth.

JACK

Fleaur-de-Lis.  'Whatever you

desire.'

REYNOLDS

Dope, liquor, hookers that look

like movie stars.  Pierce Patchett

has it all.

Jack recognizes the name, bluffs for more information.

JACK

Yeah.  Me and Patchett go way

back.

REYNOLDS

Pierce isn't like regular people.

I dig him, but he scares me too.

JACK

Really?  How?

REYNOLDS

(shakes his head)

You know, when I came out to L.A.,

this isn't exactly where I saw

myself ending up.

JACK

Yeah.  Me neither.

Reynolds looks like he's going to cry.  Hudgeons returns

with a double Scotch straight up and a hot dog with

sauerkraut.  He hands the drink to Matt.

HUDGEONS

Dutch courage, kid.  Drink up.

Reynolds downs a few gulps, looks across the room at

Loew.

REYNOLDS

I don't know if I should do this.

HUDGEONS

Hey, it's not like you don't know

how.  And Jack here has

connections on 'Badge of Honor.'

Pull this off and there'll be a

part for you.  I smell a comeback.

Don't you, Jack?

Reynolds looks to Jack who gives a noncommittal shrug.

JACK

Loew's free.  Congratulate him.

Reynolds nods, drains his glass and heads off.  Hudgeons

hands Jack a folded slip of paper.

HUDGEONS

If Reynolds works his charms,

which he will, this is the address

where they'll be.  Meet me at

midnight.  I guarantee all sorts

of illegal activity.

Hudgeons takes out a President Grant $50 bill.  Jack

doesn't take it.

JACK

Sid, why would a guy like Pierce

Patchett get involved with running

dope and hookers?

HUDGEONS

Where'd you hear that?

JACK

Around.

HUDGEONS

Jackie, all I know is what you

know.  The man is very rich.  And

he's invested in freeway

construction so he's gonna get a

lot richer.  But that's it.

Patchett's what I like to call

'Twilight.'  He ain't queer, he

ain't Red, he can't help me in my

quest for prime sinuendo.

Jack takes the $50 as Reynolds returns, shaking his head.

HUDGEONS

What

?

REYNOLDS

I can't do it.

HUDGEONS

Talk to him, Jack.  Tell him about

the opening on the show.

JACK

I'm pretty sure I can get you a

part on the show... But tonight?

Pretend it's an acting job, kid.

Showbiz.

REYNOLDS

And no one'll know about this?

JACK

It'll be our secret.

REYNOLDS

Showbiz.

Emboldened by Jack's promise, Reynolds heads off.  Jack

and Hudgeons watch as he strikes a conversation with Loew

who's captivated.  Hudgeons chomps a bite of his hot dog,

gives Jack the high sign, but Jack just feels like a pimp.

INT. VICTORY HOTEL - ROOM SIX - NIGHT

Screams.  A cauliflower-eared Cleveland mob enforcer on

the hotseat.

Breuning works him with a rubber hose as Dudley asks

unanswered questions.  Bud watches, revulsion growing.

DUDLEY

Where did you intend to start.

Prostitution?  Gambling?

(no answer)

Go back to Cleveland, lad.  This

is the City of Angels and you

haven't got any wings.

More screams as the hose thwops down.  Bud looks away,

then shuffles blindly out of the room.

INT. VICTORY HOTEL - BATHROOM - NIGHT

Bud runs water in the sink to drown out the SCREAMS.  It

doesn't work.  Finally, he leans down and sticks his head

under the stream of water.  That doesn't work either.

EXT. VICTORY HOTEL - NIGHT

Hair dripping wet, Bud makes it to his car.  The tires

spit gravel as he tears away.  Dudley appears in the

doorway, watching curiously.  As cauliflower continues to

SCREAM...

INT. BUD'S PACKARD - 1736 NOTTINGHAM (LYNN'S) - NIGHT

Bud watches Lynn Bracken's apartment,  Colored lights

play on the windows.  Shadows pass.  Finally the front

door opens.  There's Veronica Lake, all sparkles and

spangles, kissing another distinguished gentleman

goodnight.  Bud watches the man into a waiting limo.  As

it pulls away...

INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - LIVING ROOM -

NIGHT

Now Lynn just looks tired.  As she puts away Scotch

bottles and picks up empty glasses, there's a KNOCK on

the door.  Lynn sighs, become sultry Veronica Lake before

our eyes.

INT. FRONT HALL - NIGHT

LYNN

(opening door)

Did you forget some --

Bud stands there, filling up the door frame.

LYNN

I wondered when you might ring the

bell again, Officer White.

BUD

It's Bud.

Bud looks at Lynn a moment, then down at his own feet.

Embarrassed.  She smiles.

LYNN

You should see yourself.  You look

like you're ten years old.

Bud looks back up.  Lynn's smile fades as she studies his

face.  She's not going to ask questions.  Lynn looks at

him a moment more, then runs a hand through the blonde

hair covering one eye.

LYNN

If you'd called first, I wouldn't

look this ridiculous.

INT. LYNN BRACKEN'S (1736 NOTTINGHAM) - BEDROOM - NIGHT

Lynn comes to Bud naked, her hair brushed back.  Bud goes

slow, gently, takes time with his kisses:  like she was a

lonely woman he wanted to love to death.

Lynn plays off his timing:  her kisses back, her touches.

Finally, Bud forces himself to stop.  He pulls back so he

can see her.

LYNN

You're wondering if Patchett told

me to be receptive.

Bud doesn't answer, but yes.

LYNN

It doesn't matter.  I like you,

Bud.  I really do.

She kisses him.  Softly, drawing it out.  Not a job.  She

wants to make love to him.  And as Bud stops thinking...

EXT. 5261 CHERAMOYA AVENUE (HOLLYWOOD) - NIGHT

Jack sits in his car waiting.  He checks his watch...

1:30.  Well past midnight.

JACK

Come on, Sid.  Where are you?

Jack decides.  MOVE WITH him as he gets out and crosses

the street.  The apartment is dark, the front door a few

inches ajar.  Suspicious, Jack listens.  Dead quiet.  He

enters...

INT. 5261 CHERAMOYA AVENUE - NIGHT

No one here it seems.  Till Jack nearly trips over a

body.  Matt Reynolds.  Soaked in blood.  Throat slit.

Jack looks down in horror as Reynolds seems to stare back

up at him.  Jack stumbles out the door.  We hear his CAR

DOOR SLAM shut, the SCREECH of RUBBER down the street.

EXT. 2345 HALBORO (HUDGEONS' HOUSE) - NIGHT

Jack pounds on Sid's door till lights switch on.

JACK

It's Vincennes!  Open up!

Hudgeons opens the door.  He's in his pajamas.

HUDGEONS

Jackie!  You got some good scoop

for the Sidster?

JACK

Sid, cut the crap.  I --

HUDGEONS

Give me some Narco skinny.  I want

to put out an all hop-head issue.

Shvartze jazz musicians and movie

stars.  Maybe tie it into the

Rosenbergs.  You like?

Jack grabs him, jerks him into the door frame.

JACK

Shut up!

HUDGEONS

(confused)

What's wrong, Trash?

HUDGEONS

What happened with the kid and

Loew?

HUDGEONS

You didn't get my message?  It got

called off.  The kid chickened out

at the last minute.

JACK

He's dead.  I was just there.

Somebody slit his throat.

HUDGEONS

Jesus.  Jack, that's a story.

'Swish Actor Gets The Gay Blade.'

Let me get my camera.

Hudgeons starts away, but Jack grabs him.

JACK

Loew didn't go with him.  You're

sure?

HUDGEONS

I put Reynolds in the cab myself.

The night cost me a hundred scoots

and I got bupkis.

Jack lets go of him, starts to ramble off into the night.

HUDGEONS

Jackie!  Big V!  Let me get my

camera!  Where are you going?!

INT. AFTER HOURS CLUB - NIGHT

The BARTENDER walks down the bar to where Jack arrives.

BARTENDER

What'll it be, Jack?

JACK

(pulls out wallet)

A bottle of Scotch.

As the Bartender turns for one, the only bill Jack finds

is the President Grant fifty.  The things he's done for

fifty bucks... As he looks up with despair at his

reflection in the bar mirror, the Bartneder sets down a

bottle and shot glass.  He plucks the fifty from Jack's

hand.

Jack grabs the bottle and starts out.

BARTENDER

Hey!  Your change!

INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - BEDROOM - NIGHT

Spent, Bud and Lynn lie in bed.  SHe traces a finger over

his bicep as he muses on the ceiling.

BUD

Who was that guy who was here

earlier?

