DIAGNOSIS MURDER
"Blood Ties"
TEASER
FADE IN:
1 EXT. SUNSET STRIP BAR - NIGHT 1
MILTON WILDER, 40, comes out, talking smoothly into a cell
phone. He oozes so much oily charm it's amazing he can walk
without slipping on his own slime trail.
WILDER
(into phone)
I warn you, hire two of my girls
for the bachelor party, your
friend won't want to get married
anymore.
That's when Wilder stops. There's a gorgeous girl we'll come
to know as TINA COLE, early 20s, standing obviously on the
curb in an ultra-tight, ultra-short micro-mini. A dark look
comes over his face.
WILDER
Call the 800 number in the
morning, sport. Ask for the
"annulment special."
He slaps the phone shut and heads over to the young woman. She
turns to him, puts on a big, fake smile -- but underneath, she
looks young and scared.
TINA
You looking for some action?
The words don't sound natural coming out of her mouth.
Clearly, she hasn't had a lot of experience saying them.
Wilder moves in closer.
WILDER
I own the action on these streets.
All the action.
It takes her a moment to understand -- but when she does,
she's scared. She tries to back away. He grabs her.
WILDER
Who are you working for?
CONTINUED
"Blood Ties" 1/29/98 2.
1 CONTINUED: 1
TINA
Nobody. I just got here last week.
From Ogden.
Now Wilder smiles. This isn't a bad situation at all.
WILDER
Then it's lucky you ran into me.
I'm the best manager on the strip,
and I'm always looking for new
talent.
TINA
I don't need a manager.
WILDER
There are a lot of bad people out
there. I'd hate to see anything
happen to your pretty face.
She hears the threat, nods.
TINA
Okay.
WILDER
Not so fast. First, you need to
audition.
She knows what that means. She thinks for a moment, then
gestures towards the alley next to the bar. He grins, and we
follow them to:
2 EXT. SUNSET STRIP ALLEY - NIGHT 2
Where Wilder grabs her and pushes her up against a wall.
That's when he hears a SOUND behind him. He turns and sees
MELINDA LIPTON, 20s, as gorgeous as Tina and as suggestively
dressed.
WILDER
What's this?
TINA
She's my friend.
Melinda comes up to Wilder, slides a hand down his chest.
CONTINUED
"Blood Ties" 1/29/98 3.
2 CONTINUED: 2
WILDER
They got any more girls like you
back in Ogden?
MELINDA
Just a couple.
That's when FAYE ANDREWS and RACHEL WASHINGTON, 20s and
equally stunning, peel out of the shadows. They come up to him
seductively.
WILDER
I've died and gone to heaven.
TINA
You're half right.
That's when the four women step back from Wilder -- and pull
out silenced guns and shoot him. He crumples to the ground,
dead. Then Melinda pulls Wilder's wallet out of his pocket,
slides out his driver's license, and sticks a PINK DOT on the
back, then replaces the wallet and licence. And as the four
women give Wilder one last, disdainful look, then turn and
walk away, we DISSOLVE TO:
3 EXT. COMMUNITY GENERAL - ESTABLISHING - DAY 3
4 INT. COMMUNITY GENERAL - DOCTORS LOUNGE - DAY 4
DETECTIVE AMY DEVLIN, 30s, paces nervously, waiting for
someone. Bright, attractive, Amy is the consummate
professional cop... cool, collected, every move she makes is
carefully considered. Right now, however, the only thing on
her mind is her critically ill father. MARK SLOAN enters.
MARK
If he had to wait another day or
two for a donor liver, your father
wouldn't have made it. He's going
into surgery right now.
AMY
What are his chances?
CONTINUED
"Blood Ties" 1/29/98 4.
4 CONTINUED: 4
MARK
Most patients do extremely well
post-operatively and he's in
excellent shape for a man his age.
But there are no guarantees, Amy.
AMY
I'm used to that.
And on her distant look, we CUT TO:
5 INT. COMMUNITY GENERAL - ER LOBBY - DAY 5
Detective TAYLOR LUCAS, 30s, is waiting, too... for her
partner. She's like a human hand grenade...explosive energy
contained until the pin is pulled. She's a thrill junkie,
fearless, up for anything. Which is why she's so bored right
now. She slouches in an uncomfortable chair, tears open a bag
of POTATO CHIPS, and starts eating. That's when a TEAM OF
PARAMEDICS crash through the doors with a GUNSHOT VICTIM. DR.
JESSE TRAVIS rushes up to meet them.
JESSE
What've you got?
EMT #1
GSW to the chest. He's bleeding
out. BP is 60 palp, pulse is 150
and thready. I've started him on
ringers IV.
Jesse and the nurse start guiding the gurney to the TRAUMA
ROOM; Jesse giving orders on the fly.
JESSE
(to nurse:)
Trauma one, lets go! CBC, chem-7,
cross and match. I want six units,
0-negative, and a chest tube.
Taylor glances up idly as they race off to the TRAUMA ROOM. To
her, this is almost as entertaining as the chip she is
eating...but not quite.
"Blood Ties" 1/29/98 5.
6 HER POV - THE TRAUMA ROOM 6
Through the Trauma Room window she can see the emergency team
getting to work on the patient.
7 BACK TO SCENE 7
Taylor looks back and sees a NERVOUS MAN, 30s, entering the
ER, his hands stuffed in the pockets of his jacket. He seems
twitchy and wired, scanning the lobby. Taylor eyes him
warily... she knows something isn't right. He seems to spot
what he's looking for. She follows his gaze back to:
8 HER POV - THE TRAUMA ROOM 8
Jesse is intubating the victim and doing whatever other
desperate measures are necessary to save the guy's life.
9 BACK TO SCENE 9
The Nervous Man walks with determination into the trauma room.
Taylor watches him as she slowly folds up the open end of her
half-eaten bag of chips. INTERCUT WITH:
10 HER POV 10
Jesse angrily confronts him. She doesn't seem surprised when
the nervous man suddenly PULLS OUT A GUN and AIMS IT AT THE
PATIENT. Jesse puts himself between the man and his target.
One of the nurses SCREAMS.
Jesse tries to reason with him as Tayler approaches a doctor,
who is hurriedly dialing a phone.
DOCTOR
Get me security.
Tayler taps him on the shoulder. He turns around and she
flashes her BADGE.
TAYLOR
I've got the situation under
control.
