L.A. CONFIDENTIAL
by
Brian Helgeland
Based on the novel by James Ellroy
November 16, 1995
Minor Revisions
FADE IN:
OVER the opening strains of "I LOVE YOU, CALIFORNIA," a
MONTAGE: a mixture of headlines, newsreel footage and
live action. Economy Booming! Postwar Optimism! L.A.:
City of the Future! But most prominent among them:
GANGLAND! Police photographers document crime scenes.
The meat wagon hauls ex-button men to the morgue. Where
will it end?
EXT. L.A. SKYLINE - SUNSET
Palm trees in silhouette against a cherry sky. City
lights twinkle. Los Angeles. A place where anything is
possible. A place where dreams come true. As the sky
darkens, triple-kleig lights begin to sweep back and
forth.
EXT. MANSION (HANCOCK PARK) - NIGHT
The KLEIG LIGHTS are out front. Valets hurry to park a
line of elegant cars.
MAYOR (V.O.)
Ladies and gentlemen, I give you
the future of Los Angeles!
INT. HANCOCK PARK MANSION - BALLROOM - NIGHT
The MAYOR yanks a cloth to reveal a MODEL of L.A. criss-
crossed by an elaborate FREEWAY SYSTEM. The CROWD oohs.
A COUNCILMAN claps. A SOCIETY MATRON nods her approval.
PIERCE PATCHETT, 50, tuxedoed, watches off to one side.
A behind-the-scenes power broker, Patchett exudes
authority much more so than the Mayor does.
MAYOR
The Arroyo Seco freeway is just
the beginning. We're planning
freeways from Downtown to Santa
Monica, from the South Bay to the
San Fernando Valley. Twenty
minutes to work or play is the
longest you'll have to travel.
More applause. One REPORTER asks a little too loudly...
REPORTER
How many bodies you think Mickey
Cohen'll be able to hide in all
that cement?
The Mayor wears a plastic smile, ignores it.
INT. THE MOCAMBO - NIGHT
A CLUB PHOTOGRAPHER pops snapshots, but the real action
is on the floor where MICKEY COHEN does a wicked "Lindy
Hop" with THREE different GIRLS at once. A fireplug of a
man, he hardly seems a public menace. Nearby is his
bodyguard JOHNNY STOMPANATO. Over it all:
HUDGEONS (V.O.)
Meyer Harris Cohen, Mickey C to
his fans. He's the big moocher,
local L.A. color to the nth
degree. You know Mickey. He runs
dope, rackets and prostitution.
He kills a dozen people a year.
But who you may not know is
bodyguard Johnny Stompanato.
His hair in a slick pompadour, Stompanato keeps an eye on
Cohen and comes onto a CIGARETTE GIRL at the same time.
HUDGEONS (V.O.)
Johnny's handsome, ladies, but the
real attraction is below the belt.
Second only to Steve Cochran, he's
sometimes known as 'Oscar' because
of his Academy Award-size
appendage.
Mickey works a sweat on the dance floor. A bottle of
champagne pops; Stompanato reacts, nearly draws a pistol
from his shoulder holster. As he laughs at himself...
INT. HUSH-HUSH MAGAZINE OFFICE - DAY
Lurid page one headlines cover the wall where SID
HUDGEONS types. The essence of sleaze, Sid is the
publisher-photographer-writer of Hush-Hush magazine and
keeper of inside dirt supreme. As he continues...
HUDGEONS (V.O.)
Remember, dear readers, you heard
it here first, off the record, on
the Q.T. and very Hush-Hush.
INT. HANCOCK PARK MANSION - BALLROOM - NIGHT
The party continues. The Mayor has moved off to the side
with the power brokers. Patchett is a presence.
MAYOR
We're selling an image, gentlemen.
Beautiful weather. Affordable
housing.
(re: model)
Trouble-free transportation. And
the best police department in the
world to keep it all running
smoothly.