Lynn's tracing finger stops on Bud's shoulder -- a small

white scar.

LYNN

It doesn't matter.  All they get

is Veronica Lake.  You got the

real Lynn Margaret Bracken...

(re: scar)

Where'd this come from?

BUD

When I was ten, my old man threw a

bottle at my mother.  I guess I

got in the way.

LYNN

So you saved her.

BUD

Yeah.  But not for long.

Bud looks away.  Lynn sees he doesn't want to talk about

it.

LYNN

Do you like being a cop, Bud?

BUD

I used to.  What I do now is

strong-arm.  Sitting duck stuff...

No, I don't like it.  If I could

work Homicide like a real

detective...

Lynn listens sympathetically.  Bud's opening up.

BUD

There's something wrong with the

Nite Owl.  That prick Exley shot

the wrong guys.  But they made him

a hero and whoever killed my

partner is still out there.

Frustrated, Bud pokes at his own chest.

BUD

In here I know it.  But I can't

prove it.  I'm not a detective.

I'm not smart enough.  I'm just

the guy they bring in to scare the

other guy shitless.

Bud looks away, embarrassed to have shown so much of

himself.  Lynn reaches over, turns his face back to her.

LYNN

You found Patchett.  You found me.

You're smart enough.  Be a

detective if that's what you want.

BUD

That simple, huh?

Lynn nods.  That simple.

INT. HOLLYWOOD STATION - EXLEY'S OFFICE - NIGHT

Exley looks up as a CLERK enters holding two files.

CLERK

I got the rap sheets on the black

guys, sir.  Coates and Jones got

charges a mile long.  But except

for some kid stuff, Fontaine's

clean.

EXLEY

Clean?

CLERK

More or less.

EXLEY

Until he gunned down six people.

EXT. GRIFFITH PARK - DAY

Exley stands in the trees as a PARK RANGER approaches.

PARK RANGER

I asked my men, Lieutenant.  No

one remembers any colored guys

firing shotguns.

EXLEY

Then who phoned in the report?

PARK RANGER

Not us.

INT. FORENSICS LAB - DAY

Ray Pinker looks up from his microscope as Bud enters.

PINKER

Bud White, what brings you down to

the basement?

BUD

I got a few Nite Owl questions.

PINKER

I don't know if you read the

papers, but that case is closed.

BUD

I'm tying up loose ends.  Padding

my report.  You know how it goes.

PINKER

What do you want to know?

BUD

Anything off.  Anything that

didn't make sense.

PINKER

You mean beside the fact that

thirty-five out of forty-five

rounds were gratuitous?  I can't

think of anything.

Pinker is ticked as Bud steps over to where a group of

Nite Owl crime scene photos are posted on the wall.  Bud

pauses at a photo which shows the floor around the table.

We see a high heel shoe, blood smears across the floor.

BUD

Whose shoe?

PINKER

Susan Lefferts.

BUD

(pointing)

If she was sitting here, then it's

facing the wrong way.  What are

these smears in the blood?

PINKER

It looks like she was flailing,

trying to get away.

BUD

But she's moving away from the

door.

(thinks; points)

Who was sitting at this table?

PINKER

Dick Stensland.

(a beat)

Had to be dumb panic.  If she knew

him she would've been sitting with

him... Right?

Bud wonders, maybe a puzzle piece just fell into place.

Pinker remembers something.

PINKER

You know, there is one thing.

Pinker rummages a shelf for a glass jar which he hands

Bud.  Inside are two wax-saturated cotton balls.

PINKER

Cotton balls.  I found them just

inside the meat locker door.

BUD

Ear plugs

.

PINKER

Exactly.  At least one of those

animals had the brains to protect

his ears.

BUD

It doesn't exactly play like dumb

panic.

PINKER

What do you mean?

BUD

It's like they knew they were

going to kill everyone before they

went in...

PINKER

Yeah, so...

Bud just stares at the picture of Susan Lefferts.

EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY

A shingle shack dump.  Bud walks the front steps, RINGS

the BELL.  Hilda Lefferts answers.  She doesn't look so

good.

BUD

Mrs. Lefferts, I'm Officer White

with the L.A.P.D.  I'd like to ask

a couple of questions.

MRS. LEFFERTS

Let my daughter rest in peace.

BUD

Five minutes.  That's all.

INT. LEFFERTS' HOUSE - LIVING ROOM - DAY

Pictures of Susan smile down from four walls.  Vamp poses

on a nightclub floor.  Mrs. Lefferts is all twitchy and

nervous, her eyes darting to a closed door.

BUD

Tell me about the boyfriend she

had.  The one you mentioned at the

morgue.

MRS. LEFFERTS

First I want to go on record as

saying that my Susie was a virgin

when she died.

BUD

Ma'am, I'm sure she was.

Mrs. Lefferts talks directly to a photo of her daughter.

MRS. LEFFERTS

Susie, I told you I didn't approve

of that boyfriend.  He was too old

for you.  You let him come into

this house and be fresh to me.  I

went out one day and old Mrs.

Jensen next door saw Susan's

boyfriend and another man and

thought she heard a ruckus.

BUD

What was that boyfriend's name?

MRS. LEFFERTS

We were never properly introduced.

Susan and I were fighting that

day.  She called him by a

nickname.  Muns or Lunts or

something.

BUD

Stens?  Was it Stens?

MRS. LEFFERTS

Maybe.  I don't know.

BUD

Look at a picture for me.

Bud hands her a snapshot of Stensland taken in Tijuana.

Out of uniform.  She recognizes him.

MRS. LEFFERTS

That's him.  That's him.

BUD

You said a neighbor heard a

ruckus.  Was it outside, inside?

Mrs. Lefferts' eyes go crazy, darting to a closed door.

Rolled towels are crammed against the bottom of it.

MRS. LEFFERTS

I don't know.  You'll have to

leave now, Officer.

Bud starts for the closed door.

BUD

What's through here?

MRS. LEFFERTS

No!  Please leave!

Bud kicks away the towels, opens the door, steps into...

DEN

Innocuous except for the smell.  It hits Bud right off.

MRS. LEFFERTS

Don't mind the smell.  I think a

rat died behind the wall... My

Susie was a good girl!

BUD

Easy.  Tell me about the ruckus.

MRS. LEFFERTS

I came home that night and there

was blood on the floor.  Susan

said Stams -- Stens had cut

himself.  They were acting

nervous.  And that Stens kept

going under the house.

As Mrs. Lefferts goes shrill, Bud beelines out the door.

EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY

Holding a flashlight, Bud crawls under the house, into...

CRAWLSPACE

Bud elbow-crawls over the dirt, between wooden pilings.

There's a long burlap sack ahead.  It smells bad.  Bud

rips burlap.  A rat's nest explodes.  Bud sweeps a

forearm at them.  As they clear, he sees a gristle-caked

human skull staring back, a .38 hole in the forehead.

Undaunted, Bud tears the burlap back further.  He pats

the corpse's pockets, comes up with a wallet.  Bud checks

the ID.  "Turner Meeks."  Bus knows him by that name and

another.

BUD

Buzz Meeks... Holy shit.

EXT. LEFFERTS' HOUSE - DAY

Bud crawls out, blinking sunlight and gulping fresh air.

Mrs. Lefferts is there.  She's scared.

MRS. LEFFERTS

Was it... a rat?

BUD

Yeah.  A great big one.

Bud opens Meeks' wallet, pulls out a couple hundred bucks

and gives them to Mrs. Lefferts.

BUD

Here.  Compliments of the Los

Angeles Police Department.

INT. FORENSICS LAB - DAY

Ray Pinker looks up from an autopsy as Exley enters.

PINKER

Hey, just in time for our stomach

of the week.  Frankfurters with

sauerkraut, French fries,

Coca-Cola, alcohol and sperm.

Jesus, what a last supper.

The stiff is Matt Reynolds!  Pinker continues working

away.

EXLEY

The Nite Owl.  Anything bothering

you about the case?

PINKER

Yeah.  The fact that you guys

won't let it get filed away.

EXLEY

What are you talking about?

PINKER

Bud White grilled me on it this

morning.  You know, he's not as

dumb as I thought.

As Exley's head swims...

EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY

Mrs. Lefferts waters the grass, watches as a car pulls

up.  Exley gets up, starts toward her.  She drops the

hose and runs for the front door  Exley cuts her off.

MRS. LEFFERTS

Let my Susie rest in peace!

EXLEY

Mrs. Lefferts, I just want to ask

a few questions.

MRS. LEFFERTS

That other policeman already

checked under the house and found

not a thing amiss.

EXLEY

Officer White?