That's when the NERVOUS MAN fires a FEW ROUNDS PAST Jesse,
SHATTERING A ROW OF VIALS and BEAKERS on a COUNTER TOP.
CONTINUED
"Blood Ties" 1/29/98 6.
10 CONTINUED: 10
Taylor turns back to the doctor.
TAYLOR
Really. I'm gonna need your lab
coat.
And on his confusion, and her cocky smile, we CUT TO:
11 INT. COMMUNITY GENERAL - DOCTOR'S LOUNGE - DAY 11
Mark and Amy react to the sound of gunshots.
MARK
That sounded like gunshots.
Amy groans wearily.
AMY
Taylor.
Amy pulls out her GUN and rushes out, Mark following after
her. And we CUT TO:
12 INT. COMMUNITY GENERAL - TRAUMA ROOM - DAY 12
The nervous man, let's call him ALVIN, is even more nervous
now. Frightened NURSES cower on the floor. Jesse is still
standing, the only thing between the gunman and his victim.
JESSE
If you don't put that gun down and
let me get back to work, this man
is going to die.
ALVIN
He will after I pump a few more
bullets into him. If you don't
move out of my way, they'll go
through you first.
That's when a SHRILL VOICE calls out behind Alvin.
WOMAN'S VOICE
He's already dead! We all are!
CONTINUED
"Blood Ties" 1/29/98 7.
12 CONTINUED: 12
It's Taylor, now wearing the doctor's lab coat. Gone is her
cocky self-confidence. Now she looks positively terrified. Her
entire body is quivering with fear.
TAYLOR
For God's sake, kill us all.
Jesse glares at her.
JESSE
Would you please shut up?
Taylor points her quivering finger at a BROKEN VIAL on THE
FLOOR.
TAYLOR
Look...look what he's done. He
broke a vial of zystic bacteria,
serio-group three. It's in the air
now! We're all breathing it!
The gunman looks from her to Jesse and yells:
ALVIN
What the hell is she talking about?
Jesse has no idea, either. Before he can say anything, she
suddenly shrieks:
TAYLOR
It's going to start soon....the
skin erosion, the vomiting, the
bleeding from every orifice.
Please, I beg you, shoot me!
Alvin looks at Jesse. Behind Alvin's back, Taylor gives Jesse
a hard glare.
ALVIN
She's lying.
Jesse shakes his head "no." Alvin's GUN HAND begins to shake.
He grabs his wrist with his other hand to steady himself.
TAYLOR
In five minutes, you'll know for
yourself.
CONTINUED
"Blood Ties" 1/29/98 8.
12 CONTINUED: (2) 12
She steps closer and closer to him as she talks, scratching
her arms, her voice cracking with panic.
TAYLOR
That's when the skin begins to
erupt in pustules. You're probably
already beginning to feel the itch.
In fact, he is. He lets go of his wrist to scratch his
leg...his gun hand really shaking now.
TAYLOR
Kill him, kill me, kill everyone.
Just save a bullet for yourself.
He spins around, his gun aiming at her now.
13 INT. COMMUNITY GENERAL - ER LOBBY - DAY 13
Mark and Amy rush out of the elevator and see what's going on
in the trauma room. Amy sees Taylor inside and motions Mark to
stay back.
AMY
It's all under control.
Mark glances at her in disbelief.
MARK
It certainly doesn't look like it
to me.
14 BACK TO SCENE 14
Taylor is getting closer and closer. Alvin is getting more and
more unhinged.
ALVIN
Stop or I'll shoot!
TAYLOR
Do it! Do it now!
She keeps walking until the BARREL OF THE GUN is pressed right
against her chest.
CONTINUED
"Blood Ties" 1/29/98 9.
14 CONTINUED: 14
TAYLOR
Shoot! Shoot! SHOOT!
Suddenly Taylor grabs his wrist and, in ONE LIGHTNING
MOVEMENT, takes the gun and WHACKS HIS FACE with her ELBOW,
knocking him out cold. Alvin drops to the floor. She shakes
her head at him.
TAYLOR
Coward.
Taylor straddles him and cuffs his hands behind his back.
JESSE
You're insane.
Taylor smiles at him.
TAYLOR
You're welcome.
She puts the gun in one pocket of her lab coat and pulls her
bag of chips out of the other as she WALKS OUT.
15 INT. COMMUNITY GENERAL - ER LOBBY - DAY 15
Mark and Amy are waiting as Taylor casually emerges, eating
her chips. Amy holsters her gun and smiles at Mark, who is
staring at Taylor in astonishment.
AMY
Dr. Sloan, I'd like you to meet my
partner, Detective Taylor Lucas.
TAYLOR
Nice hospital you have here.
Waiting area is a little dull,
though.
She offers him her bag of chips.
TAYLOR
Chip?
And on Mark's look, we FADE OUT.
END OF TEASER
"Blood Ties" 1/29/98 10.
ACT ONE
FADE IN:
16 EXT. POLICE STATION - DAY 16
Taylor drives AN OLD POLICE SEDAN, covered in dents and
scatches, hurtles into a parking space and stops with a
screech. Amy gets out, giving Taylor a look.
AMY
Do you always have to accelerate
to a stop?
TAYLOR
Keeps me awake.
AMY
I wish I had that problem.
TAYLOR
Still not sleeping?
(off Amy's nod)
You're worrying too much about
your Dad. What you need is a
distraction.
AMY
Like what?
TAYLOR
Like going undercover at Dudes.
AMY
The male strip club?
TAYLOR
Yeah.
AMY
Is something illegal going on
there?
Taylor smiles.
TAYLOR
You'll never know if you don't
investigate.
CONTINUED
"Blood Ties" 1/29/98 11.
16 CONTINUED: 16
They go inside.
17 INT. POLICE STATION - DAY 17
Taylor and Amy enter the squad room and go to their desk.
Taylor yanks a PINK MESAGE SLIP off her phone and reads it.
STEVE'S VOICE
Devlin. Lucas.
Amy looks up to see DET. STEVE SLOAN coming out of the
Captain's office. He motions her over.
STEVE
I need to talk to you.
Amy glances at Taylor, who is already on the phone. Taylor
covers the mouthpiece:
TAYLOR
I'll catch up.
Amy goes to Steve.
AMY
Lieutenant.
STEVE
You know a pimp and porno peddler
named Milton Wilder?
AMY
I've had the displeasure.
