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TRANSCRIPT:
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PREFACE
 
EXT. RESIDENTIAL STREET - DAY
 
Police cars, sirens wailing, pull up at a bungalow residence.  A distraught female utility employee (gas or electric) is standing out front.
 
Ray and Tom step out of their vehicle.
 
TOM
Ma'am.
 
WOMAN
I was walking up the side there and it sounded like someone was calling for help, so I pulled myself up to the window and it seems like they've got somebody locked in there.
 
RAY
All right, ma'am, we're going to need you to make a statement, I want you to wait back on the corner over there. 
 
Ray notices two neighbors standing nearby.
 
RAY (cont'd)
Go back in your house please, sir.  Back in your home.
 
TOM
Rodriguez, cover the read door.  Martin, on the fence.  Owen and Dixon with us through the front.
 
Officers disperse.  Ray, Tom and two other officers approach the front door.
 
Ray knocks on the front door.
 
INT. BUNGALOW RESIDENCE - CONTINUOUS
 
We see no one inside.
 
RAY (O.S.)
LAPD, open up!
 
EXT. BUNGALOW RESIDENCE - CONTINUOUS
 
Ray and Tom stand outside, guns drawn.
 
Ray knocks on the door again.
 
RAY
LAPD!
 
They wait.  There's still no response.  Ray moves to kick in the door.
 
INT. BUNGALOW RESIDENCE - CONTINUOUS
 
The front door bursts open.  Ray and Tom enter and proceed cautiously into the home, guns drawn.
 
Tom looks in one bedroom - no one.
 
He opens the door to the bathroom - no one again.
 
They approach a final closed bedroom door.  Ray nods to Tom.
 
Ray grabs the door handle and opens the door.  Tom rushes to look inside.
 
INT. BEDROOM - CONTINUOUS
 
we hear a man MOANING as we see Tom enter, gun drawn.
 
TOM
Oh my God.
 
Ray and Tom can't believe what they see.
 
There is an old man on the bed, arms tied to the bedposts with rope.
 
MAIN TITLES
 
ACT I
 
INTERTITLE: DAVID McNORRIS
 
INT. FANCY DINING HALL - NIGHT
 
We are at a fundraising function for the district attorney's office.
 
BEN
The truth?  Tonight, I'm a politician, seeking your support in my reelection campaign.  But tomorrow morning, I am a prosecutor, working to fulfill the promise I made to restore public confidence  to the LA district attorneys office.
 
The crowd applauds.
 
BEN
Thank you.  Thank you very much.  Thanks.
 
We see Andrea in the crowd, smiling and clapping.
 
And we hear someone tapping a glass with a spoon.  The applauds dims.
 
It's David McNorris.  He stands.
 
DAVID
Hello.  For those of you who don't know  me, I'm deputy district attorney David McNorris.  And I'd like to speak to the renewed sense of pride we all feel since Ben took office.  There's a great old saying amongst lawyers, if you don't know the law, make damn sure you know the judge.
 
The crowd laughs lightly.
 
We see Andrea looking dismayed.
 
DAVID
We lawyers know the best lawyer jokes, because we know what we are.  We don't trust us any more than you trust us. 
 
David brushes a glass in front of him lightly with his hand and almost knocks it over.  He seems a little tipsy.
 
DAVID
But that's what sets Ben Fisher apart.  Look at him.  He's-- he's the guy in the white hat.  He's Eliot Ness.  We had a case recently that dealt with this family of some means, and the possibility that a member of that family had committed a capital crime.  Do you remember what you said to me, Ben?  Standing together at that indoor swimming pool, at that Holmy Hills estate?  No?  Well, I will never forget what you told me.  He said, David, pursue this investigation wherever it leads without fear or favor.  So?  To all you rich folks here this evening, let that be a warning to you, no matter how deep your pockets, the Los Angeles district attorney is not for sale. 
 
David lifts his water glass in a toast
 
DAVID
To you, Ben!
 
MAN IN THE CROWD
Hear, hear!
 
The crowd applauds.
 
Andrea does not.
 
David gives Ben the thumbs up.
 
EXT. DINING HALL BUILDING - NIGHT
 
Andrea exits, approaches the Valet, and hands him a ticket.
 
ANDREA
It's a black BMW.
 
VALET
Okay.
 
ANDREA
Thanks.
 
As Andrea waits, David approaches her from behind.
 
DAVID
You gotta admit it, I was pretty damn good in there. 
 
ANDREA
How much did you have to drink tonight?
 
DAVID
You know I don't drink at functions.
 
ANDREA
No, I mean before you got here, and then in the bathroom, when you could sneak out.
 
DAVID
Just a little.
 
ANDREA
What were you doing in there?
 
DAVID
Backing Fisher's play.
 
ANDREA
Oh, is that what you thought?  You have a funny way of showing it.
 
DAVID
Well, I can't let him take my corruptibility for granted.
 
ANDREA
David, you need him a lot more than he needs you.
 
DAVID
I don't need him at all. (beat) I need you.
 
ANDREA
Don't.
 
DAVID
No, I need you to give me a ride to my car, because the valet was full when I got here.
 
EXT. DARK STREET - NIGHT
 
Andrea's black BMW approaches a single car parked by the curb.
 
INT. ANDREA'S CAR - CONTINUOUS
 
The car comes to a stop.
 
ANDREA
I hate you right now.  Please get out.
 
DAVID
I think I'm too drunk to drive.
 
ANDREA
I'll call you a cab.
 
She starts to dial on her cell phone, but David stops her.
 
DAVID
I'm not that drunk.
 
ANDREA
you have no idea how unattractive you are when you're like this.
 