MRS. LEFFERTS

A sweet man.

EXLEY

(thinking

out loud)

Under the house.

MRS. LEFFERTS

All he found were rodents.  No

signs of foul play.  So there.

Exley spots the entrance to the crawlspace.  He hurries

over, enters nearly flat on his belly.  Mrs. Lefferts

calls in after him.

MRS. LEFFERTS

My daughter was a virgin!

EXLEY (O.S.)

I don't doubt it -- Oh, God.

INT. HOLLYWOOD STATION - JACK'S DESK - DAY

Jack sits unshaven and hung-over, the dregs of the Scotch

bottle on the desk.  He considers a framed "Badge of

Honor" photo:  Jack and Brett Chase, before a banner "To

Protect and Serve."  Jack punches a fist through it.

INT. LAPD - FORENSICS LAB - DAY

Exley walks alonside as a body bag is wheeled into the

lab atop a gurney.  Pinker steps over.

EXLEY

I need an I.D. ASAP.  You talk

only to me on this one.

INT. JACK'S DESK - DAY

Sitting in disgust, Jack spots something amidst all the

clutter -- the Great Jerk-Off Books of 1962.  He flips

one over, looks at the Fleur-de-Lis stamp.  Jack

remembers something Matt Reynolds told him.  He dials the

phone.

JACK

Yeah.  Sergeant Jack Vincennes

requesting.  I need the home

address on a Pierce Patchett.

OPERATOR (V.O.)

Please hold, Sergeant...

As Jack waits, Exley appears in front of him.

EXLEY

I need to speak to you.

JACK

Give me a minute, will ya?

Exley clicks off the phone.

JACK

Damnit... What

?

EXLEY

I want you to follow Bud White.

JACK

Even I'm not that crazy.

EXLEY

It's not a request.  I need to

know what White knows.  Follow him

or I'll have you pulled off 'Badge

of Honor.'  Permanently.

JACK

Yesterday that might've meant

something.  Pull me off.  You'd be

doing me a big favor.

EXLEY

Yesterday yes, today no.  What

happened last night?

JACK

Transfer me, suspend me.  Just

leave me alone.

EXLEY

You make a mistake?

JACK

Yeah.  My whole life.

Jack stands, heads out.  Exley follows; he needs help.

EXLEY

Listen, I think I made a mistake,

too.

JACK

I ain't a priest, Lieutenant.  I

can't hear your confession.

EXLEY

Do you make the three Negroes for

the Nite Owl killings?

JACK

What?

EXLEY

It's a simple question.

JACK

You should be the last person who

wants to dig any deeper into the

Nite Owl, Lieutenant

.

Exley watches as Jack continues down a hall.  Then:

EXLEY

Rollo Tomasi.

Jack stops, looks back at him.

JACK

Is there more to that, or do I

have to guess?

EXLEY

Rollo was a purse snatcher.  My

father ran into him off duty.  He

shot my father six times and got

away clean.  No one even knew who

he was.  I made the name up to

give him some personality.

JACK

So what's the point?

EXLEY

Rollo's the reason I became a cop.

I wanted to catch the guys who

thought they could get away with

it.  It was supposed to be about

truth and justice and Rollo.  But

somewhere along the way I forgot

all that... How about you, Jack?

Why'd you become a cop?

Jack looks like he might cry, but smiles instead.

JACK

I don't remember...

Both men are quiet a moment.

JACK

I'm trying to figure what angle

you're playing this

time, but I

sure as hell can't see one.

EXLEY

I've given up angles for awhile.

I just want to solve this thing.

JACK

The Nite Owl was solved,

Lieutenant.

EXLEY

I want to do it right.

So does Jack.

JACK

Okay, college boy, I'll help you.

But I want half the collar.

EXLEY

A third.  I don't think we can

make a case without Bud White.

EXT. BROWN DERBY - DAY

A Packard pulls up out front.  Bud gets out, heads

inside.  Another car pulls up across the street.

CLOSE ON JACK

Watching Bud.  Jack gets out, starts across the street.

INT. BROWN DERBY - BAR - DAY

At the bar, Johnny Stompanato looks over as Bud joins

him.  Stompanato isn't happy about it, but he smiles

anyway.

STOMPANATO

Wendell White, how's tricks,

paesano

?

BUD

I ain't your paesano

, you wop

cocksucker.

Nervous, Johnny taps his pinkie ring on a bottle of beer.

STOMPANATO

What do you want, officer

?

BUD

You remember an ex-cop named Buzz

Meeks?  He works for a guy named

Patchett.

Johnny taps his ring harder.  The bottle almost tips.

STOMPANATO

Should I?

BUD

His file listed you as a known

associate.  Now spill.

STOMPANATO

Oh, yeah.  That was a long time

ago.  Before your day.  The last

few years he's been muscle for

hire.  But I heard he's

disappeared.

BUD

More.

STOMPANATO

More's gonna cost you.

Bud's hand flashes out, grabs Stompanato by the crotch.

BUD

How 'bout I give you your balls

back?

STOMPANATO

(in considerable

pain)

Before Meeks disappeared he was

popping off about trying to move

eighteen pounds of heroin.

BUD

Bullshit.  Where would a two-bit

ex-cop get 18 pounds of heroin?

STOMPANATO

Deuce Perkins.  Mickey C's

narcotics lieutenant.  The night

he got clipped, eighteen pounds of

Mickey's heroin went missing.

Bud loosens his grip.  Stompanato gasps for air.

DOOR

Jack peels in, catches a glimpse of Bud and Stompanato.

Too far away too hear anything, Jack quickly ducks out.

BAR

Stompanato's recovering.

STOMPANATO

Meeks is probably in Rio or

someplace like that by now.

BUD

He's under a tract house in San

Berdoo.  And he don't smell too

good.  What happened to the

heroin, Johnny?

STOMPANATO

I don't know.  I swear it!

Bud starts to raise a hand.  Stompanato cringes, but Bud

just slaps a twenty down on the bar and goes.

INT. BROWN DERBY - PHONE BOOTH - DAY

Jack's on the phone to Exley.

JACK

He's in the Brown Derby with

Johnny Stompanato.

(sees Bud exit)

Check that.  I gotta go.

EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY

Jack pulls up, sees Bud knock on the front door.  It

opens and Bud steps in.  Jack doesn't see who opens it.

EXT. BUSHES - 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY

LEAVES RUSTLE.  There's movement in the underbrush.  Jack

appears, followed by Exley.  Jack pulls a gun as they

near a window.

EXLEY

What's that for?

JACK

Bud White.  He sees us and we're

dead.

They press up to the glass for a partial view.  Bud White

sits on a footstool massaging a pair of women's feet.

Jack and Exley exchange a long, curious look.  This isn't

the Bud White they're used to.  A pair of woman's hands

take Bud, the arms covered in glitter and satin.

The woman, Lynn Bracken, leans forward to kiss her

policeman.  It may have been a long day, but she's every

inch Veronica Lake.  Only the hair's not over her eye.

They stand, kiss again.  Lynn's gown spills down around

her ankles.  Bud scoops Lynn into his arms and the two of

them disappear into a bedroom.  A long beat before...

JACK

Jesus... Maybe White's not so dumb

after all.

EXLEY

Rita Hayworth at the morgue and

now Veronica Lake with White.

What the hell's going on?

JACK

Movie star hookers.  Whatever you

desire... It's Fleur-fr-Lis again.

EXLEY

What's Fleur-de-Lis?

JACK

High line whores.  With plastic

surgery to look like movie stars.

And who knows what else?  It's run

by this guy Pierce Patchett.  You

want to talk to him?

EXLEY

Yeah.  But first I want to brace

Stompanato.

INT. BROWN DERBY - ENTRANCE - DAY

Exley and Jack enter.

EXLEY

Check the bar.  I got the restaurant.

RESTAURANT

Exley scans.  There's Stompanato with a girl who looks

amazingly like "LANA TURNER."

Engrossed, Stomapanato doesn't look up till Exley's nearly

on top of him.

STOMPANATO

Hey, you want an autograph, write

to M-G-M.

EXLEY

Since when do two-bit hoods and

hookers give out autographs?

STOMPANATO

What

?

As Stompanato stands, Exley flashes his badge.

EXLEY

L.A.P.D.  Sit down.

"LANA"

Who in the hell do you think you

are?

EXLEY

Take a walk, honey, before I haul

your ass downtown.

"LANA"

Who in the hell do you thinkare

?!

STOMPANATO

You are making a large mistake.

As Jack arrives, Lana tosses a drink in Exley's face.

"LANA"

Get away from our table!