STEVE
You won't again. He's dead.
He hands her a file.
STEVE
Gunned down in an alley last
night. The Captain wants you to
handle it.
AMY
He must have mistaken us for
homicide detectives... or are we
being reassigned?
CONTINUED
"Blood Ties" 1/29/98 12.
17 CONTINUED: 17
STEVE
You are being helpful. Homicide is
stretched thin, vice is your
specialty, so you're assisting.
Report what you find to me.
AMY
You got it.
He starts to walk away, then turns back.
STEVE
You're driving the oldest sedan in
the fleet, aren't you?
AMY
We prefer to think of it as a
classic automobile that's been
entrusted to our care...a sign of
the tremendous respect the
department has for us.
Steve tosses her a SET OF KEYS.
STEVE
Now you've got the newest.
AMY
A homicide perk?
STEVE
Strictly regulations. New one
comes in, the oldest one gets
scrapped. Take good care of it.
AMY
Thanks, Lieutenant. We will.
STEVE
You can start by never letting
Taylor drive.
Steve goes. Amy let's her suppressed smile break free. She
turns to tell Taylor... but she's GONE.
"Blood Ties" 1/29/98 13.
18 EXT. POLICE STATION - PARKING LOT - DAY 18
Taylor is standing in front of a BRAND NEW POLICE SEDAN as Amy
approaches.
TAYLOR
What is this doing in our spot?
Where's our car?
AMY
This is our car.
Amy dangles the keys.
TAYLOR
Fine.
Taylor reaches for them, but Amy snatches them away.
AMY
That's just the attitude that
worries me.
TAYLOR
What attitude?
AMY
You don't care whether the car is
new or old. You'll drive it
exactly the same way.
TAYLOR
Because it's a car.
AMY
With only five miles on the
odometer and not a scratch on it.
Doesn't that mean anything to you?
TAYLOR
Means it's time somebody broke it
in.
AMY
We're not breaking anything. We're
keeping it in pristine condition.
TAYLOR
It's a car.
CONTINUED
"Blood Ties" 1/29/98 14.
18 CONTINUED: 18
AMY
It's a responsibility... like the
homicide case we've just been
given.
She hands Taylor the file.
AMY
This is our opportunity to prove
ourselves and get out of vice.
TAYLOR
Or its a dead-end case they gave
us because it will torpedo any
chance we have of promotion.
AMY
We don't have a choice any way.
TAYLOR
Then we'll get right on it. After
we pick up my bail jumper.
Taylor hands her back the file and walks around to the
passenger side of the car.
AMY
What bail jumper?
TAYLOR
Laurette Stipe, gun merchant,
doesn't shave her underarms. Took
me six months undercover to bust
her, back when I was with the ATF.
Taylor gets inside the car. Amy slips into the driver's seat.
19 INT. CAR - DAY 19
Amy buckles up and gives her a look.
AMY
You were only with the ATF for six
months.
TAYLOR
We had creative differences.
CONTINUED
"Blood Ties" 1/29/98 15.
19 CONTINUED: 19
AMY
So let the ATF handle it.
TAYLOR
If they could handle it, she
wouldn't be gone, would she?
AMY
It's not your case any more.
TAYLOR
I didn't live in a cabin with a
bunch of inbred, skin-head jerks
just so Laurette Stipe could keep
selling guns to inbred, skin-head
jerks.
(off Amy's look:)
It will take an hour, tops.
Amy starts the car and gives Taylor a dubious look.
AMY
An hour.
TAYLOR
Tops.
And on Amy backing out, we CUT TO:
20 EXT. BIKER BAR - NIGHT 20
As Taylor and Amy's car pulls up behind a long row of hawgs.
21 INT. TAYLOR AND AMY'S CAR - NIGHT 21
Taylor reaches for the door handle. Amy pulls her back.
AMY
Where do you think you're going?
TAYLOR
To get Laurette Stipe.
AMY
You're just going to walk in the
bar.
CONTINUED
"Blood Ties" 1/29/98 16.
21 CONTINUED: 21
TAYLOR
I may open the door first.
AMY
You're just going to open the door
and walk in the bar.
TAYLOR
It's my usual method for getting
from outside a place to inside a
place.
AMY
So after you open the door and
walk in the bar, what do you think
is going to happen?
TAYLOR
Do you need all the steps, or can
I just summarize it under the
blanket statement, I'm going to
get Laurette Stipe?
She reaches for the door handle. Amy pulls her back.
AMY
You don't think maybe this woman
will recognize the undercover cop
who arrested her? And that maybe
she won't want to be covered by
your blanket statement?
That stops Taylor. She lets go of the door handle and sighs.
TAYLOR
What's your idea?
AMY
Laurette Stipe has never seen me
before.
TAYLOR
And?
Amy just looks at her. Taylor relents. She knows Amy is right.
Amy grabs her door handle and is about to get out when Taylor
pulls her back.
CONTINUED
"Blood Ties" 1/29/98 17.
21 CONTINUED: (2) 21
TAYLOR
I can't let you go in there alone.
AMY
Right, I'm only a ten-year veteran
of the force. No way I can handle
this.
TAYLOR
That's not what I meant.
AMY
You think I'm too soft to make a
simple bust in a biker bar.
TAYLOR
It's just this bar --
AMY
You think because I haven't been
thrown off half a dozen law
enforcement agencies for going too
deep undercover, I can't pick up
a bail jumper?
That's enough. Taylor lets her go.
TAYLOR
You want to do this your way, do
it your way.
AMY
I will.
She gets out of the car, then bends back into the window.
AMY
So what does she look like?
And on Taylor's look, we go:
22 INT. BIKER BAR - NIGHT 22
Amy comes through the door and stops dead. It's not that the
place is so different from what she expected -- dingy, smelly,
smoke wafting in the low-hanging lights, bad 80s head-banger
music on the juke box.
CONTINUED
"Blood Ties" 1/29/98 18.
22 CONTINUED: 22
It's that almost all these bikers are WOMEN. Tough, mean
women. And they're all staring at her. Except for
23 TINA COLE 23
slips in through the back and heads for
24 THE BAR 24
Where a woman with a PIERCED NOSE and SCORPION TATTOO on her
breast sits on a stool, nursing a beer. Meet LAURETTE STIPE.
That's what Tina is planning to do -- until she sees Amy sidle
up beside Laurette. Tina freezes, waiting and watching, as Amy
smiles warmly at Laurette.