EXT. STOREFRONT - NIGHT
A dozen people watch a display windoe TELEVISION as it
rolls the opening of the hit show "Badge of Honor." Over
familiar THEME MUSIC, "Sgt. Joe Reno" (actor BRETT CHASE)
walks the streets of Los Angeles.
CHASE (V.O.)
My name? Joe Reno. The city?
Los Angeles. A big town. Full of
all sorts of people. It's my job
to help them. I like what I do.
I'm a cop.
INT. HANCOCK PARK MANSION - BALLROOM - NIGHT
The Mayor continues.
MAYOR
But with a second rate Al Capone
out there, L.A. looks like Chicago
in the '30s. Something has to be
done.
As Pierce Patchett nods sagely.
INT. OLYMPIC AUDITORIUM - NIGHT
Wrestler GORGEOUS GEORGE primps and poses before flatten-
ing an opponent with a drop kick.
INT. MOVIE THEATER - NIGHT
An enthusiastic crowd adjusts their 3-D glasses.
EXT. COHEN MANSION (BEVERLY HILLS) - DAY
In monogrammed silk pajamas, Mickey Cohen answers the
door, his pet BULLDOG Mickey Jr. at his feet. The police
are waiting. REPORTERS' flashbulbs pop.
POLICE OFFICER
Mr. Cohen, you're under arrest.
COHEN
Bullshit. What's the charge?
POLICE OFFICER
Non-payment of federal income tax.
COHEN
Bullshit.
EXT. GRAUMAN'S CHINESE - DAY
JOHN WAYNE gets his hand prints in the sidewalk.
EXT. WESTCHESTER BEAN FIELD - DAY
MIGRANT WORKERS hurry to finish the harvest. We PAN
TO CONSTRUCTION WORKERS who wait impatiently with bull-
dozers under a "Spirit of the Future" BANNER. As the
last picker leaves the field, the bulldozers move in,
leveling the bean rows to make way for a housing tract.
EXT. FEDERAL COURTHOUSE - STEPS - DAY
Flashbulbs pop as Mickey Cohen exits and starts down
the steps. Accompanied by his LAWYERS, bodyguard
Stompanato and mob lieutenants DEUCE PERKINS and NATE
JANKLOW, Cohen ignores REPORTERS' shouts.
REPORTER
How's your bullshit now, Mickey?!
As Cohen gets into a waiting car, the media turn their
attention to District Attorney ELLIS LOEW. A singularly
ambitious man, Loew loves the spotlight.
LOEW
Today is an auspicious one for the
city of Los Angeles. Mickey Cohen
has just been sentenced to ten
years in federal prison for
failure to pay income tax.
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 one
year from his pension.
DUDLEY
It would've happened years ago if
you hadn't carried him. Why the
loyalty, Wendell?
BUD
He helped me out once. That's all.
DUDLEY
Your partner's through.
Department scapegoat on the
Chief's orders. He's been billed,
he'll be indicted and he'll swing.
BUD
Him and me both. Fucking Exley.
DUDLEY
Don't underestimate his skills.
As a politician he exceeds even
myself. But the department needs
smart men like Exley and... direct
men like yourself
BUD
What do you want?
DUDLEY
Wendell, I want you to come to
work for me.
BUD
Doing what? Mowing your fucking
lawn?
Smith yanks the newspaper revealing Bud's badge & .38
Special. Bud can't believe his eyes.
DUDLEY
They're yours. Take them.
BUD
I knew you had juice, but...
There's no goddamn bill on me?
DUDLEY
Four of the defendants recanted
their testimony.
BUD
How?
Dudley dismisses the question with a wave of his hand.
DUDLEY
I need you for an assignment the
Chief's given me the go-ahead on.
A duty few men are fit for, but
you were born for. You'll be
working out of Homicide.
BUD
(excited)
Homicide? A detective?