EXLEY

(grabs her wrist)

Shut up.  Being cut to look like

Lana Turner doesn't mean you are

Lana Turner.

Jack pulls him aside.

JACK

She is Lana Turner.

EXLEY

What?

JACK

She is

Lana Turner.

INT. EXLEY'S PLYMOUTH - SUNSET

Rolling.  The sky glows ahead.

EXLEY

How was I supposed to know?

A moment before Jack begins to laugh.  Exley joins him.

EXT. 1184 GRETNA GREEN (PIERCE PATCHETT'S) - NIGHT

Exley's Plymouth is parked on the street.

INT. 1184 GRETNA GREEN (PATCHETT'S) - LIBRARY - NIGHT

In a silk robe, the unflappable Pierce Patchett smiles

at Exley.  Jack stands alongside.

PATCHETT

I believe the Nite Owl's your area

of expertise, Mr. Exley.  I saw

you on television getting your

medal.

(turns to Jack)

And you're that other celebrity

Hollywood policeman, aren't you?

A beat.  Exley and Jack don't look like they appreciate

being joked with.  Patchett finally sighs.

PATCHETT

I'll tell you what I told Officer

White when he asked me about

Susan's death.

EXLEY

(a look to Jack)

Bud White's been here?

PATCHETT

For the last time.  I may suborn

women into illicit activities, but

they're handsomely compensated, I

treat them well and make sure the

men they deal with show them every

due respect.

EXLEY

Is the Veronica Lake look-alike

one of your whores?

PATCHETT

A vulgar term, but yes.

EXLEY

What's her name?

PATCHETT

Lynn Bracken.

EXLEY

Why's she seeing Bud White?

PATCHETT

Why do men and women usually see

each other?

EXLEY

Anything else you want to add

before I talk to her?

PATCHETT

No.

EXLEY

Not good enough.

PATCHETT

(unfazed)

Then try talking to my lawyer.

Good evening, gentlemen.

EXT. 1184 GRETNA GREEN - NIGHT

Exley and Jack head for the car.

JACK

Guy's as cool as they come.

A call CRACKLES in over Exley's RADIO.  Exley picks up.

EXLEY

This is Exley.

DISPATCHER (V.O.)

Ray Pinker wants to talk to you,

Lieutenant.  Says he has your I.D.

EXLEY

Tell him Sergeant Vincennes is

coming in to talk to him.

JACK

What are you going to do?

EXLEY

I'm going to Lynn Bracken's.  I'll

meet you at the Dining Car.

JACK

Great.  You get the girl, I get

the coroner.

INT. LIBRARY (1184 GRETNA GREEN) - NIGHT

Watching Exley and Vincennes from the window, Patchett

picks up the phone, dials.

HUDGEONS (V.O.)

(over phone)

Hush-Hush

.  Off the record and on

the Q.T.

INT. 1736 NOTTINGHAM (LYNN'S) - LIVING ROOM - NIGHT

KNOCKING on the door.  Lynn answers to reveal Exley.

EXLEY

Miss Bracken, I'm Lieutenant

Exley.

LYNN

I know who you are.  You're the

policeman Bud told me about.

EXLEY

Really?  What did White say?

LYNN

He said you were smart.  He also

said you were competing with your

dead father.  How did he put it?

Trying to measure up to a ghost.

Exley lets it pass.  As he enters...

EXLEY

Let's concentrate on my smarts.

Pierce Patchett made you, didn't

he?  He taught you how to dress

and talk and think and I am very

impressed with the results.  But I

need some answers and if I don't

get them, I'm going to take you

and Patchett down.

LYNN

He can take care of himself and

I'm not afraid of you.  And you

forgot one thing, Lieutenant.

Pierce also taught me how to

fuck... Can I get you a drink?

Exley can't help but smile.  Lynn smiles back.

EXLEY

Scotch.

Exley watches her as she steps over to fix the drinks.

LYNN

I'm curious about you.

EXLEY

Why?

She hands him his drink.

LYNN

Because Bud hates you more than he

loves me.

Exley stews.  Lynn watches him over the rim of her glass.

LYNN

It galls you that I know so much

about you.  You don't have

information to compete.

EXLEY

Don't underestimate me, Miss

Bracken.

LYNN

The way you've underestimated Bud

White?

Exley's had it.  A menacing step forward.  Lynn's smile

becomes a laugh.  Lost to himself, Exley leans in and

kisses her.  Lynn pulls back, then kisses back.  In a

beat, they're rolling to the floor, shedding clothes.

As they trash the furniture, Lynn looks over his shoulder

at her own reflection in a closet door mirror.

REVERSE ANGLE - INSIDE CLOSET

Two-way glass.  Sid Hudgeons is in here SNAPPING

pictures.  As Lynn and Exley continue with their frantic

lovemaking...

INT. FORENSIC LAB - NIGHT

Ray Pinker rubs his tired eyes.

PINKER

God bless dental records.  Stiff

used to be a cop.  Turner Meeks.

JACK

Buzz

Meeks?

PINKER

You knew him?

JACK

Of him.  He was around when I

first joined the force.  A bad

egg.

Pinker could care less.  As Jack's wheels turn...

INT. LAPD - RECORDS ROOM - NIGHT

Jack searches dusty filing cabinets with dates like 1939

and 1940.  Reading one headed "Meeks," Jack lets out a

low whistle.  He's found something.

INT. PACIFIC DINING CAR - NIGHT

Jack waits at the bar, watches the door anxiously.

JACK

Come on, Exley.  Where are you?

INT. 1736 NOTTINGHAM (LYNN'S) - LIVING ROOM - NIGHT

Spent, Exley and Lynn sit, half-dressed, on the floor.

They're quiet.  Then, through a smile:

EXLEY

How was I?

LYNN

Oh, the best I ever had.

Absolutely the best.

EXLEY

(laughs)

You sound like you mean it.

LYNN

The silver screen's loss is your

gain.

EXLEY

How about White?

LYNN

You want to know what Bud's like

in bed?

She actually embarrasses him with that one.

EXLEY

I want to know why you see him.

Is it a Patchett payoff?

LYNN

I see Bud because I want to.  I

see Bud because he can't hide the

warmth he has inside him.

EXLEY

I'll take your word for it.

LYNN

I see Bud because he makes me feel

like Lynn Bracken and not some

Veronica Lake look-alike who fucks

for money.  I see him because he

doesn't know how to disguise who

he is.  There's more if you want

to hear it.

Exley shakes his head.  He's heard enough.

LYNN

Does all that make it harder for

you to hate him or easier?

EXLEY

I don't hate White.  I really

don't.  It's just, in my business,

it's the wild cars you have to

watch out for.

LYNN

You don't like that you don't know

how to play him.  He doesn't

follow the same rules of politics

you do.  That makes him dangerous.

EXLEY

You cut to the heart of things,

don't you?  What about Lynn

Bracken?  She going to be a hooker

all her life?

LYNN

I came out here with a dream.

That's gone, but I settled for

reality.

EXLEY

Some reality.

LYNN

No.  This is the means to the

reality.  But I'm not going to

tell you what it is.

EXLEY

Why not?

LYNN

Because you'll use it against me.

Won't you?

Exley doesn't answer, but the answer is yes.  Lynn

smiles.

LYNN

You're tougher than Bud thinks you

are.

EXLEY

(smiles)

You're the first person to ever

call me tough.

LYNN

Like recognizes like.  I'm pretty

tough, myself.

EXLEY

You, me and White, huh?

LYNN

Actually, Bud's only tough on the

outside.

As Exley kisses her...

IN CLOSET

Exasperated that he's still stuck in here, Sid Hudgeons

checks his watch, shakes his head in disgust.

EXT. 9608 VENDOME (SILVERLAKE) - NIGHT

Jack knocks at a darkened house.  The porch lights come

on.  The door opens to reveal Dudley Smith in his

bathrobe.

DUDLEY

John Vincennes.  It's three A.M.,

lad.

JACK

Two minutes, Dudley.  It's

important.

DUDLEY

Lucky for you that my wife and

four fair daughters are at the

beach in Santa Barbara.

INT. 9608 VENDOME - KITCHEN - NIGHT

Jack sits at the table while Dudley makes coffee.

JACK

You remember Buzz Meeks, Dudley?

DUDLEY

A disgrace as a policeman.

Straight D fitness reports from

every C.O. he ever served under.

What about him?

JACK

Twelve years ago he worked a vice

roust with Dick Stensland.  They

arrested a Pierce Patchett on an

extortion scam.  Guy ran hookers.

He'd have them photographed with

their johns, then double-dip for

some blackmail.  Charges got

dropped.  Insufficient evidence.