AMY
Can I buy you a drink?
Laurette barely even looks up at her.
LAURETTE
Already got one.
AMY
Can I buy you another drink?
LAURETTE
Already got a friend, too.
That's when Amy hears an ominous CLICK behind her and turns to
see ELLIE, a hard, beautiful woman holding an open switchblade.
ELLIE
There a reason you're bothering my
friend?
A silence falls over the bar -- except, of course, for the
blaring jukebox. The other patrons stare at Amy, hoping for
some free entertainment. Tina moves back a little.
AMY
I wasn't bothering anyone.
ELLIE
Maybe that's for her to decide.
CONTINUED
"Blood Ties" 1/29/98 19.
24 CONTINUED: 24
Amy surreptitiously slips HER BADGE out of her pocket and
PALMS IT.
AMY
I don't need this crap.
Amy turns to go. Ellie grabs her and spins her back.
ELLIE
You mean my friend isn't good
enough for you?
AMY
I mean I won't be tricked into a
fight, just so some cop has an
excuse to close down our bar.
Amy reaches into Ellie's jacket, "pulls out" the badge, holds
it up. A deadly silence falls over the room. Everybody stares
at Ellie, who looks at the badge in shock.
ELLIE
That's not my badge.
She looks around, appealing for understanding. All she sees
are hostile faces closing in.
ELLIE
I'm not a cop!
The circle is growing tighter around them. Laurette can't take
it any more. She bolts for the door, Amy close behind her.
Tina Cole seeing what's about to happen, slips out the back
door. And as the crowd closes in around Ellie, we go:
25 EXT. BIKER BAR - NIGHT 25
Where Taylor's sitting in the car, bored. That's when the
front door of the bar bursts open and Laurette Stipe explodes
into the night, followed by Amy, who chases her into an ALLEY.
Taylor slams the car into gear and tears off around the block.
26 EXT. ALLEY - NIGHT 26
Stipe blasts down the alley. Amy's running as fast as she can,
but she's beginning to lose her prey.
CONTINUED
"Blood Ties" 1/29/98 20.
26 CONTINUED: 26
Stipe knocks over a few garbage cans as she goes, and Amy has
to leap over them, slowing her down even more. And now Stipe
is almost at the mouth of the alley. That's when Taylor's CAR
makes a screeching fishtail turn into the alley, cutting her
off. Taylor smiles from the driver's seat.
TAYLOR
Hi, Laurette, miss me?
Stipe starts to turn when Amy takes her down with a flying
tackle. Amy glares up Taylor, who gets out of the car and
slaps her cuffs on Stipe's wrists.
AMY
Did you have to skid to a stop?
Those are new tires.
Taylor doesn't bother to respond, just drags Stipe to her
feet. That's when a SHOT rings out, hitting Stipe right in the
back. Taylor spins, fires off a burst of rounds in the
direction the shot came from, then dives for cover behind the
car. They hear someone CRY OUT, then a HEAVY CRASH.
Amy rolls behind a dumpster, then looks back at Taylor, who's
still crouching behind the car.
AMY
What are you doing?
TAYLOR
Waiting to take another shot.
AMY
Wait somewhere else. Try that
dumpster over there. Or behind
that wall.
TAYLOR
I can get a good shot from here.
AMY
What if he shoots back?
TAYLOR
I'll duck.
AMY
Behind a brand new car. You're
supposed to be protecting it.
CONTINUED
"Blood Ties" 1/29/98 21.
26 CONTINUED: (2) 26
Taylor can't believe what she's hearing. But Amy's dead
serious. Taylor shoots her a look, then scurries over behind
the dumpster. No one shoots at her. They crouch for a moment,
then:
TAYLOR
Well, this is exciting.
She starts to go around the dumpster.
AMY
Where are you going?
TAYLOR
I think I got the shooter.
AMY
You think?
But Taylor just smiles and takes off down the alley. Amy waits
for a moment to make sure her partner isn't gunned down, then
goes over and checks Laurette Stipe. She's dead. Amy curses
under her breath, then goes up the alley after her partner.
27 AT THE OTHER END OF THE ALLEY 27
Taylor leans over a spot of BLOOD on the ground as Amy comes
up.
AMY
Laurette's dead.
TAYLOR
Sorry I can't say the same for the
shooter.
They share a look, unaware that
28 AT THE MOUTH OF THE ALLEY 28
An injured Tina Cole puts a PINK DOT on the dead woman's
driver's license and staggers off. And we FADE OUT.
END OF ACT ONE
"Blood Ties" 1/29/98 22.
ACT TWO
FADE IN:
29 INT. COMMUNITY GENERAL - DAY 29
Taylor is sitting in a chair, eating some junk food, as Amy
emerges from the elevator.
TAYLOR
How's your Dad?
AMY
He fondled a nurse, set off the
smoke detector with his cigars,
and threw his lunch tray out the
window.
TAYLOR
He's getting better already.
AMY
He even bribed some orderly into
smuggling him a corned beef
sandwich.
TAYLOR
Actually, I did that.
AMY
You did?
TAYLOR
I was worried about him.
Instead of giving her hell, Amy surprises her with a hug.
AMY
Thank you.
Taylor stiffens... she's not the least bit comfortable with
affection... but she hugs back anyway, as much as she knows
how.
TAYLOR
Got that out of your system?
CONTINUED
"Blood Ties" 1/29/98 23.
29 CONTINUED: 29
AMY
Oh yeah.
TAYLOR
Uh, look, the M.E. wants to see us
right away.
They hurry off down the hall, eager to put the moment behind
them.
30 INT. COMMUNITY GENERAL HOSPITAL PATH LAB - DAY 30
Mark and AMANDA stand over a body on the table as Taylor and
Amy come in.
AMY
What's so important we had to rush
down here right away?
AMANDA
Something came up in Laurette
Stipe's autopsy and since you
asked me to inform you --
AMY
Who asked? I didn't ask.
TAYLOR
I asked.
Amy gives her a look.
AMY
This isn't our case.
MARK
(to Amy)
I thought she was in your custody
when she was shot.
AMY
She jumped bail. We were doing
someone a favor by picking her up.
AMANDA
Wasn't much of a favor to her.
Taylor starts looking under the sheet.
CONTINUED
"Blood Ties" 1/29/98 24.
30 CONTINUED: 30
AMY
She ran, we gave chase, she was
shot, we lost a day we should have
spent working the Wilder case.