DAVID
If you want me to stop drinking, it's pretty simple.  Just come back to me.  
 
ANDREA
David, I can't give you the help you need, right now I'm just trying to take myself.
 
DAVID
Okay, okay, so I should be feeling sorry for you, because you're the one who has the miserable life right now, huh?
 
ANDREA
I think you better get out of the car.
 
DAVID
No, no, cause you're the victim in this whole thing, aren't you?
 
ANDREA
Get out of the car.
 
DAVID
You know what I always forget to remember?  Life revolves around that pretty little rich girl.
 
ANDREA
Go to hell.
 
David gets out.
 
DAVID
I'll see you there.
 
She pulls away abruptly.  David gets in his car.
 
INT. DAVID'S CAR - CONTINUOUS
 
He starts the engine.  The radio is playing Warren Zevon's "Lawyers, Guns and Money."
 
He opens the glove compartment.
 
DAVID
Okay.  Come on.
 
He pulls out several small liquor bottles, and looks at them. 
 
DAVID
Empty.
 
He then throws them back in.
 
He pauses a moment, then reaches under the passenger seat.
 
DAVID
Oh, wait a second.  Come on, come on.
 
After fumbling under the seat for a minute, he pulls out a bottle in a brown paper bag.
 
RADIO
"I went home with a waitress"
 
DAVID
Oh, yes. Oh, Hello, hello, hello.
 
RADIO
"The way I always do"
 
He takes a long drink.
 
RADIO
"How was I to know,
She was with the Russians too."
 
David turns up the volume on the radio.
 
DAVID
Yeah, a little Zevon.
 
David nods to the music.
 
RADIO
"I was gambling in Havana
I tool a little risk."
 
David starts to sing with the music
 
DAVID
"Said Lawyers Guns and Money
Can't get me out of this.
Hah!"
 
David pulls away in his car quickly.
 
FADE TO BLACK
 
INT. DAVID'S CAR - MORNING
 
David is lying in the front seat of his car, sleeping.  He's wearing the same clothes as the night before.
 
We hears birds chirping.  He slowly awakes, groaning.
 
DAVID
Man, welcome home, Mr. McNorris. 
 
He sits up, squinting at the sunlight.
There is a spider-webbed crack high on his windshield.
 
DAVID
Like a horse to the barn.
 
David notices the cracked windshield.  He gets out of the car.
 
The car is parked crookedly in his drive-way, half in and half out.
 
He walks to the front of the car, rubs his eyes, and notices a blood stain on the passenger-side front headlight.
 
He touches the blood stain with his fingers, then looks at his finger tips.
 
Then he wipes his hand on his hankerchief.
 
INT. MCNORRIS GARAGE - DAY
 
David pulls the car into the garage and shuts the garage door.
 
INT. MCNORRIS RESIDENCE, KITCHEN - DAY
 
David washes his hands at the sink, hurriedly.
 
INT. MCNORRIS RESIDENCE, KITCHEN - DAY
 
He pours himself a drink and downs it in one shot.
 
INT. MCNORRIS RESIDENCE, DINING ROOM - DAY
 
David empties his pockets on the table.
 
DAVID
Phone, phone, where's the phone?
 
He finds the phone in his jacket pocket, and opens it up.
 
DAVID
Andrea?
 
He dials.
 
DAVID
Hey Andrea, it's David.  Sorry for calling you last night at 2:26 in the morning.  Uh, don't exactly remember what I said, but I hope that it was an apology for my bad behavior in the car last night.  Hopefully you can give me a few hints as to what I may have done when I left you.  Just give me a call when you have a chance, okay?  All right, bye.
 
He hangs up, then downs another drink.
 
As he stands there, he notices the bar napkin that was in his pocket.
 
He picks it up and looks at it closely.  It has something scribbled on it.
 
He suddenly seems to remember something.
 
FLASHBACK - INT. BAR - NIGHT
 
The bartender sets a glass down on the bar napkin in front of David.
 
David downs the drink.  The lights in the bar blur.
 
INT. DAVID'S DINING ROOM - CONTINOUS
 
David calls the number on the bar napkin.
 
The phone rings.  It's the answering machine.
 
VOICE ON PHONE (LELA; FILTERED)
Hi, this is Lela.  I don't wanna miss a single thing you have to say, so leave your name and number at the beep, and I'll get back to you real soon.
 
David hangs up the phone.
 
DAVID
Who the hell is Lela?  Who's Lela?
 
He pulls out a phone book and slams it on the table, and starts paging through it. He finds a page he's looking for and rips it out of the book.
 
He dials a number from that page on his phone.
 
It rings.
 
David suddenly throws the phone book on the floor.
 
A woman answers the phone on the other end.
 
FEMALE VOICE (filtered)
Rolls rental cars.
 
DAVID
Hi, I need a rental car.
 
FEMALE VOICE (filtered)
For today?
 
DAVID
Yeah.
 
INT. DAVID'S RENTAL CAR / BLUE-COLLAR NEIGHBORHOOD - DAY
 
David drives the rental car as we hear Howard Stern's chatter on the radio about lesbians.
 
He stops at a corner joint called "Cheetah's" and parks across the street.
 
EXT. CHEETAH'S - CONTINUOUS
 
He gets out of the car and approaches the door.
 
The door is locked with a sign that says "CLOSED.  OPENS AT NOON"
 
David rattles the cage on the door and walks away.
 
As he steps into the street a car honks, and he has to step back.
 
INT. RENTAL CAR - DAY
 
David gets back in the car
 
As David buckles in, we hear a news announcement on the radio.
 