You were supervising officer on

the case and I was wondering if

you remember anything about it.

DUDLEY

What's this all about, lad?

JACK

Part of it has to do with a

murder.  I've been working with Ed

Exley on it.

DUDLEY

You're Narco, lad, not Homicide.

And since when do you work with

Edmund?

JACK

It's a private investigation.  I

fucked something up and I want to

make amends.

DUDLEY

(smiles, then...)

Don't start trying to do the right

thing, John.  You haven't had

enough practice.

Dudley walks over, hands Jack his coffee.

DUDLEY

Have you discussed this with

anyone else, John?

JACK

No.

DUDLEY

Not even with Exley?

Jack shakes his head.  Dudley raises a REVOLVER.  He

FIRES it at point-blank range, right into Jack's heart.

Jack hits the floor, his cheek pressed flat on the

linoleum.

Jack opens his mouth to speak.  His lips form the words,

but no sound comes out.  Dudley crouches down beside him.

JACK

Have you a valediction, lad?

Dudley leans low, gives Jack an ear.  As he dies...

JACK

Rollo Tomasi...

Dudley frowns in ignorance at the name.

INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY

Nothing mobilizes the police like losing one of their

own.  Dudley is at the podium along with Exley.  Dozens

of detectives take notes, including Bud White.

DUDLEY

Sergeant Vincennes' body was found

in Echo Park at ten o'clock this

morning.  Killed by a single .38

round to the heart.  One of our

own, gentlemen.  We cannot

tolerate it.  Justice must be

swift and merciless.  That's all.

As the men move odd, Dudley approaches Exley.

DUDLEY

Edmund, a word with you.  We

received a tip this morning.  Did

Vincennes ever mention the name

Rollo Tomasi?

Exley tries to look like he's thinking as Jack calls from

the grave.  Screaming the name Dudley!

EXLEY

No... Where'd the tip come from?

DUDLEY

Anonymous.  Probably nothing.

As Dudley moves off, Exley watches him go.  Scared.

INT. LAPD HEADQUARTERS - BUD WHITE'S DESK - DAY

Bud looks over as Dudley sits down across from him.

DUDLEY

You're perplexing to me these

days, Wendell.  You're not your

old, cruel self anymore.  I need

proof that the extracurricular

work I had planned for you remains

within your grasp.

BUD

What work?

DUDLEY

I've long been involved in

containing hard crime in such a

way that myself and a few

colleagues might someday enjoy a

profit dispensation.  That day

will soon be here and you'll share

handsomely.  Grand means will be

in our hands, Wendell.

(MORE)

DUDLEY (CONT'D)

Imagine crime limited to the

criminal element who perpetrate

it. Imagine the means to keep the

nigger filth sedated.  But don't

stop there.  Extrapolate.  Imagine

the police in control.  It's big,

lad.

BUD

You lost me, Dudley.  I don't know

what you're talking about.

DUDLEY

You have your extracurricular

secrets, I have mine.  We'll hold

a clarification session soon.  For

now, I need your fearsome old

habits at the Victory Motel.

We're going to brace a man who may

know who killed Jack Vincennes.

Can I count on you?

BUD

Sure, boss.  Sure you can.

INT. FORENSICS LAB - DAY

Pinker looks up as Exley enters.

EXLEY

I want to know what you and Jack

Vincennes talked about last night.

Anything and everything.  Start

with the I.D. on the corpse.

A put-upon Pinker sighs.

PINKER

An ex-cop.  Buzz Meeks.  I pulled

his police academy photo.

Pinker goes to his desk for a twenty-year-old photo of

Meeks.  he hands it to Exley, whose wheels are turning.

EXLEY

We got a dead ex-cop and a girl

who looks like Rita Hayworth at

the Nite Owl.  Another dead ex-cop

under the house of Rita's mother.

It's not a good week for ex-cops.

PINKER

I got Vincennes in the next room.

It's not a good week for cops in

general.

EXT. VICTORY MOTEL - DAY

A RAIN STORM has turned the courtyard into a mud bath.

As usual, a light burns in room six.  Bud White parks

alongside the other cars already here.  He makes a dash

for the door.

INT. VICTORY MOTEL - ROOM SIX - DAY

Sid Hudgeons is cuffed to the hot seat.  Dudley sits

across from him.  Dudley's henchman Breuning looms.  Bud

enters.

DUDLEY

This is Mr. Hudgeons, Wendell.

HUDGEONS

I'm happy to cooperate.  You don't

need to tie me down.

DUDLEY

It's for your own safety.  Now

what can you tell us about

Sergeant John Vincennes?

HUDGEONS

Trashcan Jack.  The Big V.  I can

tell you he's on the Night Train

to the big adios.

Breuning cuffs Hudgeons in the side of the head.

HUDGEONS

Take it easy!  I didn't have

anything to do with him getting

killed if that's what you mean.

DUDLEY

But you were business associates?

HUDGEONS

What does that have to do --

Breuning cuffs him again.

HUDGEONS

Okay so we worked together.  It

was an information exchange.  I

got him first class collars and he

got me good stories.  We were

friends for Chrissakes!

DUDLEY

Alright.  We'll drop that line for

now.  Next topic.  Please comment

on Pierce Patchett.

Bud looks over at mention of the name.

HUDGEONS

You think he had something to do

with Vincennes getting iced?

Dudley sighs, looks to Bud.

DUDLEY

Wendell.  I want full and docile

cooperation on all topics.

Hudgeons flinches as Bud steps up, twice Breuning's size.

HUDGEONS

Okay.  Okay.  Everyone knows

Patchett's worth a boat-load of

greenbacks.  From aviation,

freeway construction.  But the man

has hobbies, too.  He bankrolls B

movies under the table and runs

movie star look-alike hookers.

And try this on:  he's rumored to

be a periodic heroin sniffer.  All

in all a powerful behind-the-

scenes strange-o.

DUDLEY

And?

HUDGEONS

And what?

Bud digs a fist into Hudgeons' gut.  As Hudgeons gasps to

get his breath back.

DUDLEY

Reciprocity, Mr. Hudgeons, is the

key to all relationships.

HUDGEONS

He runs call girls.  Primo tail.

Fixed up like movie stars.

Bud looms, rests his hands on the back of Hudgeons'

chair.  He doesn't like where this is going.

DUDLEY

And?

HUDGEONS

In my car.  Blackmail shit.  The

trunk under the carpet.  Patchett

got me to photograph a cop fucking

this gorgeous cunt Lynn, looks

just like Veronicaaa --

Wooden slats pop as Bud tears the bolted chair right out

of the floor.  Hudgeons and the chair land sideways.

DUDLEY

Wendell!

Bud can't hear him.  He uprights the chair one-handed.

As his fist cocks back, he's restrained by Breuning and

Dudley.  This is no act.  They can barely hold Bud back.

HUDGEONS

Get him away from me!

Bud breaks free, heads outside.

EXT. VICTORY MOTEL - HUDGEONS' CAR - DAY

Bud jams a tire iron into the trunk seam and pops it with

a ferocious yank.  He tears at the carpeting.  A manila

envelope.  Bud rips it open and 8x10 glossies of Exley

and Lynn spill out.  Raindrops dot them, as Bud's in his

Packard and tearing out of there.

INT. VICTORY MOTEL - ROOM 6 - DAY

Dudley and Breuning watch from the door.

DUDLEY

I wouldn't trade places with

Edmund Exley right now for all the

tea in China.

Breuning laughs.  So does Hudgeons.

HUDGEONS

Dudley, I thought you were gonna

let the dumb bastard kill me.

(to Breuning)

And you!  Learn to pull those

punches a little better.

Dudley and Breuning stare at him.  A bit grimly.

HUDGEONS

You can uncuff me now, fellas.

But no one moves to do so.

HUDGEONS

Fellas?

(nervous)

We had a deal.  You, me and

Patchett,  We're a team!

(scared)

Come on, we're friends.  We're --

As Hudgeons protests, Dudley slaps a hand over his mouth.

DUDLEY

Hush-hush...

As Breuning and Carlisle move in...

INT. RECORDS ROOM - LAPD - DAY

A wormish CLERK searches dusty filing cabinets with dates

like 1939 and 1940.  The same ones Jack looked through.

Exley steps over from another row.

EXLEY

Anything?

CLERK

Nothing.

EXLEY

So on active duty, Meeks didn't

make an arrest from 1938 to '43.

CLERK

Someone must've pulled the

records.

Exley ponders the implications.  Taking out the photo of

Meeks, he gets an idea.

EXLEY

Where are the police academy

files?