(to Taylor)
Now we're losing another one.
MARK
Milton Wilder? The pimp who was
murdered?
Amy's about to pursue Mark's interest when:
TAYLOR
I always figured Laurette would've
had more guts.
Amy shoots Taylor an annoyed look.
AMY
You can discuss her bravery under
fire at the memorial service.
Taylor shoots her a look and pulls back the sheet.
TAYLOR
I mean, literally.
(to Amanda)
Don't most people keep their
internal organs here?
Amanda pulls the sheet back over the body as Mark stifles a
grin.
AMANDA
Stipe was an organ donor, and
since the cause of death wasn't in
question, the organs were
harvested immediately.
TAYLOR
Wouldn't have figured her for a
philanthropist.
AMY
And I wouldn't have figured that
what was inside Laurette Stipe's
body would have anything to do
with the Wilder case.
CONTINUED
"Blood Ties" 1/29/98 25.
30 CONTINUED: (2) 30
MARK
Then you'd be wrong.
Amy stops, stares at Mark, who gestures at Amanda.
AMANDA
It's why we called you down here.
We sent the bullet from Stipe's
body out for a routine ballistics
check. The computer kicked out a
match.
Amanda holds out a file. Taylor takes it -- and Amy takes it
from her. She reads it, but she doesn't believe it.
AMY
The bullet that killed Laurette
Stipe came from one of the guns
that killed Milton Wilder?
MARK
Which means the two murders are
connected.
TAYLOR
(to Amy)
And you said going after my bail
jumper was a waste of time.
And on Amy's look, we GO TO:
31 INT. COMMUNITY GENERAL LOBBY - DAY 31
Taylor and Amy are heading towards the doors.
AMY
Why didn't you tell me?
TAYLOR
Why didn't you ask?
AMY
Why didn't I ask what?
TAYLOR
I have no idea. What didn't I tell
you?
CONTINUED
"Blood Ties" 1/29/98 26.
31 CONTINUED: 31
It's all Amy can do to keep from throttling her.
AMY
When you said you wanted to pick
up a bail jumper, why didn't you
tell me she was connected to the
Wilder case?
TAYLOR
She wasn't. I mean, I didn't know
she was.
That's when the emergency doors blast open and an EMT TEAM
bursts in with a gurney carrying a WOMAN, her face covered by
an oxygen mask. Jesse rushes up to the EMTs.
JESSE
What've you got?
EMT #2
Female, gunshot wound to the
chest, bp 90 over 60, and she's
hyporesonant on the right side.
Jesse takes over, leading the gurney into the ER.
JESSE
Trauma one, let's go! I want her
crits spun, her blood typed and
cross-matched. Get me some O-
negative, a chest tube, and a
surgeon.
Amy and Taylor watch the gunshot victim curiously.
AMY
Way too easy.
(then:)
Still...
They go up to the EMT, who's about to head out again.
AMY
Got any details on the victim?
EMT #2
Yeah, I just didn't mention them
'cause I like to make the doctors
guess.
CONTINUED
"Blood Ties" 1/29/98 27.
31 CONTINUED: (2) 31
Taylor flashes her badge -- and a look that freezes the blood
in the EMT's veins.
TAYLOR
Think you'll like making them
guess which of your bones to
splint first?
EMT #2
All I know is she's an off-duty
cop, shot by some carjacker. You
want more, ask her.
And with that, he's gone. Taylor turns to Amy.
TAYLOR
You said it was too easy.
And on their dashed hopes, they head out to:
32 EXT. COMMUNITY GENERAL HOSPITAL PARKING LOT - DAY 32
Where they walk towards their car.
TAYLOR
So Wilder and Stipe are connected.
What do we know about them?
AMY
Wilder was in vice, Stipe sold
weapons. Not exactly a lot of
overlap.
TAYLOR
Except the same guy shot both of
them. And he's got my bullet in
him.
AMY
He's going to need a doctor who
doesn't ask questions. So we hit
the street and--
TAYLOR
Get no where. The only way you're
gonna get a lead on a guy like
that is if you're spilling blood.
CONTINUED
"Blood Ties" 1/29/98 28.
32 CONTINUED: 32
AMY
I know a guy who does
decapitations and disembowelments
for the movies. He can make one of
us look bullet-riddled.
TAYLOR
Not good enough. Even a shady
doctor will know a fake bullet
wound when he sees one.
Taylor pulls out her gun.
TAYLOR
Hold out your arm. I want to get
a clean shot.
Amy stops, stunned.
AMY
You're going to shoot me?
TAYLOR
Just a flesh wound. Barely a nick.
AMY
You're not going to shoot me.
TAYLOR
We need to find a dirty doctor.
You have a better plan?
AMY
I don't need a better plan to know
that your plan is terrible.
Taylor sighs. How is she supposed to work with this woman?
TAYLOR
Fine, it was just an idea.
Amy sighs and heads for the car, her back to Taylor... who
SHOOTS HERSELF IN THE ARM!
AMY
You shot yourself!
TAYLOR
I grazed myself.
CONTINUED
"Blood Ties" 1/29/98 29.
32 CONTINUED: (2) 32
AMY
I can't believe you just shot
yourself!
TAYLOR
I've done it before.
AMY
You have?
TAYLOR
You haven't?
AMY
You are psychotic, you know that
don't you?
Amy, not quite believing what she's seen, opens the passenger
door for Taylor.
AMY
Just try not to get blood on the
upholstery.
And on Taylor's look, we DISSOLVE TO:
33 EXT. APARTMENT BUILDING - DAY 33
One of those 60s-era, square-donuts that are LA's
architectural weeds. Amy helps Taylor, her arm BLOODSTAINED,
around the dreary pool.
AMY
You sure this is the right place?
TAYLOR
You were expecting Cedars-Sinai?
AMY
Forgive me for not trusting some
one-armed junkie we met urinating
against a wall.
TAYLOR
Who do you think hacked off his
arm?
She motions upstairs. Amy follows her gaze.
CONTINUED
"Blood Ties" 1/29/98 30.
33 CONTINUED: 33
TAYLOR
We hit the streets, I bled all
over them, we only got three names.
AMY
The last guy was a veterinarian.
The one before was in prison.
TAYLOR
Then this better be the right
dirty doctor, because if the
shooter didn't come here, we're
out of luck.