CHIEF
Your talents lie elsewhere,
Wendell. It's a muscle job and
shooting job. You'll do what I
say and not ask questions. Do you
follow my drift?
BUD
(disappointed)
In Technicolor.
DUDLEY
Will you work for me?
BUD
Of course... But how?
DUDLEY
How what, Wendell?
BUD
How'd you get them to retract?
Dudley lays brass knuckles on the table. They're
chipped, caked with blood.
DISSOLVE TO:
L.A. MONTAGE
Over the pop song "STRANGER IN PARADISE."
A) EXT. GRAUMAN'S CHINESE - NIGHT
Frank Sinatra at the premiere of From Here to
Eternity.
B) INT. KLUB ZAMBOANGA - NIGHT
Charlie "Bird" Parker makes magic before an
appreciative, mostly black crowd.
C) TORCH SONG TAVERN (RIVERSIDE) - NIGHT
Nate Janklow exits with his latest flame. A mob
lieutenant, Nate was last seen with Mickey Cohen
outside the Federal Courthouse in the opening
montage. A CAR SCREECHES up. TWO GUNS aim and Nate
and his date do down in a proverbial HAIL OF LEAD.
D) EXT. FREEWAY - DAY
A groundbreaking. The Mayor scrapes at the ground
with a gold shovel. Pierce Patchett is among the
distinguished guests.
END OF MONTAGE
EXT. HOLLYWOOD HIGH SCHOOL - DAY
The marquee gushes: "Today Sgt. Joe Reno: Badge of
Honor Star Brett Chase."
INT. HOLLYWOOD HIGH SCHOOL - AUDITORIUM - DAY
A nerdy 14-YEAR-OLD asks Brett Chase:
14-YEAR-OLD
Why'd you become a policeman?
CHASE
I'm not a policeman. I just play
one on television. But I think I
can answer for them. To help
people. That's why I do the show.
Chase looks over and winks at Jack who waits in the
wings.
CHASE
To protect and serve. It's not
just a motto.
As the kids applaud, Chase joins Jack who gives him a
quick drag of a cigarette. A nervous PA joins them.
Chase points out a fetching girl in the second row.
CHASE
That one. In the sweater.
(to Jack)
They also serve who only stand and
wait.
Chase and Jack watch the PA ask "Sweater" a question
while pointing to Chase. Maybe sixteen, she nods "yes"
eagerly.
CHASE
Jack, I'll see you Monday on set.
JACK
I won't be there. They're toning
down my profile.
PRINTING PRESS
The latest issue of Hush-Hush flies through. On the
cover: "Gail Russell Caught In Love Nest. Nymph or
No?"
INT. CITY JAIL - DAY
Bud White flips through today's booking slips, finds one
that's interesting. Reading to himself...
BUD
Domestic. Assault and battery.
Containment Squad strong-arms, BREUNING and CARLISLE
pause as they pass.
CARLISLE
Ready to go, Bud?
BUD
I'll be there in five minutes.
CITY JAIL - HALLWAY
Bud walks to a door covered in sheet metal. He opens it
to reveal a holding tank with a burly, jumpsuited
PRISONER.
BUD
I hear you like to hit women.
PRISONER
My wife. She's dropping charges
so it's none of your business.
Bud enters, closes the door behind him. A beat, we hear
the sounds of FISTS ON FLESH. It's Bud's business now.
INT. BEVERLY HILLS MANSION - STUDY - NIGHT
Deuce Perkins (the Mickey Cohen narcotics lieutenant seen
earlier) stands at the bookshelf. He pulls down books to
reveal a shoe box. He sets it on his desk, pulls back
the cover to reveal several bags of white powder.
Heroin.
A BRANCH SNAPS outside. Perkins opens a drawer, fishes a
revolver. Turning off the light, he heads to the window.
His finger parts the curtains. At that instant, he
staggers, falls as GUNFIRE rips into him.
The heroin just sits there on the desk.