RADIO NEWSMAN
Police have Vernita at 5th street as they investigate a hit and run fatality, and that has traffic slowing all through the Vernita corridor.  Now headed on the 405, there's a street alert...
 
David suddenly pulls into traffic and does a U-turn, almost causing an accident.
 
EXT. STREET NEAR FREEWAY OFFRAMP - DAY
 
David in his rental car approaches spot where police have blocked the road.
 
A police woman waves at him as he approaches.
 
David slows and shows her his ID.
 
DAVID
David McNorris, deputy DA.
 
WOMAN
Go ahead.
 
He pulls up to the crime scene investigation and dials on his cell phone.
 
DAVID (on phone)
Hey Peter, hey cancel everything for the rest of the day.  No, no everything.  Ah shoot, that's at four o'clock, isn't it?  Okay, not the hearing, just cancel everything else.  Yeah, I'll be on my cell phone if you really need me.  Okay.
 
He hangs up as Ray approaches his car and looks in his window.
 
RAY
McNorris
 
DAVID
Hey.
 
RAY
Where's your cadillac?
 
DAVID
Uh, it wouldn't start this morning.  This is a rental.  What's going on down here?
 
RAY
Your publicity flacks gave you a bum tip on this one.  No lights, no camera, no action.
 
DAVID
So what happened?
 
RAY
Homeless John Doe.
 
TOM
Happened last night, but nobody found him til day break.
 
DAVID
Any witnesses?
 
TOM
Well, we haven't started the canvas yet, counselor, but if you want to take the south side of the street, we could use all the manpower we can get.
 
DAVID
Yeah.
 
TOM
Ray, you see what I see?
 
Tom is looking at the road.
 
TOM
No skid marks on either side of the impact.  Driver never even slowed down.
 
RAY
Probably DUI.
 
TOM
Definitely.
 
David slowly walks over to the body with a pool of congealed blood around it.
 
We cut between images of the blood on David's headlight, drops dripping down to the cement, and the dead man lying in the road.
 
David looks like he's about to get sick and walks away.
 
ACT II
 
INTERTITLE: TOM
 
EXT. ACCIDENT SCENE - DAY
 
David is getting sick by the side of the road.
 
Ray and Tom look on.
 
RAY
There's a media event for you.
 
The crime-scene photographer approaches Tom and hands him some photos.
 
PHOTOGRAPHER
Office Turcotte.
 
TOM
Thanks.  I got pictures of the victim.  Take it around to the shelters and soup-kitchens.  Maybe we can put a name to this guy.
 
David approaches Ray and Tom.
 
RAY
You don't look so good, McNorris.  Maybe you should call in sick?
 
DAVID
Look, who's the detective in charge of this one?
 
TOM
Fearless.
 
DAVID
Okay, okay.  Just tell him I want to be kept in the look on everything.
 
TOM
Absolutely.
 
David heads off.
 
RAY (to Tom)
He's got an angle.  I don't know what it is yet, but he's got one.
 
TOM
Yeah, well, maybe he cares.
 
RAY
Oh, he cares all right.  Just not about the poor slob we scraped up off the pavement.
 
David's car screams away.
 
POLICE RADIO
A-1-49, possible hostage victim in Davis canyon.
 
TOM
A-1-49, Roger.  Responding code 3.
 
Ray and Tom get in their car and drive away, sirens wailing.
 
FLASHBACK - EXT. BUNGALOW - DAY
 
Ray and Tom pull up at the bungalow from the Teaser.
 
WOMAN
I was walking up the side there, and it sounded like somebody was calling for help, so I pulled myself up to the window.  It seems like they've got somebody locked in there.
 
FLASHBACK - INT. BUNGALOW _ DAY
 
Ray and Tom rush in.
 
FLASHBACK - INT. BUNGALOW, BEDROOM - DAY
 
Ray and Tom discover the old man tied to the bed.
 
EXT. BUNGALOW - PRESENT
 
Tom approaches Teresa and Randy wheeling the old man out on a stretcher.
 
TOM
How's he doin?
 
TERESA
He's dehydrated and malnourished.
 
OLD MAN
Are you taking me to work?
 
TERESA
No, Mr. Dinger, we're taking you to the hospital.
 
OLD MAN
But I gotta get to work.
 
TOM
Where do you work, sir?
 
OLD MAN
Ah, Raleigh Aerospace.  Tool and die cutter.
 
TOM
Well, I'm sure they won't mind if you're a few minutes late.  Teresa?
 
Tom takes Teresa aside.
 
TOM
That defense plant closed, like, twenty years ago.
 
TERESA
We should put a call in to the DHD.
 
TOM
Looks like elder abuse.
 
TERESA
Excellent case.
 
A guy in a blue pickup suddenly pulls into the driveway.
He gets out and approaches Ray.
 
GUY
Hey, what happened?
 
RAY
Hang on sir.
 
GUY
What's going on?
 
RAY
You live here?
 
GUY
Where's my Dad?
 
RAY
We're taking him to the hospital.
 
The guy approaches the back of the ambulance.
 
GUY
Is he all right?  Dad?
 
TOM
He'll be fine.  He's a little dehydrated.  He'll be fine, sir.
 
RAY
Sir, is your father in your care?
 
The guy looks at Ray and Tom and suddenly bolts.
 
TOM
I got him
 
Tom pursues the guy in foot, almost running into an oncoming SUV.
 
Ray runs to the car.
 
RAY
1-Adam-South-49.  My partner's on foot pursuit.  St. Andrew's 29 South.  Eastboudn through the houses.
 
EXT. SIDE YARD - DAY
 
Tom races after the suspect through a side yard.
 
EXT. BUNGALOW - DAY
 
Ray drives the car in high speed in reverse and spins it around.
 