CLERK

I don't have time.  I have --

EXLEY

Just show me where they are!

EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY

Blue, Lynn sits on her porch watching the rain come down.

A SCREECHING on the wet street as Bud's PACKARD pulls up.

She watches as he gets out and starts for the house.

Lynn stands, holds her arms out.  Bud stops short on the

steps, out of reach, the rain soaking him.

BUD

Did you talk to Exley?

LYNN

Come in out of the rain.  In the

morning we'll have both our

stories for breakfast.

Lightning flashes.  Bud shakes hs head.

BUD

I want to know about Exley.

LYNN

He's the opposite of you.  He's

more like me.  Cold, calculating.

BUD

How'd you get to know so much

about him?

More lightning.  Lynn looks God-awful sad.

LYNN

Come in out of the rain, Bud.

BUD

You gonna tell me what happened

with you and Exley?

LYNN

We talked.

BUD

So tell me about it.

LYNN

(looking away)

In the morning.

BUD

No.  Now.

(a beat)

You fucked him.

Too tired to lie anymore, Lynn finally just nods.

LYNN

I thought I was helping you.  I

thought --

Bud backhands her, hard.  Lynn faces straight into the

next one as Bud hits her again.  A third time as the sins

of the father are visited on the son.  Bud stops short as

the self-realization slams home.  Lynn waits stoically.

She doesn't start crying till Bud turns and runs back

into the rain.

INT. RECORDS ROOM - LAPD - DAY

Drawers are open.  Files are everywhere.  Exley's reached

the end of the line.  As he looks through one last file,

he finds a stack of official photos.  Then he stops

short.  There's a photo of four cadets and an academy

instructor.

Two of the cadets are IDed as Turner Meeks and Dick

Stensland.  The instructor is Dudley Smith!

Exley looks up at the sound of FOOTSTEPS and Bud is

there.  Fury.  He slams Exley, knocks him flat.

Bud's here to kill him.  He hauls Exley up, pummels him,

then throws him over the table.  Then up into a wall.

Plaster cracks.  Bud's on some gonzo animal plane.  Bud

strangles him.  Exley gags.  It'll be over in moments.

Until Exley's flailing hands finds Bud's .38.  Yanking it

from his waistband, Exley smashes Bud in the forehead.

Bud reels.  But, blind with rage, he moves back in only

to have the barrel of the .38 placed right between his

eyes.

EXLEY

Why?

BUD

Lynn.

EXLEY

She told you?

Bud shakes his head.  He's coiled, ready to make a move.

EXLEY

Who told you?  Did Dudley have

anything to do with you finding

out?

Bud hesitates, the answer obvious.

EXLEY

Listen to me.  Dudley killed Jack.

It has something to do with Buzz

Meeks.

Exley points out the academy photo on the floor.

EXLEY

Look.  Dudley and Meeks go way

back.  Stensland, too.

Bud sees, but does he really?  As Bud reaches for the

photo, Exley relaxes slightly.  Bud slaps the gun away,

drops Exley to the ground.  He grabs, begins slamming his

head into the floor.

EXLEY

Think, goddamn you.  Think...

Exley's almost out.  But maybe Bud heard him.  The attack

slows, stops as Bud does think.  Exley stays conscious.

BUD

I knew Stensland and Meeks knew

each other.  Meeks was with Sue

Lefferts on Christmas Eve.  The

night I met Lynn.  Lefferts'

mother I.D.ed Stensland as

Lefferts' boyfriend, but Stens

pretended he didn't know either

one of them.

EXLEY

Stensland and Meeks.  What were

they up to?

BUD

Johnny Stompanato told me when

Meeks disappeared, he was trying

to move the 18 pounds of heroin

that went missing when Deuce

Perkins was shot.

EXLEY

Stensland and Buzz Meeks

.  Two-man

triggers knocking off Mickey Cohen

lieutenants.  When they killed

Deuce Perkins, they got heroin as

a bonus.

BUD

Then something goes wrong.  Meeks

gets killed.  Maybe Stens got

greedy, killed Meeks and left him

under his girlfriend's house.

(a beat)

The night he died, Stens was all

mysterious.  Said he had something

big going down.

EXLEY

The Nite Owl!  Stensland was going

there to sell the heroin.

BUD

Somebody got wind of it, killed

them all.

EXLEY

It wasn't the Negroes.  The Griffith

Park report was a phony. And, who

says the purple Merc was spotted

outside the Nite Owl?

BUD

Dudley.

EXLEY

The first guys to the car when

Jack and I got there were Bruening

and Carlisle.

BUD

Dudley's guys.

EXLEY

They didn't find the shotguns.

They planted them.

BUD

It all keeps coming back to

Dudley.

EXLEY

It's Dudley for the Nite Owl.

They just stare at each other a beat as it sinks in.

EXLEY

Pierce Patchett figures in, too.

That's the angle Jack was working.

Dudley must work for Patchett.

BUD

Let's just kill them.

EXLEY

What?

BUD

For Jack, for Stensland, for

anybody else who got in the way.

I've been trying to be smart.  A

detective.  But killing those two

fuckers, that would be justice.

EXLEY

Stay smart, Bud.  We build a case.

We play by the rules.

BUD

There are no rules!  Why the fuck

are you doing this?  The Nite Owl

made you.  You want to tear all

that down.

EXLEY

With a wrecking ball.  You want to

help me swing it?

Bud smiles.  For a second he likes Exley.

EXLEY

Let's go see Pierce Patchett.  Run

a good-cop-bad-cop.

BUD

Which one are you and which one am

I?

EXT. 1184 GRETNA GREEN (PIERCE PATCHETT'S) - DAY

Exley and Bud make their way up the walk.  Bud pulls his

.38 from its shoulder holster, shoves it in his

waistband.

EXLEY

You expecting problems?

BUD

Patchett uses a lot of ex-cop

muscle.

FRONT DOOR

Exley RINGS the BUZZER.  Looking back, Bud sees a

pitching wedge and pile of golf balls abandoned in the

grass.  A single ball floats in the koi pond.  Bud's eyes

narrow at the sight.  Not like Patchett at all.

BUD

Come on.

And Bud shoulders the heavy door right off its hinges.

INT. 1184 GRETNA GREEN - HALLWAY - DAY

Bud draws his .38 as he strides in.  Exley tries to keep up.

EXLEY

(a screaming

whisper)

What?

Double doors on the left open into a library.  Bud stops

short, slowly lowers his gun.  Exley steps up beside him.

LIBRARY

Hanging from a ceiling light, Patchett's body slowly

twists around, a toppled chair beneath him.

EXLEY

I don't think his ex-cop did him

much good.

Bud goes to the body while Exley heads for a side table

on which rests a typed sheet of paper.

Bud checks Patchett's right hand, the knuckles are split,

two of the fingers badly distended.

EXLEY

It's a suicide note.  Says he

killed Jack because Jack had

figured out a pornography scam

Patchett was running.

BUD

He had help getting up there.  Two

of his fingers are broken.

EXLEY

We had one thing figured wrong.  I

don't think Dudley workd for

Patchett.

BUD

At least not anymore.

EXLEY

Patchett's dead.  He sent you

after me.  I'd say Dudley's tying

up his loose ends.

BUD

(it hits him)

Lynn

.

Bud dashes to the PHONE, dials.  It RINGS.  No one

answers.

EXLEY

I got a guy who owes me in the

Sheriff's department.  West

Hollywood station.  He can be at

her house in two minutes.

Bud shoves the phone into his hand.

BUD

Call him.

EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY

A county sheriff's unmarked parked out front.  A DEPUTY

behind the wheel.  Exley's Plymouth pulls up behind.  The

Deputy gets out.  MOVE WITH him as he steps BACK TO

Exley, who's rolling down his window.

EXLEY

Is she inside?

DEPUTY

We took her to Hollywood Station

for safekeeping.  Someone worked

her over pretty good.  She

wouldn't say who.

Exley looks at Bud.  Bud looks down in shame.

EXLEY

Hold her as Joan Smith.  No one

sees her unless I okay it.

DEPUTY

You got it, Exley.  And now we're

even.

As the Deputy moves off.

EXLEY

Ellis Loew.

BUD

What about him?

EXLEY

Jack thought he was up to his neck

in all this.

INT. DISTRICT ATTORNEY'S OUTER OFFICE - DAY

A SECRETARY looks up as Bud and Exley beeline Loew's

door.

SECRETARY

You can't go in there!

INNER OFFICE

Loew looks up as they burst in.

SECRETARY

Do you want me to call the police,

Mr. Loew?

EXLEY

Ask for Captain Dudley Smith.