AMY
Gee, maybe you ought to get your
yearly physical while you're at it.
Amy leads Taylor up the flight of stairs to an apartment. Amy
knocks. The door is opened by a DREARY WOMAN, 30s, a cigarette
dangling from her lips.
DREARY WOMAN
Yeah?
AMY
My friend needs to see a doctor.
DREARY WOMAN
Try selling subscriptions or
candy, it's more effective.
She starts to close the door.
AMY
She's been shot.
The dreary woman looks at Taylor, then takes the cigarette out
of her mouth and SNIFFS THE WOUND.
DREARY WOMAN
Lot of that going around.
She sticks the cigarette back in her mouth and opens the door
wide, inviting them in. Amy helps Taylor inside.
"Blood Ties" 1/29/98 31.
34 INT. APARTMENT - DAY 34
It's a crappy two-bedroom apartment that's been converted into
a doctor's office. The living room/kitchen is the reception
area, the bedroom is the exam room. The furnishings are very
spare. The dreary woman goes behind the linoleum counter and
sticks her cigarette carefully in the ashtray.
DREARY WOMAN
Five hundred bucks cash up front
for your basic disinfect and sew.
More later if you want extras.
TAYLOR
Like what?
DREARY WOMAN
Painkillers, antibiotics, a tasty
grape sucker.
She motions to a BOWL OF SUCKERS. Amy digs into her pocket and
comes out with a handful of wrinkled bills, which she dumps on
the counter.
AMY
Can we see the doctor now?
The dreary woman pockets the money, reaches under the counter
and pulls out a pair of RUBBER GLOVES, which she snaps onto
her hands as she walks to the bedroom door.
DREARY WOMAN
You can call me Dr. Welby.
So we'll call her Welby, too. She opens the bedroom door, to
reveal a BASIC EXAM ROOM. Amy starts to lead Taylor in, but
Dr. Welby stops her.
WELBY
Wait out here.
Taylor follows Welby inside. Amy sighs, takes a sucker, and
plops down on the couch. CUT TO:
35 INT. APARTMENT - EXAM ROOM - DAY 35
Taylor's sleeve has been CUT OFF. She sits on the edge of the
bed as Welby cleans her wound. Taylor WINCES at the sting of
the antiseptic.
CONTINUED
"Blood Ties" 1/29/98 32.
35 CONTINUED: 35
WELBY
You were only grazed. You'll have
an ugly scar to go with your
others.
TAYLOR
Why did you sniff me?
WELBY
I was admiring your perfume. L'Air
Du Cordite. The bullet left powder
burns on your sleeve and your arm.
TAYLOR
At least it left.
(then:)
But I guess the other people
you've been seeing lately weren't
so lucky.
Welby looks at her suspiciously.
TAYLOR
You said it was going around.
WELBY
Wouldn't be in business otherwise.
You're going to need a gentamicin
shot.
TAYLOR
Is that gonna cost me?
WELBY
Not as much as not having it.
She goes to the counter and begins preparing a shot.
WELBY
How did you hear about me?
TAYLOR
You treated a friend of a friend
last night...shot by cops down on
29th street.
WELBY
Is that so? How's he feeling this
morning?
CONTINUED
"Blood Ties" 1/29/98 33.
35 CONTINUED: (2) 35
TAYLOR
Glad to be alive.
Welby, her back to Taylor, drops the syringe, takes another
one, and sticks it in a bottle marked POTASSIUM CHLORIDE. And
we CUT TO:
36 INT. APARTMENT - DAY 36
Amy is sucking on her sucker and flipping through a
"Highlights for Children" magazine when the DOOR OPENS and a
THUG, let's call him LEO, comes in with a second THUG, let's
call him GAR. Gar is leaning on Leo, bleeding from a STAB
WOUND in the side.
Amy's eyes widen -- she knows Gar. And if he happens to look
over in her direction, he'll know her, too. She buries herself
in her magazine as the wounded man is placed on the couch next
to her. Leo sits down opposite her.
LEO
Where's the doctor?
Amy jerks her head towards the bedroom.
AMY
Busy with my friend. Gunshot.
Leo motions to Gar, who is staring at her.
LEO
Stabbing.
Gar, still looking at her, croaks out:
GAR
You look familiar.
AMY
Really?
She surreptitiously POKES HIS WOUND with her SUCKER STICK. The
wounded thug goes into a paroxysm of pain, all thoughts of her
identity banished from his brain. Amy smiles at Leo.
AMY
I have a very common appearance.
CONTINUED
"Blood Ties" 1/29/98 34.
36 CONTINUED: 36
She's safe. Until the door opens and a THIRD THUG enters,
tosses Leo a SET OF CAR KEYS...
THIRD THUG
I parked the Lincoln around back.
...then takes out his GUN as he turns to face Amy.
THIRD THUG
And you're chatting with a cop.
And on Amy's worried look, we CUT TO:
37 INT. APARTMENT - EXAM ROOM - DAY 37
Dr. Welby approaches Taylor with the syringe.
WELBY
This is an antibiotic. The bullet
may have missed you, but there's
still a risk of infection.
Just as she's about to stick Taylor in the arm with it, Taylor
suddenly grabs her wrist and twists it at a painful angle, and
slams Welby FACE FIRST into the floor.
TAYLOR
Then it can't possibly do you any
harm if I inject you with it.
Taylor takes the syringe from her and presses the needle to
Welby's neck.
TAYLOR
But if it's, say...
(glances at the
counter:)
Potassium chloride, it will cause
a heart attack that even the
coroner will think was from
natural causes.
WELBY
How do you know that?
TAYLOR
I watch a lot of "Quincy" reruns.
CONTINUED
"Blood Ties" 1/29/98 35.
37 CONTINUED: 37
And on her fearful look, we CUT TO:
38 INT. APARTMENT - DAY 38
Amy ROCKS HER LEG nervously, the Third Thug standing across
the coffee table from her, aiming his BIG GUN at her head.
AMY
How was Lompoc?
THIRD THUG
Every day I was there I thought
about you.
AMY
I'm touched.
She suddenly KICKS OVER THE COFFEE TABLE, sending it FLYING
into the THIRD THUG. She flies out OFF THE COUCH and TACKLES
HIM, taking his gun and coming up ready to fire at Leo...just
as Leo, his nose bleeding, is reaching into his jacket for his
weapon. He freezes, his hand under his jacket.