EXT. SIDE YARD - DAY
 
The suspect jumps over a tall, red wooden fence.
 
Tom jumps over the fence after him.
 
The suspect then jumps over a tall metal fence.
 
Tom climbs to the top of the fence and looks over and stops.
 
The guy is lying on the ground below, unconscious.
 
He slowly jumps down.
 
On the ground is an abandoned toilet with blood on the side, near the suspect's head, which is also bleeding.
 
Tom speaks on his radio.
 
TOM
Control, 1-A-49. Suspect down.
 
We hear sirens and a car screeching to a stop nearby.
 
It's Ray.  He's blocked the alley with the car.
 
TOM (cont'd)
Request R.A. for a caucasian male, 25-yr old, unconscious and breathing.
 
RADIO (filtered)
Roger that 1-A-49.  An RA unit has been requested.
 
Ray runs up to Rom.
 
RAY
What do we got?
 
TOM
Knocked himself out cold.
 
RAY
He tanked out.
 
They laugh.
 
INTERTITLE: DAVID McNORRIS
 
INT. POLICE CORRIDOR - DAY
 
David McNorris intercepts Fearless in the hallway.
 
DAVID
Detective Smith.
 
FEARLESS
Hey how's it goin' counselor?
 
DAVID
Good.  I was wondering if you made any headway in that John Doe hit and run case yet?
 
FEARLESS
No, but I'm goin' to the autopsy this afternoon, so I hope to get an ID from the guys fingerprints.
 
DAVID
Um hm.  ANy witnesses?
 
FEARLESS
In the area where this occurred?  I wouldn't hold my breath.
 
DAVID
Look, I told Tom to keep me in the loop if anything happens, so I appreciate any assistance from you. 
 
FEARLESS
Yeah, but, there's not much we can do without a suspect.
 
DAVID
Right.  Right.
 
They arrive at Fearless and Joel's office area.
 
JOEL (O.S.)
Coat, tie.
 
Joel is hanging up a dress coat on the coat rack.
 
DAVID
I'm sorry?
 
JOEL
Coat and tie.  Court this afternoon.  You're here to talk about the affidavit?
 
DAVID
Oh course.  Uh, well it's just a suppression hearing.  I'll put you on the stand.  I'll prove probable case.  The judge will rule on the admissibility of the evidence.
 
JOEL
Right.  Suppression hearing.  I know what it is.
 
DAVID
Great.  See you in court.
 
David leaves.
 
Joel and Fearless look at each other.
 
JOEL
That's your boy.
 
FEARLESS
No, that's your boy.
 
They laugh.
 
INTERTITLE: LAYLA
 
INT. "CHEETAH'S" STRIP CLUB - NIGHT
 
Beautiful girls dance on stage as electro-funk music plays.
 
David sits at the bar downing a drink.  His back is turned to the girls on stage.
 
The bartender pours him another.
 
One of the girls on stage seems to notice David, alone, sitting at the bar, with his back turned.
 
David suddenly notices her reflection in the mirror, dancing.
 
He turns around and looks.
 
Layla notices him.
 
David takes a swig of his beer.
 
Now Layla is looking right at David as she dances.
 
David watches.
 
Layla is wearing less and less.
 
It's as if she is dancing just for him.
 
She smiles.  He smiles back.
 
INT. CHEETAH'S - LATER
 
David and Layla are sitting together at a table, talking.
 
DAVID
See now, that's very important to me.  You know, I need to know how you feel about children.
 
LAYLA
I love kids.
 
DAVID
Bingo!
 
(She laughs)
 
DAVID
See, I think kids are very important.  Well, they're very important to me anyway.
 
LAYLA
I think you're drunk.
 
DAVID
Hmm?  No, I'm not, no.  Oh, wait a minute.  Look at all these guys here, I Gotta know how many of these guys propose to you every night.  Look at this guy.
 
LAYLA
Oh, all of them.  All the time.
 
DAVID
I'll bet they do.  What's your name?
 
LAYLA
Layla.
 
DAVID
Layla?  Really?
 
LAYLA
Really.
 
DAVID
I love that song.  I have to tell you.
 
She laughs
 
DAVID
No, I'm serious.  I think it's a great song.  I love that song.  I won't sing it.
 
LAYLA
What's your name?
 
DAVID
David.
 
LAYLA
What do you do, David?
 
DAVID
I'm a lawyer.
 
LAYLA
A lawyer?  That's nice.
 
DAVID
No, it sucks.  You're supposed to take pride in your work, right?
 
LAYLA
You don't take pride in your job?
 
DAVID
Maybe I did at one time, I just.  I don't know.  I don't really like it anymore.
 
LAYLA
I don't know about you, but I work for my money.
 
DAVID
Wow.  You're kind of tough, aren't you?
 
LAYLA
Only the strong survive.
 
DAVID
You see, now a woman like you could keep me in line.
 
LAYLA
You can count on it.
 
EXT. CHEETAH'S PARKING LOT - DAY
 
Layla is taking a bag out of the trunk of her car.
 
DAVID
Layla?
 
David is standing in the lot nearby.
 
LAYLA
Go to hell.
 
DAVID
No, no, just, just wait.
 
LAYLA
Look, get away from me before I start screaming.
 
DAVID
Please, just give me one minute. Please.
 
LAYLA
Why, so you can try to explain last night?
 
DAVID
No, see that's the problem.  I don't really remember what happened.
 
LAYLA
What, you're blackout drunk?  I can really pick em.
 
DAVID
Look, I don't remember coming to the club, I don't remember meeting you, I don't remember anything.
 
LAYLA
Then how do you know my name?
 
David pulls out the bar napkin.
 