EXT. McNEIL PENITENTIARY - DAY
Grim-faced guards scan the yard from machine-gunned
towers.
INT. McNEIL PENITENTIARY - VISITOR BOOTH - DAY
Mickey Cohen sits across from visitor Johnny Stompanato.
Cohen is going off the handle.
COHEN
What do you mean Deuce Perkins got
clipped last night?!
STOMPANATO
They shot him in his library.
COHEN
I don't want a floor plan; I want
to know who! Who's taking the
ticket for this, Johnny?
STOMPANATO
Nobody. At least not yet.
COHEN
And what about the merchandise
Deuce was holding for me?
STOMPANATO
Gone. Not a trace.
COHEN
Some ferstunkener is moving in and
we don't know who?! Maybe we
should ask Hedda Hopper!
As "STRANGER IN PARADISE" ENDS, so does the MONTAGE.
INT. BRIEFING ROOM - AD VICE - DAY
Addressing the squad, a no-nonsense VICE CAPTAIN picks up
a stack of magazines.
VICE CAPTAIN
Picture-book smut, gentlemen.
There's been a bunch of it found
at collateral crime scenes lately.
Mostly narcotics and prostitution
collars.
As the Vice Capt. hands it out for the men to examine,
new member Jack Vincennes arrives late.
VICE CAPTAIN
Look who's back from suspension.
We're honored, Sergeant Jack.
The men laugh. Jack sits, flips a magazine. Men and
women. Men and men. Girls and girls. Girls and horses.
JACK
Gee. The Great Jerk-Off Book
Caper of 1953.
VICE CAPTAIN
Vincennes, is there someplace
you'd rather be?
JACK
Yeah, Cap. Back in Narcotics.
VICE CAPTAIN
Oh? Anyplace else?
JACK
Working whores with squad two.
VICE CAPTAIN
Maybe you should have thought of
that before you made Bloody
Christmas page one.
Vice Capt. retrieves the magazines, hands them to Jack.
VICE CAPTAIN
They're yours. Make a major case,
Sergeant. It's the only way
you're getting out of here.
Exaggerated "oohs" and "aahs" from the men.
VICE CAPTAIN
Dismissed, gentlemen.
As they go, Jack sees the books are stamped: "Fleur-de-Lis
Whatever you desire." Jack takes the matching
business card from his wallet, the one he found on
Christmas Eve.
VICE CAPTAIN
Roll, Vincennes. No sidetracks.
This is Ad Vice, not Narco.
INT. HOLLYWOOD STATION - NARCO PEN - DAY
Jack Vincennes is at his desk. Holding the Fleur-de-Lis
card, magazines spread before him, Jack dials the number.
INT. HUSH-HUSH MAGAZINE OFFICE - DAY
Sid Hudgeons sits behind his desk, answers the phone.
HUDGEONS
Hush-Hush. Off the record and on
the Q.T.
JACK (V.O.)
Sid, it's Vincennes.
HUDGEONS
Jackie, are you back on Narco? I
need copy.
INTERCUT WITH Jack at his desk:
JACK
No. But I've got something going
with Ad Vice.
HUDGEONS
Something good?
JACK
Don't know. I'm chasing picture
books. Fuck shots, but the posers
don't look like junkies. It's
well done stuff. I thought you
might have heard something.
Hudgeons reaches into a stack of papers, pulls out a
magazine like the one Jack has.
HUDGEONS
Not a word.
JACK
What about Fleur-de-Lis? Their
slogan's 'Whatever you desire.'
HUDGEONS
No. No, I've heard bupkis. Jack,
I'll talk to you later. Call me
when you get something I can use.
Smut's from hunger. For sad sacks
who can't get their ashes hauled
The LINE CLICKS off. Jack hesitates a moment before
cradling the receiver. Something's not right here.
EXT. HOLYWOOD STATION - PARKING LOT - TWILIGHT
As Exley pulls in, his two-way drones:
DISPATCHER (V.O.)