We'll have a party.  Hot dogs and

sauerkraut.

A beat as Loew considers his options.

LOEW

It's okay.  These are police.

(as she leaves)

What

do you want?

EXLEY

I want D.A. bureau men to tail

Dudley Smith twenty-four hours a

day; I want you to get a judge to

authorize a wire tap on his home

phone; I want authorization to

check his bank records and I want

it all in an hour.

LOEW

On what evidence?

EXLEY

None.  Call it a hunch.

LOEW

(incredulous)

Absolutely not.  Dudley Smith is a

highly decorated member of this

city's police department and I

won't smear his name without --

EXLEY

Without what, his smearing yours

first?  What's he got on you,

Loew?  Pictures of you and an out

of work actor with your pants

down?

LOEW

Do you have any proof?

EXLEY

The proof had his throat slit.

(a beat)

So far you're not denying it.

LOEW

I'm not going to dignify youwith

answers.  If you'll excuse me,

I've got a Jack Vincennes press

conference to prepare for.

Loew enters his bathroom.  Bud looks to Exley who nods:

Go.

OFFICE BATHROOM

Loew is at the mirror clipping a few stray nose hairs.

Bud enters full of menace followed by Exley.

LOEW

Unless you're here to wipe my ass,

I think we're through.

Bud just glares at him.  Loew shakes his head.

LOEW

Don't try this good cop/bad cop

with me.  I practically

invented it.  And so what if some

homo actor is dead.  Boys, girls,

ten of them step off the bus to

L.A. every day.

The MIRROR SPIDERWEBS as Bud slams Loew's face into it.

Bud swings him around, forces him forward and shoves his

head in the toilet.

He holds it there, finally lets Loew up for breath.  Then

backhands:  one, two, three.

BUD

Dudley Smith.  Spill.

LOEW

Call him off, Exley!

EXLEY

I don't know how.

More backhands.  Holding Loew by the scruff of the neck,

Bud marches him past Exley and back into the...

INNER OFFICE

Bud heaves up the window, practically throws Loew through

it.  Loew catches hold of the window framing.  Bud

hammers his hands loose with a fist and pushes him

through.

OUTSIDE

Bud holds his leg.  Loew screams as coins, comb and

wallet spill from his pockets, plummet toward the street

below.

INNER OFFICE

Bud shakes Loew, could drop him at any time.

EXLEY

Bud...

BUD

If I let you go, there'll be ten

more lawyers to take your place

tomorrow.  They just won't come on

the bus, that's all.

OUTSIDE

We hear Loew's PANT LEG TEARING loose.

LOEW

Okay!  You're right!  Dudley's got

photos of me and Reynolds.

EXLEY

What's Dudley's scheme?

More TEARING.  Loew's life may depend on the answer.

LOEW

Dudley's rotten to the core.  He's

taking over Mickey Cohen's

rackets, his own hand-picked

cops'll be the new franchise

holders.  Because of those

pictures I won't be able to

prosecute.  Oh Jesus pull me up!

INNER OFFICE

Exley helps pull Loew back inside.  Bud dumps him on the

floor.  Bruised and bloodied, Loew looks up at Exley.

LOEW

Dudley's got everyone under his

thumb.  Not just me, but the Chief

of Police, the lieutenant

governor, everybody!

Exley pulls his .38, shoves it into the side of Loew's

neck.

EXLEY

Not everybody

.  You tip-off Dudley

and Officer White visits you alone

next time.

Loew looks at Bud, nods, his face a bloody mess.

EXT. CITY OFFICE BUILDING - DAY

Exley and Bud exit.  Bud's wheels are turning.

BUD

They never made a match on the

shotgun serial numbers.  What if

Breuning and Carlisle took them

from the evidence room?  Couple of

cold pieces that had been hanging

around a year or two.

EXLEY

We should check the records, and,

we should talk to Lynn.

Bud just stares at him a beat.

EXLEY

You want to talk to her?

Bud looks away, shakes his head "no."  Finally...

BUD

You do it.  I'll check the files.

INT. SHERIFF'S DEPARTMENT - HOLDING ROOM - DAY

Lynn looks up as Exley enters.  her face is puffy,

swollen.

LYNN

(dry)

If I knew you were coming I'd have

baked a cake.

EXLEY

Forget everything else for a

second, Lynn.  Is there anything

you can give me on Dudley Smith?

A blank look from her.

EXLEY

A police captain.  I think he's

behind all of this.

LYNN

(shakes her head)

I work for Patchett.  I had a

feeling that there was someone

else, but I never knew who.

EXLEY

Okay.  Look, if it helps, Bud

hates himself for what he did.

LYNN

(a beat)

I know how he feels.

A beat as Exley wonders how he should interpret this.

EXLEY

I don't know if it's pathetic or

romantic, but when this is all

over I'd like to see you again.

Lynn looks away, can't help an ironic smile even as she

starts to cry.  As Exley gives her his handkerchief...

INT. LAPD - EVIDENCE ROOM - NIGHT

Bud waits at the cage window as a RECORDER returns with

some information.

RECORDER

I got your guns, Bud.  Signed in

April 3rd, 1950.  Remember the

First Western bank robbery?  They

were used in that.

BUD

I want to see them.

RECORDER

No can do.  I can't find them.

As Bud thinks, a ROOKIE-TYPE approaches.

ROOKIE-TYPE

Uh -- Sergeant White?

BUD

What

?

ROOKIE-TYPE

Dispatch just got a call for you.

Lieutenant Exley wants you to meet

him at the Victory Motel.

EXT. VICTORY MOTEL - SUNSET

Bud's Packard crests the rise looking down on the

Victory.  Exley's Plymouth is in the courtyard.

INT. VICTORY MOTEL - ROOM 6 - SUNSET

Exley in the hotseat.  Sitting there thinking.  At a CAR

DOOR CLOSING, he goes to the door.

ANOTHER ANGLE

Exley opens the door as Bud approaches, toting a shotgun.

The sun is down.  The sky is just a dull glow.

BUD

You wanted to meet here?

EXLEY

Me?  You called it.  I got a

message that...

As the reality sinks in, Bud and Exley hear TIRES on the

GRAVEL; CARS are COMING.  Being in a concavity, they

don't see them yet.  Then the CARS STOP.   But still Bud

and Exley can't see anything.  They hear the CLICKS of

CAR DOORS OPENING, but they don't hear them shut.  There

are FOOTSTEPS, MURMURED WHISPERS.  More CARS PULL UP.

EXLEY

Shit... Come on.

Exley starts for his car, but Bud holds him back.

BUD

Too late.

A beat.  Resigned, Exley nods.  They retreat back to Room

6, disappear inside.  A beat.  There's MOVEMENT in the

shadows to the left.  To the right.

INT. VICTORY MOTEL - ROOM 6 - NIGHT

There's a big back window.  Bud covers most of it with a

ratty old mattress.  He pumps the shotgun.

He pulls a .45 automatic from his waistband.

BUD

Here.

He throws the auto to Exley, pulls out a .38.  Bud's

armed for bear.

EXLEY

You figured this was a set-up?

And you showed up anyway?

BUD

A lot of bad stuff happened here.

It's as good a place as any for it

to end.

Bud switches off the light.  They wait in silence.  Then:

EXLEY

You know, all I ever wanted was to

measure up to my father.

BUD

(softly)

I spent years trying not to live

down to mine.

(MORE)

BUD (CONT'D)

(thinking)

We should block off the bathroom.

They could come through --

A CREAK outside the front door.  Bud levels the SHOTGUN.

BOOM!  The DOOR is BLOWN OFF ITS HINGES.  We see the

figure of a man sprawl back in the dirt.  In the darkness

beyond, MUZZLE FLASHES from all around.  Exley and Bud

RETURN FIRE.

We hear the BACK WINDOW BREAK under a MUFFLED BLOW.  Bud

charges back, yanks down the mattress revealing two men

climbing through.  Sitting ducks:  torn apart by THREE

TRIPLE-AUGHT ROUNDS close in.  A beat, then...

EXLEY

We got him!

Bud smiles, in on the plan as theres an answering WHOOP.

A third man looks through the window.  BOOM!  Bud nails

him.

Bud motions Exley to stay put, then slips out the window.

EXT. VICTORY MOTEL - NIGHT

Bud crouches, looks between the cinder blocks supporting

the room.  Two sets of feet shuffling along.  Bud FIRES

the SHOTGUN.  Shrieks as the men go down.  Bud extends

the .38 to fire point blank headshots.  Then...

Bud flattens himself as a wicked CROSSFIRE TEARS UP ROOM

6.