DAVID
I called your voicemail, I got your name, I came down here to the bar, I asked the bartender what happened, he said we left last night, but that's all he'd give me.  So I've been waiting here.
 
LAYLA
Waiting, for what?
 
DAVID
Waiting just to find out what happened.
 
LAYLA
We met in the bar, we had a drink, you seemed like a nice guy, we went for a drive.
 
FLASHBACK - INT. DAVID'S CAR - NIGHT
 
Layla and David are driving and laughing.
 
EXT. CHEETAH'S NIGHT - CONTINUED
 
DAVID
Where did we go to?
 
LAYLA
No place.  You got a phone call.
 
FLASHBACK - INT. DAVID'S CAR - NIGHT
 
David's phone is ringing.
 
He's trying to answer the phone and drive at the same time.
 
LAYLA
Here, why don't you let me help you.
 
DAVID
Hold on, hold the wheel
 
LAYLA
Come on, I've got it.  Come on, just--
 
David puts the phone to his ear.
 
DAVID
Hello? (to Layla) I've got it.
(to phone)
Hello?  Marian.  How-- what?  She did what?  No, why would I tell her?  I don't know.  She's a reporter, she gets information on things.
 
LAYLA
Could you just slow down, slow down a little bit, please.
 
DAVID
No-- no there's not a girl in the car.  Okay, I'm not talking to a girl, okay?  Marian?  Marian?
 
LAYLA
Look, why don't you just pull over?  Okay, why don't you just pull over?
 
DAVID
Please be quiet while I'm on the phone.
 
LAYLA
Look, you're gonna kill somebody.
 
DAVID
Just shut up, shut the hell up while I'm on the phone.
 
LAYLA
Stop the car!!!
 
David screeches to a stop and Layla gets out.
 
LAYLA
Let me out!
 
She gets out and slams the door.
 
DAVID
(to phone)
Pick up the phone!
 
He peels away, driving very erratically.
 
LAYLA
Son of a bitch!
 
DAVID
That's it?
 
LAYLA
That's it.  Why, what happened?
 
DAVID
Nothing.
 
LAYLA
You know why I let you buy me a drink?  You're the only guy in there that was looking at my face.  How pathetic is that?
 
Layla walks past David into the bar.
 
David just stands still.
 
INTERTITLE:  FEARLESS
 
INT. POLICE HALLWAY - DAY
 
TOM
Hey, Fearless?
 
FEARLESS
Hey.
 
TOM
Got some walk-ins on that hit and run.
 
FEARLESS
Thanks.
 
TOM
All right.
 
FEARLESS
Hey, the old guy that you found, how's he doin'?
 
TOM
They say he's got some kind of dementia.  Teresa said he's so out of it, that he probably didn't even know he was tied up.
 
FEARLESS
Did you interview his son yet?
 
TOM
No, no, I'm gonna bring him in from the hospital in a little while.
 
FEARLESS
All right, hang in there, man.
 
TOM
All right.
 
Fearless heads to his desk and discovers McNorris there looking through his file.
 
Fearless clears his throat.
 
FEARLESS
McNorris.
 
DAVID
Just wanna see if you had a match for those John Doe prints yet.
 
FEARLESS
No, not yet. How was court?
 
DAVID
Oh, Son of a bitch.  Maybe they're not finished yet -Oh.
 
He sees Joel coming back from court.  He throws his things angrily on his desk.
 
JOEL
Where the hell were you McNorris?  I called your office, I called your cell phone.
 
McNorris stoops to pick up some of Joel's things that tumbled to the floor.
 
JOEL
Leave it on the floor.
 
DAVID
How was the hearing?
 
JOEL
Well, the judge said some unflattering things about you, and then he granted the defense motion.
 
DAVID
He threw out the evidence?
 
JOEL
Yeah, he threw out the evidence.  He threw out the whole case!  We've been trying to make this case for six months, and thanks to you, our dealer just walked.
 
David is laughing.
 
JOEL
Glad you think it's funny.
 
FEARLESS
You okay, Counselor.
 
DAVID
Detective Stevens, do me a favor, will you?
 
JOEL
No.
 
DAVID
Come on.  Hit me.  Just punch me right in the face.  You know it's been coming, so just do it now, please just hit me.
 
JOEL
No.
 
DAVID
Come on, you can do us both a big favor, just hit me. 
 
JOEL
How much have you had to drink today, counselor?  Huh?  If we run a blood alcohol on you, what are we gonna find.
 
David suddenly notices in the background, Layla approaching Ray down the hallway.
 
RAY
You want to make a statement?
 
LAYLA
Um, yes.
 
JOEL
Hey.
 
David suddenly walks off.
 
DAVID
Shoot.
 
As he passes Fearless...
 
DAVID
Excuse me.
 
ACT III
 
INTERTITLE: RAY
 
EXT. CRIME SCENE - DAY
 
RAY
You don't look so good, McNorris.  Maybe you ought to call in sick?
 
DAVID
Who's the detective in charge of this?
 
TOM
Fearless
 
DAVID
Just tell him I want to be kept in the loop on everything, okay.
 
TOM
Okay.  AbSolutely.
 
RAY
He's got an angle.  I don't know what it is, but he's got one.
 
INT. POLICE STATION - DAY
 
Ray is rounding up all the eye witness walk ins from the hit and run. 
 
RAY
This is for the hit and run.  Line up right here and go down the hall this way, follow this officer into the interview room, bring all your belongings with you, line up right here, we'll get you some coffee, and you can go into the interview one at a time, make a brief statement, and you'll be done.
 
Layla approaches Ray.
 
LAYLA
Excuse me, is this for the hit and run?
 