Park Rangers report three Negro
youths discharging shotguns into
the air in Griffith Park.
Suspects are driving a late model
purple Mercury Coupe.
As the report ends, Exley switches off the two-way and
gets out of his car.
INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT
Accompanied by Bud, Dick Stensland crams the contents of
his desk into a box. Well-wishing cops pat him on the
back, offer words of encouragement, but Stensland looks
like he's going to cry.
It's very bad timing as Exley enters, comes face-to-face
with them. This is hatred.
Acting on impulse, Bud goes after Exley. It's a mauling.
Four vicious body shots. A potentially lethal head shot
sails wide as Exley falls to the ground.
As four men move to hold Bud back, Exley looks up at him.
EXLEY
(gasping)
You're just a thug, White. That's
all you'll ever be.
Dudley steps into the fray. He helps Exley to his feet.
DUDLEY
You should stay away from a man
when his blood is up.
EXLEY
His blood's always up.
Four cops are genuinely having trouble holding Bud back.
Dudley watches with something bordering on admiration.
DUDLEY
Then maybe you should stay away
from him all the time.
EXT. HOLLYWOOD STATION - PARKING LOT - NIGHT
Accompanied by Bud, Stensland reaches his car, loads his
box of stuff into the trunk. Bud is moody, pensive.
STENSLAND
Don't look so down in the mouth,
Bud. You nailed him good.
BUD
Yeah, sure... I got a couple of
hours before I have to be at the
Victory. Want to grab a beer?
STENSLAND
Rain check me, partner. I got
something big going on tonight.
BUD
What? That new mystery girl
you've been seeing?
STENSLAND
No. I'll tell you sometime. Not
now. Don't want to jinx it. But
it could take the edge off that
jail time I got coming.
BUD
What are you talking about?
STENSLAND
It's confidential, Bud. Like that
magazines Vincennes scams for.
Hush-Hush.
(smiles)
I'll see you tomorrow. And hey,
if it works out, you'll get a
piece of it.
Stensland gets in the car, drives off. Bud is left
alone.
INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT
Exley sits alone in a sea of desks. The SQUAWK BOX
DRONES. Exley squints at the clock on the wall, can't
make it out. He takes his glasses from the inside of his
jacket. 2:00 A.M. Finally, something to do. He walks
to the wall calendar, tears off Feb. 28 to reveal Mar. 1.
As Exley sits, the call SQUAWK BOX booms to life.
VOICE
Squad call! Nite Owl Coffee Shop
One-eight-one-two-four Cherokee!
Multiple homicides! Multiple
homicides! Code three!
EXT. HOLLYWOOD AND CHEROKEE - NIGHT
Patrol cars. Blues setting up a crime scene blockade.
Exley pulls up, DOUSES his SIREN. PATROLMAN #1 runs
over.
PATROLMAN #1
Loads of people down. Men.
Women. I stopped for coffee --
Exley pushes him aside, heads for the door. It's wide
open.
INT. NITE OWL - NIGHT
Exley takes mental snapshots. Ten stools front a
counter. The side wall mural-papered: winking owls
perched on street signs. On the right a string of
tables. Three in disarray. Food spilled, dishes broken.
A high-heel pump by an upended chair.
Heel drag marks across the linoleum floor heading back
toward the kitchen. Exley follows. Past an open, empty
cash register. Outside -- SIRENS.
SERVICE RUNWAY
Crisscrossed drag marks connect, lead to a walk-in...
FOOD LOCKER
Blood-soaked bodies on the floor. Five, maybe six in a
tangle. Dozens of shotgun shells float in the pools of
blood. As Exley struggles to maintain his composure...
ROOKIE (O.S.)
Holy shit fuck...
Exley looks at a green-faced ROOKIE in the locker
doorway.
ROOKIE
S-s-sir, there's a captain outside
wants to see you.
EXLEY
Don't get sick! Not in here!