INT. VICTORY MOTEL - NIGHT

Exley is forced down as well, lying flat as plaster rains

down.

The door frame splinters as more Dudley men charge in.

Four men with rifles.  One is Patchett's Burly Bodyguard.

They spot Exley lying there.  Hushed whispers as they

approach:  "Dead meat."  "Be careful."  Kicks in the

side.  The men look at each other, sneer.

Exley jerks a foot.  The foot man stumbles as Exley spins

around SHOOTING.  FIRING the .45 and his own .38.  All

four men go down.  Exley stands, digs into his pocket to

reload.

Bud scrambles back through the window.  Exley looks over

and smiles as Bud reloads the shotgun.  It's dead quiet.

EXLEY

I'm thinking we might walk away

from this.

At that instant, Dudley steps through the bathroom door.

He's got Exley dead to rights.  As he squeezes the

trigger, Bud leaps forward, pushes Exley hard to the

ground.

The SHOT passes through Bud's back by his left shoulder

blade.  It spins him around.  A SECOND SHOT to the

stomach slows him to a walk as he charges Dudley.  A

THIRD ROUND SHATTERS Bud's jaw, but still he comes.

Driven by rage, his hands reaching for Dudley's throat.

He even gets hold before a FOURTH SLUG tears his chest.

Bud falls hard.

Dudley swings his aim to Exley who's just managed to

shake the cobwebs of being flattened by Bud.  A frozen

moment.

DUDLEY

I'm loathe to kill my brother

officers, Edmund.

EXLEY

Tell that to Jack Vincennes.  To

Stensland.

DUDLEY

Jack was a shame, but Dick

Stensland had the audacity to try

to sell me my own heroin.  Through

his whore girl friend.  I sent him

to make the buy.  The rest is

history.

EXLEY

Why?

DUDLEY

A vacuum, Edmund.  That's what we

have in Los Angeles.  Sending

Mickey Cohen up created it.  My

containment work maintained it.

Certain photographs guarantee it.

Organized crime has been held

back, but there's still a demand

for the services it provides.

EXLEY

And now you'll provide them.

DUDLEY

Absolutely.  Prostitution and

gambling are victimless crimes.

The heroin we'll run down to the

coloreds.  Anesthetize them.  As

long as it's not a middle class

problem, no one will care.  It's

still a crime free city... for

respectable people.

Dudley aims the .38, cocks back the hammer.  We hear

DISTANT POLICE SIRENS.

DUDLEY

This isn't politics, Edmund.

There won't be winners and losers

when it's over...

Dudley doesn't see Bud stir, reach into a pocket.

DUDLEY

Just the living and the dead.

It's always been that way in the

Bureau.  You should've realized

that before you became a

detective.

It's over.  Dudley's finger tightens on the trigger.  But

Dudley screams as Bud buries a switchblade into his left

calf.  It took all Bud had left.  As he collapses...

Dudley wails; Exley dives for Bud's shotgun.  Dudley

FIRES, misses.  A wild SHOTGUN BLAST takes out half the

wall.  Dudley stumbles out the door.  SIRENS BLARE.

EXT. VICTORY MOTEL - NIGHT

Dudley drops his gun as the cruisers stream down.  Exley

steps out behind him, but doesn't drop the shotgun.  The

two of them are bleached white by headlights.

Dudley raises his badge over his head.

DUDLEY

We're policemen!

(winks)

Let me do the talking.  They'll

make you Chief of Detectives.

Exley steps ahead to block his way.

EXLEY

No

.

DUDLEY

Why not, lad?  Absolute justice?

EXLEY

Something like that.

DUDLEY

Really

?  Would you be willing to

rig crime scene evidence to

support a prosecuting attorney's

working hypothesis?

Exley doesn't answer.  Dudley smiles.

DUDLEY

Would you be willing to beat

confessions out of suspects you

knew to be guilty?

Exley glares.  Laughing, Dudley brushes by, limps toward

the gathering policemen.

DUDLEY

Are you willing to shoot hardened

criminals in the back to offset

the chance they'll --

The SHOTGUN BELCHES flame.  Dudley goes down, shot in the

back.  Exley drops the gun, raises his hands over his

head.

DISSOLVE TO:

L.A. MONTAGE

"RAGS TO RICHES" PLAYS.

EXT. ROSE BOWL PARADE - DAY

Riding in a convertible, waving to the crowds is the

Grand Marshal -- the new Vice President, a young

Richard Nixon.

INT. OBSERVATION ROOM - NIGHT

A midnight assembly.  The Chief, D.A. Loew and several

high ranking brass.  Their attention riveted

THROUGH the one-way glass into...

INT. ROOM #1 - NIGHT

Bloody, exhausted, Exley sits across from two INTERNAL

AFFAIRS DETECTIVES.

INTERNAL AFFAIRS #1

You have a lot of explaining to

do, Lieutenant.

EXLEY

Yes.  I do.

As Exley begins...

TELEVISION SCREEN

Where we're informed that tonight's episode of "Badge of

Honor" is:  "Dedicated to the memory of technical advisor

Sergeant Jack Vincennes."

EXT. VENTURA FREEWAY - CAHUENGA PASS - DAY

A ribbon is cut.  Eager motorists roll down the blacktop.

EXT. GRAUMAN'S CHINESE THEATER - DAY

Ronald Reagan applauds as Jane Wyman plunges her hands

into fresh sidewalk cement.

INT. OBSERVATION ROOM - NIGHT

The brass exchange concerned looks and raied eyebrows as

they watch Exley THROUGH the glass, his VOICE heard OVER

the SPEAKERS.

INT. UNION STATION - DAY

The Flatnose Frisco loan shark and Cauliflowered

Cleveland enforcer seen earlier at the Victory Motel

return to L.A., ready to fill the vacuum.

EXT. NEWSSTAND - DAY

Hush-Hush

is delivered.  The headline:  "Actor Reynolds

in his Final Role:  Conductor of the Night Train to Slice

City."

INT. ROOM #1 - NIGHT

Exley stares across at the Internal Affairs Detectives.

EXLEY

That's it.  That's the whole

story.

As Exley looks to the gray-tinted wall mirror...

OBSERVATION ROOM

Loew leans over, whispers to the Chief.

LOEW

The press would have a field day

with this.

CHIEF

(a beat)

When in doubt, feed them a hero.

In this case, we'll need more than

one.

CUT TO:

LOS ANGELES EXAMINER

HEADLINE:

R.I.P. DUDLEY SMITH

Fabled L.A. Cop Dies Defending City

from Organized Crime!

INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY

Exley in his dress blue uniform.  The Chief smiles, pins

gold stars to his shoulders.

CHIEF

Captain Edmund Exley.  Chief of

Detectives.  Los Angeles Police

Department.

Applause.  Flashbulbs.  Lynn watches from the back as

Exley runs a handshake gauntlet.  Finally, he spots her.

She's returned to her natural brunette.  Looks even

better.  Exley steps over.

EXLEY

(ironic smile)

I tried to throw it all away and

they give it back in spades.

EXT. PARKING LOT - DAY

Exley walks Lynn out.

EXLEY

Where will you go?

LYNN

Bisbee, Arizona.  The air's good

for pensioners and I know where

everything is.

EXLEY

When?

LYNN

Right now, before I back down.

EXLEY

Where is he?

Lynn gestures ahead.  They walk to her car.  She opens

the back door.  Bud's in the back.  Braces on his legs,

head sutured.  Jaw wired shut and tubes running in and

out.  But his hands still look strong.  Bud forces a

smile through the wires, tries to say something, but

can't.

EXLEY

Thanks for the push.

Exley takes his hand.  Bud squeezes till both men wince.

EXLEY

You just did what you did.  No

rank, no glory.

Exley slips his Medal of Valor into Bud's hand.

EXLEY

From me to you.  It'll mean

something if it's yours.

Bud takes it, turns away so Exley won't see the tears.

LYNN

We should go now.

As Exley steps back, Lynn closes the door.  PARTY noises

drift from upstairs.  Exley looks to Lynn.

EXLEY

Do you think I ever could've been

in the running?

LYNN

Some men get the world.  Others

get ex-hookers and a trip to

Arizona.

A beat.  Exley wishes he'd gotten the trip to Arizona.

She kisses him on the cheek, gets in the CAR.  STARTS it.

Exley looks back at Bud.  Bud presses his hands to the

glass.  Exley touches his side, palms half the man's

size.  Hands against hands.

The car moves. A turn into traffic, a good-bye TOOT on

the HORN.  Exley's all alone.  As he watches them go...

FADE TO BLACK.

THE END