RAY
Yes, it is.  You want to make a statement.
 
LAYLA
Yes, I'd like to.
 
RAY
All right, well just get in line there, and we'll see you at the end of the hall here.
(to all)
All right, people, we're all gonna go in one at a time.
 
INT. INTERVIEW ROOM - DAY
 
Ray is taking Layla's statement.
 
LAYLA
Anyway, we hadn't been in the car two minutes when his phone rang and it was a woman, I think he called her Mary Ann, was probably his wife.  Anyway, that's when you lost it, I mean, he went crazy, started screaming at me and driving crazy and I made him let me out right there.
 
RAY
So what makes you think that your dream date turned into our hit and run driver.
 
LAYLA
Well, he showed up where I work this afternoon really nervous, said he had a blackout, that he doesn't remember anything about last night, but what he really wanted to know was what happened after we got in the car, like he knew he did something wrong.
 
RAY
He give you a name, a business card, anything like that?
 
LAYLA
He said his name was David, and that he was a lawyer.  Mid-thirties, average build, and really close-cropped white blond hair.  What I remember the most about him were his eyes.  He had these really intense blue eyes.
 
RAY
David?
 
LAYLA
Yeah, who knows if that's his real name or if he's really a lawyer.
 
RAY
And what did he say his wife's name was?
 
LAYLA
Mary Ann?  Marian?
 
RAY
All right, well, thank you for coming in, Ms. French.  It's been very helpful.
 
INTERTITLE; DAVID McNORRIS
 
INT. POLICE HALLWAY - EARLIER
 
Joel is speaking to McNorris.
 
JOEL
How much have you had to drink today, counselor?  If we run a blood-alcohol on you, what are we gonna come up with?
 
David notices Layla talking to Ray down the hall and flees.
 
He walks down the hallway in a blur and runs to the door.
 
INT. MCNORRIS GARAGE - DAY
 
David enters and shuts the door behind him.
 
He pauses, then starts to pace.
 
DAVID
I know, I know, I know, I know, I know.
 
He goes to the car with a bottle and glass of alcohol and crouches by the blood stained headlight.
 
DAVID
I know what to do, Pop, I know that I can fix this, I can fix it with a little soap and water, that's all it's gonna take, a little soap and water, a little elbow grease.
 
David gets up, takes a drink, and heads to the sink.
 
DAVID
Soap and water.  Elbow grease will take care of the whole thing. 
 
He starts to fill a bucket with water.
 
DAVID
Okay.  I mean, what are they gonna do?  They gonna take the word of some stripper?  Her testimony, testimony of a stripper?  I don't think so. 
 
He pours some soap solution into the bucket.
 
DAVID
No, wait a minute, don't characterize.  Concentrate on the facts.  Now, what are the facts?
 
David turns and speaks as if in the courtroom.
 
DAVID
Young lady, did you actually see Mr. McNorris's car strike the victim?  No, you did not?  No more questions.  No more quesitons.
 
He turns back and speaks to his own reflection in the mirror about the sink.
 
DAVID
I made a mistake.  Okay, I made a mistake.  A man is dead, yes, I know, but there was no malice. 
 
JUMP CUT - Now he's pacing, glass and bottle in hand.
 
DAVID
He was walking in the street himself, in the middle of the street.
 
JUMP CUT - Now he's talking to himself in the mirror again.
 
DAVID
There was no intent, your honor.
 
JUMP CUT - Now he's pacing again.
 
DAVID
Walking.
 
JUMP CUT - Now he's talking in the mirror again.
 
DAVID
One victim already, a John Doe, a homeless alcoholic.  Do we need to destroy the life of two people?
 
JUMP CUT - Now he's talking in the mirror still.
 
DAVID
No, but I call justice.
 
JUMP CUT - Now he's pacing.
 
DAVID
What was he thinking?  I mean, you want to talk about law, what about law of the jungle.
 
David sees his reflection in the side window of the car.
 
DAVID (V.O.)
It was a mistake.
 
He talks to his reflection in the side window.
 
DAVID
Believe me, this man's death will not go in vain, your honor.  The lesson of this will not be lost on me.  I'm going to go about my life in a whole new way.
 
He takes a drink.
 
DAVID
A whole new way.
 
JUMP CUT - He pacing again.
 
DAVID
That's good.
 
He approaches the sink and  removes his jacket.
 
DAVID
Ladies and gentlemen of the jury, Mr. McNorris is not a criminal, no he is not, he is a promising, no he's an aggressive prosecutor with a promising future.  please don't take that promising future away from him.  Cause I will swear to you he will dedicate himself to making this city a better place for all men and women, and isn't that worth the life of one homeless alcoholic? 
 
DAVID (V.O.)
Homeless alcoholic.
 
He turns to the sink and sees himself in the mirror.
 
He suddenly shouts at himself.
 
DAVID
What!?  I can't believe a word I'm saying.
 
JUMP CUT - He's crouched by the bloody headlight.
 
DAVID
You want to know the truth?  The truth is, the defendent is a lying, womanizing, cheating drunk, and yes, he's a murderer, a murderer who's about to wash away the evidence of his crime.
 
He reaches into the bucket and pulls out the sponge, and hesitates.  Then touches the sponge to his lips.
 
DAVID
Sorry, Pop.  I can't fix this one.
 
He drops the sponge in the bucket and stands up and backs away.
 
DAVID
Can't fix this one.
 
He pushes the button to open the garage door, just as Officer Ray is approaching outside.
 
RAY
Just the man I was looking for.  I need to take a look at your car, Counselor.
 
Ray enters the garage.
 