Exley shoves the Rookie, puking, out the door.
EXT. NITE OWL - NIGHT
Patrolmen hold back a swarm of reporters and rubber-
neckers. HORNS BLAST. Motorcycles run interference for
meat wagons cut off by the crown. As Ed emerges,
reporters surge, shout questions. Exley hurries past,
finds Dudley in command and barking orders.
EXLEY
Sir, I took the call. It's my
case.
DUDLEY
Edmund, you don't want it and you
can't have it.
EXLEY
Yes, I do, sir.
DUDLEY
It's mine. I'll make you my
second in command.
Exley spots a photographer moving in. He looks properly
serious as the flash bulb pops.
INT. NIGHT OWL - NIGHT
Forensics Chief RAY PINKER walks Exley and Dudley
through.
PINKER
We got a total of forty-five spent
12-gauge Remington shotgun shells.
Three men with five-shot-capacity
pumps. All of them reloading
twice.
EXLEY
Hold on... We need to canvass.
See if a purple Mercury was seen
around here tonight.
DUDLEY
Why?
EXLEY
We got a call earlier on three
Negro youths. Firing shotguns in
Griffith Park from a late-model
purple Mercury Coupe.
DUDLEY
(to his adjutant)
Get on it.
A FORENSICS COP approaches Pinker.
FORENSICS COP
We got an I.D. on one of the
victims, sir... I think it's Dick
Stensland.
Exley and Dudley react, look at each other.
EXT. VICTORY MOTEL - DAWN
Set in a no-man's-land of bulldozed homes. A sign
proudly announces the impending arrival of the freeway.
The motel is surrounded by a barbed-wire fence.
Abandoned but for a pair of LAPD cars and a light burning
in room 6.
An unmarked pulls up and Exley and Dudley step out. They
start forward, but a SCREAM inside 6 stops Exley short.
DUDLEY
With Mickey Cohen in prison, Los
Angeles is organized crime free.
The Chief wants it to stay that
way, Edmund. The means are not
for the weak-hearted.
INT. VICTORY MOTEL - ROOM 6 - DAWN
Bare. A table and chair bolted to the floor. A tough
FLAT-NOSED GANGSTER is cuffed to the hot seat. On the
table are a .45 and a fat roll of $100 bills.
Breuning and Carlisle watch as Bud White delivers a
couple of short, stiff body shots. Flatnose is not used
to being on the receiving end. All the same, we get the
idea Bud's a bit reluctant.
Bud's back is to Dudley and Exley who enter behind him.
DUDLEY
Come, Wendell, you can do better
than that.
Bud turns, sees Exley and Dudley. A beat. As Bud looms
over Flatnose, the gangster babbles. Snitch-frenzied.
FLATNOSE
I know things. I hear things.
Like with the Mick inside, things
are on this weird slowdown.
(MORE)
FLATNOSE (CONT'D)
These shooter teams, bang bang
bang, they're 86-ing Mickey
Cohen's men.
DUDLEY
We know all that, lad. Tell us,
who do these shooters work for?
FLATNOSE
I don't know. No one knows.
Maybe they're mavericks. You want
a prostie roust? Huh? Some narco
action?
(breaking down)
What do you want?!
DUDLEY
We want you to go home.
(to Breuning)
Uncuff him, Michael.
Dudley turns to Exley.
DUDLEY
Mr. Sifakis is a known loan shark
from San Francisco. He arrived
this afternoon at Union Station.
Looking for business opportunities
in our fair city. An organized
crime associate in need of re-
education in the ways of polite
society.
Uncuffed, Flatnose rubs his wrists. Wary. As Breuning
steps back, Flatnose snatches the .45 off the table.
FLATNOSE
Motherfuckers!
Exley dives for cover, but the other four cops just stand
there. Dudley looks down on the floor at Exley.
DUDLEY
It's part of the play, Edmund. A
sincerity test.