AMY
Tell you what, I'll lower my
weapon and let's draw. It'll be
fun.
He slowly takes his hand out from under his jacket, defeated.
And on Amy, holding him at bay, and the Third Thug unconscious
behind her, we CUT TO:
39 INT. APARTMENT - EXAM ROOM - DAY 39
Taylor still has the syringe pressed to Dr. Welby's neck.
WELBY
A woman came in last night --
bullet in the chest. It was too
deep, I couldn't take it out
without killing her. She needed a
surgeon.
TAYLOR
Did she get one?
CONTINUED
"Blood Ties" 1/29/98 36.
39 CONTINUED: 39
WELBY
We don't do a lot of follow-up
care here. She paid, she left,
that's all I know.
And on Taylor's smile, we CUT TO:
40 INT. APARTMENT - DAY 40
Taylor leads Welby, her nose bloody, out of the exam room and
is surprised to see the three bloodied thugs, the overturned
furniture, and Amy holding them all at bay with her gun.
AMY
(to Taylor:)
You're bad influence on me.
And on Taylor's appreciative smile, we CUT TO:
41 INT. COMMUNITY GENERAL - ER - DAY 41
Mark is just coming down the hall when TWO GURNEYS are wheeled
in, Gar on one of them, the Third Thug on the other, two
UNIFORMED OFFICERS assisting Leo and Welby, who are handcuffed
and have VERY SWOLLEN NOSES.
EMT #3
Four victims. One stab wound to
the abdomen, two broken noses, and
one possible concussion.
MARK
What happened?
The EMT motions over his shoulder to Amy and Taylor, who are
coming in behind him. Nothing more needs to be said. Mark
motions the EMT to the exam room.
MARK
Take them into the exam room. I'll
be right in.
He goes to meet the two detectives. Amy answers Mark's
questioning look.
CONTINUED
"Blood Ties" 1/29/98 37.
41 CONTINUED: 41
AMY
We went looking for a dirty doctor
who'd treat a gunshot wound
without reporting it. We thought
it would lead us to the assassin
Taylor shot last night.
MARK
I hope you got something for your
trouble besides bruised knuckles.
TAYLOR
We know the shooter was a woman --
and she's still carrying my slug.
She'll turn up, or her body will,
soon enough.
That's when Mark notices Taylor's arm.
MARK
Have you had a doctor look at that?
TAYLOR
Yes and no.
MARK
You're coming with me and getting
that stitched up.
Mark takes her by the arm and starts to lead her to an exam
room. Amy trails after them.
AMY
How's the wounded officer?
MARK
Officer Cole is much better now.
She could be released tomorrow.
TAYLOR
And the search for the shooter?
MARK
He's still at large, but probably
not for long. Just about every
officer, on duty and off, is down
at 29th and Figueroa, looking for
a lead.
CONTINUED
"Blood Ties" 1/29/98 38.
41 CONTINUED: (2) 41
Amy stops and drags Taylor away from Mark.
AMY
Never mind the stitches. It's just
a scratch.
MARK
(to Taylor)
It looks to me like you were
grazed by a bullet.
TAYLOR
We have big mosquitoes in my
neighborhood.
Amy hustles Taylor away, Mark looking after them.
AMY
Officer Cole was shot two blocks
from the biker bar. If they were
that close, we should have heard
something.
TAYLOR
We were kind of busy at the time.
Protecting our car, remember?
AMY
Not as busy as we're about to be.
And on her determined look, we CUT TO:
42 EXT. POLICE STATION - ESTABLISHING - NIGHT 42
43 INT. POLICE STATION - CRIME LAB - NIGHT 43
Taylor sits on a stool in front of a DOUBLE MICROSCOPE UNIT,
but she's facing an OPEN DOOR leading to the EVIDENCE ROOM,
waiting for Amy, who emerges holding a couple of baggies, each
one tagged and holding a BULLET.
TAYLOR
What are you doing?
AMY
Hoping to prove myself wrong.
CONTINUED
"Blood Ties" 1/29/98 39.
43 CONTINUED: 43
She sits, slides over the DOUBLE MICROSCOPE...and places the
bullets under the microscope, and peers into the lens.
44 HER POV - IN THE MICROSCOPE 44
The striations on BOTH BULLETS match up.
45 BACK TO SCENE 45
Amy leans up from the microscope.
AMY
These bullets both came from the
same gun.
TAYLOR
Then Officer Cole wasn't shot by
a carjacker.
Amy holds up one of the baggies.
AMY
This is the bullet they took out
of Officer Cole.
She holds up the other baggie.
AMY
This came from a rapist shot by a
police officer.
Taylor looks at her, stunned.
TAYLOR
You're saying a cop shot Officer
Cole.
AMY
I'm saying you did.
And on their shared looks, we CUT TO:
46 INT. POLICE STATION - SQUAD ROOM - DAY 46
Amy and Taylor come out of CRIME LAB and rush across the squad
room.
CONTINUED
"Blood Ties" 1/29/98 40.
46 CONTINUED: 46
As they do, three FEMALE DETECTIVES turn to watch them... and
that's when we see they're LIPTON, ANDREWS and WASHINGTON, the
three assassins from the teaser. And as the three killers
exchange looks, we... FADE OUT.
END OF ACT TWO
"Blood Ties" 1/29/98 41.
ACT THREE
FADE IN:
47 INT. COMMUNITY GENERAL - LOBBY - NIGHT 47
Amy and Taylor rush in, stopping Jesse at the counter.
TAYLOR
Where's the cop who was shot
yesterday?
JESSE
Gone.
AMY
As in dead?
JESSE
As in home.
TAYLOR
She was shot in the chest less
than 24 hours ago -- how could you
let her walk out of here?
JESSE
It wasn't my decision, it was
hers. But if you ask me, she'll be
back real soon... and feeling
lousy.
(then:)
She left without a prescription
for antibiotics or painkillers.
Amy and Taylor hurry right back out.
48 EXT. COLE'S HOUSE - NIGHT 48
Taylor and Amy pull up to find a CONTINGENT OF POLICE CARS and
a CORONER'S VAN outside. Amy approaches the first cop she sees
and flashes her badge.
AMY
Who's in charge?
The cop tips her head towards DETECTIVE LIPTON, who is
escorting two body bags. Amy flashes her badge.
CONTINUED
"Blood Ties" 1/29/98 42.