ACT IV
 
INT. DAVID'S GARAGE - DAY
 
Ray is looking at the crack in David's windshield.
 
RAY
You drunk now?
 
DAVID
Not as much as I'd like to be.
 
RAY
Well, you probably don't want to say anything.  You got the right not to.
 
Ray crouches down and takes a swab frmo the blood on the car's headlight.
 
RAY
You oughtta know that stripper you took for a little spin, Layla?  She came into the station today. she heard about our John Doe, and she was outraged that anyone could commit an act like that and not take responsibility.  And what do I find when I come here?  The great David McNorris, all ready to destroy evidence in order to save his own ass. 
 
Ray stands
 
RAY
I guess the rules that the rest of us have to live by, they don't apply to you guys, huh?
 
DAVID
You must really be enjoying this, huh?
 
RAY
Why?  Because I found out you're no better than what you accused me of being?  I already know that.  Get your clothes, I'm taking you down to the station.
 
INT. POLICE STATION - DAY
 
Ray brings David in, without cuffs.
 
RAY
Please, this way.
 
He leads David to a interrogation room.
 
RAY
Go on, take a seat.  You know how this works.  I've be right back with a detective.  You wanna pull yourself together.  You look like crap.
 
David enters.  He closes and locks the door.
 
INT. INTERROGATION ROOM - CONTINUOUS
 
David walks to the one-way mirror and stares at it closely.
 
He buttons his jacket and tries to appear presentable.
 
He smiles, grimaces, hides his eyes and starts to sob, quietly.
 
Then he stops, straightens up, and sits down.
 
The door opens and Fearless enters, along with Mr. Dinger, and Tom and Ray.
 
FEARLESS
All right, have a seat, Mr. Dinger.
 
Mr. Dinger, with a bandage on his head, sits.
 
FEARLESS
This is deputy DA David McNorris.
 
DAVID
Uh, somebody want to explain to me what is going on here.
 
FEARLESS
Officers Heckler and Turcotte responded to a report of a possible kidnapped hostage victim.  Arriving at the scene, it looked like what they really had was a case of elder abuse.
 
TOM
Mr. Dinger's father has alzheimer's disease.  He can't afford full time supervision, so he tied his father to the bed.
 
MR. DINGER
It was the first time and it was for his own protection.  What else was I supposed to do?
 
DAVID
What does this have to do with me?
 
FEARLESS
The reason he tied him to the bed was because sometime late last night his father got out and took Mr. Dinger's pick up truck for a ride.
 
MR. DINGER
He thought he had to go to work.
 
FEARLESS
The old man got back, the pick up truck had been in an accident.
 
MR. DINGER
It looked like it had hit a fence or something like that.
 
RAY
It's officer Turcotte who put it all together.  He figured out that old man Dinger used to work in a factory, right near where we found the hit and run.  So he checked out the pick up truck, and he found fibers that matched the victim's shirt lodged in the headlight socket.
 
TOM
Bottom line, Mr. Dinger's father killed out John Doe.
 
MR. DINGER
Hey, he didn't know what he's doing.  He thinks that Reagan is still president.
 
FEARLESS
We just figured we better find out how the DA's office wanted to handle this.  You said you wanted to be kept in the loop.
 
Ray gives David a knowing look, then walks away.
 
INTERTITLE: ANDREA
 
INT. DINING HALL, BENEFIT - NIGHT
 
DAVID
We don't trust us any more than you trust us.
 
David almost knocks over a drink.
 
DAVID
Let that be a warning to you rich people here this evening, the district attorney's office is not for sale.  To Ben!
 
The crowd applauds weakly.
 
David looks at Andrea.
 
INT. ANDREA'S CAR - NIGHT
 
Andrea and David are stopped by his parked car.
 
ANDREA
Get out of the car.
 
DAVID
I always forget that everything revolves around the pretty little rich girl, doesn't it.
 
ANDREA
Go to hell
 
David gets out.
 
DAVID
Yeah, well, I'll see you there.
 
EXT. COURTYARD - NIGHT
 
Andrea approaches the door to David's wife's home.
 
She knocks.
 
David's wife opens the door.
 
WIFE
David's not here.
 
ANDREA
Yeah, I know, he's out on the road somewhere drunk.
 
WIFE
Then call the police.
 
She tries to close the door, but Andrea stops her.
 
ANDREA
Please, just--
 
WIFE
Who the hell are you to come to my house like this?
 
ANDREA
I didn't come for myself.
 
WIFE
Of course you did.
 
ANDREA
What can I possibly say to you.  I feel like a fool standing here, but I just--  David's destroying his life.  If he keeps going the way he's going, pretty soon, there's not going to be any pieces to pick up.  He needs somebody he loves and trusts to tell him, to get through to him somehow.  He needs you.
 
WIFE
My only concern now is what I need, and what I need more than anything is for David McNorris to be out of my life. 
 
She tries to close the door again and Andrea stops it.
 
ANDREA
I can't believe that, I can't believe that after eight years of marriage you suddenly stop caring.
 
WIFE
What do you know about caring and commitment?  Have you ever built a life with someone?  Have you ever had a moment in your life that wasn't about satisfying your needs and your wants no matter what the cost?
 
ANDREA
Excuse me.
 
She starts to walk away.
 
WIFE
My marriage ended when I realized that David didn't care back.
 
She shuts the door.
 
INT. DINER - NIGHT
 
Andrea talks ot her sponsor, Scott, over coffee.
 
SCOTT
You went to his wife?  That's incredibly stupid.
 
ANDREA
No really, Scott, don't try to make me feel better.
 
SCOTT
How you feel and what you do about it isn't my responsibility.  Any more than David's feeling and actions are your responsibility.  My job as a sponsor is to stand outside your craziness and remind you of that.
 