Flatnose looks at the gun a beat, then squeezes the
TRIGGER. CLICK CLICK. No bullets.
DUDLEY
(to Breuning)
Sit him back down.
CLICK, CLICK. They shove Flatnose back in the hot seat.
Dudley offers a hand to Exley, helps him to his feet.
DUDLEY
Wendell, you need to accompany
Detective Lieutenant Exley on
official police business. I'll
finish up here.
INT. EXLEY'S PLYMOUTH - DAY
They drive in silence. No love lost here. Finally.
BUD
Where are we going?
EXLEY
It's a surprise. You like
surprises, don't you, White?
EXT. COUNTY MORGUE - DAY
Exley pulls up. Bud looks to him. Really curious now.
INT. COUNTY MORGUE - HALLWAY - DAY
Exley and Bud walk. An orderly wheels a covered corpse
toward them from the other end of the hall. Bud's
spooked. The orderly wheels the body in to the
examination room.
As Bud and Exley pass, the CORONER pulls back the sheet,
is surprised at the sight of a woman who we don't quite
see.
CORONER
Call me crazy, but for a second I
thought it was Rita Hayworth.
MORGUE MEAT LOCKER
Exley and Bud walk past a wall of drawers to where a
coroner's assistant waits.
EXLEY
We need you to I.D. the body.
There's no next of kin and you
knew him best. So tell me...
The assistant pulls open drawer 12. A naked man.
A tag on his toe and half his face blown off.
EXLEY
Is that Dick Stensland?
Stunned, Bud stares at what's left of his old partner.
BUD
Yeah, that's Stens.
EXLEY
Hell of a way to avoid a prison
sentence.
Bud's torn between wanting to smash Exley and finding out
why Stensland is dead. He squeezes out the words.
BUD
What happened?
EXLEY
Someone held up a coffee shop,
panicked and killed six people.
Then, from the hall...
WOMAN (O.S.)
Not my baby! Not my little girl!
INT. COUNTY MORGUE - EXAMINATION ROOM - DAY
HILDA LEFFERTS, 50, enters with the coroner to ID the
body of her daughter, Susan.
There's stray buckshot in the upper chest and shoulders,
but a sheet hides the real damage. It's the girl Bud saw
outside Hollywood Liquor. Without the black eyes, she
does look like Rita hayworth.
As Bud and Exley appear, Mrs. Lefferts looks confused.
CORONER
Is this your daughter, Mrs.
Lefferts?
MRS. LEFFERTS
I -- I don't know.
EXLEY
We know this is difficult. Just
take your time and look again.
Exley doesn't realize, but Bud recognizes the deceased.
MRS. LEFFERTS
It seems like my Susan, but...
EXLEY
When was the last time you saw
her, Mrs. Lefferts?
MRS. LEFFERTS
At Christmas. We had fought. I
didn't like her boyfriend. I --
she has a birthmark on her hip.
The Coroner lifts the sheet. Mrs. Lefferts gasps.
MRS. LEFFERTS
It's her. My baby. Dear God...
As Mrs. Lefferts swoons, Bud and Exley both hold her up.
INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY
The room buzzes, jammed to the rafters with every
detective standing ready. The Chief waits as Dudley
Smith takes the mike, holds up an L.A. Times headline.
DUDLEY
'Nite Owl Massacre.' Hyperbole
aside, this is a heinous crime
that requires a swift resolution.
The public will demand it and this
department will provide it. Six
victims. One of them, one of our
own -- Dick Stensland.
(as the cops react)
As it happens, he was a Nite Owl
regular. In the wrong place at
the wrong time.
Bud White listens, not too sure. Stensland said he had
something big going on...
DUDLEY
Robbery looks like the motive. We
have rubber glove prints on the
register and preliminary forensics
strongly lean toward a trio of
gunmen. We do have one hot lead,
so listen well. Three Negro
youths were seen last night
discharging shotguns in the air at
Griffith Park.
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. MONTA