ANDREA
That's great.  That'll make a heck of a bumper sticker someday.
 
She puts on her shawl, ready to leave.
 
SCOTT
I held a gun on a liquer store owner once.  If he sold liquor to my son one more time.  I was desperate.  I was out of control.
 
She removes the shawl and settles back in.
 
ANDREA
So I'm not uniquely stupid.  Self destructive.
 
SCOTT
Stop.  Let it go.
 
ANDREA
When does it stop?  When do you finally quit thinking, maybe this time it'll be different.
 
SCOTT
When that happens to me, I'll let you know.
 
INT. ANDREA'S APARTMENT - NIGHT
 
There's KNOCKING on the door.  She approaches, wearing a slip.
 
ANDREA
I'm coming, I'm coming, I'm coming.
 
She opens the door and David is standing there.
 
ANDREA
What are you doing here, David?
 
DAVID
Look, I had a really bad day, and I can't really remember what happened last night, and I was hoping maybe I said something to you when I called.
 
Andrea points him inside.
 
ANDREA
Take a seat.
 
David enters.  Andrea goes to her answering machine.
 
ANDREA
I didn't pick up.  You spoke to my answering machine.
 
She pushes a button on the machine.
 
MACHINe
You have one saved message. <BEEP>
 
DAVID (on recording)
Andrea?  Andrea, this is David.  Pick up the phone.  Pick up the damn phone, this is David.
 
LAYLA (on recording)
Stop the car!  Stop the car!
 
FLASHBACK - EXT. INDUSTRIAL AREA - NIGHT
 
David and Layla are driving.  She's screaming.
 
LAYLA
Stop the car!  Stop the car!  Let me out!  You son of a bitch!
 
DAVID
Hello?
 
EXT. ANDREA'S APARTMENT - DECK - NIGHT
 
The recording continues to play.
 
DAVID (on recording)
Pick it up! 
 
ANDREA
Least you haven't lost your people skills.
 
DAVID
My wife.  You went to her door.  What the hell were you thinking?  Was this some kind of sick thrill for you, huh?  What do you think you're doin?  Cause if this is the game you wanna play?
 
Suddenly there is a THUD on the recording, and the sound of tires screeching.
 
FLASHBACK - DAVID'S CAR, ON THE ROAD - NIGHT
 
David comes to a stop.  He's still talking on the phone.
 
DAVID
Oh, my God.
 
INT. ANDREA'S APARTMENT - NIGHT
 
DAVID (on recording)
Oh, my God.  I think I hit something.
 
FLASHBACK - ROAD - NIGHT
 
DAVID
What did I hit?  Oh God.
 
INT. ANDREA'S APARTMENT - NIGHT
 
DAVID
Oh God.  I hit the dog.
 
FLASHBACK - ROAD - NIGHT
 
David leans down at the carcass of a dog.
 
DAVID
Oh God.  Collar.  Somebody's dog.
 
The phone clicks off.
 
INT. ANDREA'S APARTMENT - NIGHT
 
DAVID
I killed a stray dog.
 
ANDREA
Yep.
 
DAVID
I-- I thought that I killed a man.  This homeless guy.
 
ANDREA
David, you don't have to do this alone.  There are people that can help you.
 
DAVID
Therein lies the problem.  The lie.
 
ANDREA
What lie?
 
DAVID
That somehow we're not alone.  That we'll be somehow there for each other.
 
ANDREA
And what's the truth David?
 
DAVID
You wanna know what the truth is?  The truth is that we're born alone and we're gonna die alone.  And sometimes there's these sweet little moments that we have this illusion that we're connected.
 
ANDREA
You just don't get it do you?  It's all right there in front of you and you can't even reach for it. 
 
DAVID
Oh really?
 
ANDREA
All we have is each other, David.  That connection.  All the rest, the careers, the homes, the cars, the money, that's the illusion.
 
DAVID
You really see me unfolding chairs in some church basement singing Kum Bye Ya with a bunch of drunks.
 
ANDREA
No, you're right, you're so much better off just going on like this.
 
She gets the tape out of the machine and tosses it to him.
 
ANDREA
Here you  go, you can collect those instead of 30 day chips.  Don't mind me.  You can see yourself out.
 
He drops the tape and leaves.
 
EXT. CEMETARY - DAY
 
David approaches men setting a wood coffin by a grave.  It raining.
 
MAN
How's it going?
 
DAVID
Good.  How are you?
 
MAN
A bit wet, but I can't complain.
 
DAVID
Look, you mind if I-- a moment here, alone?
 
MAN
Sure.
 
He steps away.
 
DAVID
Thank you.  Thank you sir.
 
David talks to the coffin.
 
DAVID
I guess it's still John Doe, huh?  That's pretty popular name around here.  Look we haven't really met.  My name's David.  that guy who killed you that night, he didn't mean anything by it.  Just an old guy who's lost his mind.  Least he had an excuse.  See uh, could have just as easily have been me that night.  Case you're wondering why I'm here, I thought someone oughtta say a few words, you know maybe I thought that you could, that you might have some wisdom to share.  To be honest with you, I'm flat out of ideas lately.
 
Suddenly, we hear a voice.
 
VOICE
I can't help you.  You have to figure it out for yourself.
 
David looks at the coffin, surprised.
 
VOICE
We're not gonna be done here for an hour, that's why.
 
David turns.  The voice is from the man behind him, talking on a phone.
 
MAN
Damn.
 
He hangs up.
 
MAN (to David)
You done?
 
David looks at the coffin one last time
 
MAN
Come on guys.
 
David walks away.
 
THE END