48 CONTINUED: 48
AMY
Amy Devlin, vice. This is my
partner, Taylor Lucas. We're
looking for Officer Cole.
LIPTON
There she is.
Lipton motions to one of the body bags.
LIPTON
What are you two doing here?
TAYLOR
We came to arrest Officer Cole for
killing Laurette Stipe.
LIPTON
So did we.
Lipton nods towards detectives Washington and Andrews.
LIPTON
Washington and Andrews work the
anti-gang unit. They suspected a
cop was helping Stipe sell illegal
weapons to street gangs... when
Cole got "carjacked" just a few
blocks from where Stipe was shot,
they put it together.
AMY
They came here to confront Cole
and things went wrong.
LIPTON
Cole started shooting, her
boyfriend got caught in the
crossfire.
Amy turns to watch the coroner's van pull away.
LIPTON
How did you two put it together?
AMY
Timing, geography and a strong
aversion to coincidence.
CONTINUED
"Blood Ties" 1/29/98 43.
48 CONTINUED: (2) 48
TAYLOR
(to Lipton:)
Why do you suppose Cole checked
out of the hospital in such a
hurry?
LIPTON
The anesthesia wore off. All she
wanted was the bullet out so she
could run.
TAYLOR
Didn't run very far, did she?
LIPTON
Chalk up one for the good guys.
Taylor forces a smile and walks away, Amy joining her.
TAYLOR
You know what you said about
coincidences? I'm feeling a strong
aversion right now.
AMY
I'm just feeling sick. I think we
should see a doctor.
TAYLOR
If you expect me to shoot myself
again, you can forget it.
AMY
That won't be necessary.
And on Amy's look, we CUT TO:
49 EXT. BBQ BOB'S - ESTABLISHING - DAY 49
50 INT. BBQ BOB'S - DAY 50
Taylor and Amy are at the counter. Taylor turns nervously on
her stool.
TAYLOR
This is not a good idea.
CONTINUED
"Blood Ties" 1/29/98 44.
50 CONTINUED: 50
AMY
We need his help. I've known Mark
Sloan for a long time and I trust
him... with my father's life and
ours.
TAYLOR
His son is a cop and, for all we
know, he's dirty too.
AMY
Dudley Doright is rogue compared
to Steve Sloan.
Mark comes out from the kitchen and sets iced teas down in
front of them.
MARK
I've got good news for you, Amy.
Your father's body seems to be
accepting the transplant. He
should be out of the hospital very
soon.
AMY
That's wonderful.
She smiles, distracted for a moment from her other troubles.
Mark squeezes her hand.
MARK
I know how scared you were for
him. But I think it's over now.
AMY
Then maybe you can help with
something else that's scaring
me... something inside the police
department.
(then:)
But you can't tell Steve. At least
not yet.
MARK
I don't keep secrets from my son.
If you trust me, you're trusting
him, too.
Amy looks at Taylor, who sighs with resignation.
CONTINUED
"Blood Ties" 1/29/98 45.
50 CONTINUED: (2) 50
TAYLOR
We think Milton Wilder, the hooker
king, and Laurette Stipe, gun
dealer, were assassinated by
corrupt cops. One of them was
Officer Cole.
MARK
How do you know that?
TAYLOR
Because the bullet you took out of
her was mine.
Mark reacts to that with surprise.
AMY
We went to arrest Cole...but she
was already dead, gunned down in
a shoot-out with three other cops.
They claim Cole was working with
Stipe selling guns to street gangs.
TAYLOR
I was undercover with Stipe's
cronies for six months... I would
have known if she was in business
with a cop. She wasn't.
MARK
Do you have any evidence to back
up your suspicions?
TAYLOR
Not a thing.
AMY
If we can just find out what
Wilder and Stipe have in common...
we'll know why they were they
killed. The problem is, we can't
look for it using department
resources without tipping off our
suspects.
MARK
I see your problem. So, let's
start with what we already know
about them.
CONTINUED
"Blood Ties" 1/29/98 46.
50 CONTINUED: (3) 50
TAYLOR
Wilder ran hookers and a couple
skin mags, Stipe sold guns to
whackos. Nothing in common --
beings being human.
AMY
They were barely that.
Mark gives Amy a look, something occurring to him.
MARK
Actually, that's exactly what they
had in common.
(to Taylor:)
You already knew the answer the
day you looked at Laurette Stipe's
corpse...
And on Mark, pleased with himself, on their confusion, we CUT
TO:
51 INT. COMMUNITY GENERAL - PATH LAB - DAY 51
Amanda hands a file to Mark. Amy and Taylor look over his
shoulder.
AMANDA
You were right, Mark. Both Wilder
and Stipe were organ donors.
TAYLOR
If Stipe cared about saving her
fellow man, she wouldn't have been
selling guns to sociopaths.
MARK
That's what you said when you saw
Stipe's cadaver...and it got me
thinking. So I had Amanda check if
Wilder was an organ donor, too.
AMANDA
He was. They both had pink donor
dots on the backs of their
drivers' licenses.
CONTINUED
"Blood Ties" 1/29/98 47.
51 CONTINUED: 51
She pulls out COLOR COPIES of BOTH SIDES of the DRIVERS'
LICENSES, each has a PINK DONOR DOT on the back side.
AMY
He wasn't a giving guy. He didn't
put that dot there.
MARK
Then someone else did.
Taylor gives him a look.
TAYLOR
You think the cops are killing
these jerks for their guts?
MARK
Corneas, hearts, kidneys and
livers...yes.
(then:)
The one thing both Wilder and
Stipe have in common is that
useful body part were harvested
from them within hours of their
deaths.
TAYLOR
Where's the money in that?
MARK
Maybe it's not about money.
AMANDA
Robin Hoods of medicine. Take from
the bad and give to the good.
AMY
That's a big stretch.
MARK
Can you think of any other reason
these two would have donor dots on
their licenses?
They can't. And we CUT TO:
"Blood Ties" 1/29/98 48.
52 EXT. COMMUNITY GENERAL PARKING STRUCTURE - DAY 52
As Taylor and Amy walk towards their car.
AMY
These cops are taking social
responsiblity to a new low.
TAYLOR
They're just bad cops.
That's when Lipton, Washington, and Andrews peel out of the
shadows, surrounding Amy and Taylor.
LIPTON
Bad is such a subjective word. We
like to think of ourselves as
providing a service.
TAYLOR
Yeah, we didn't have enough
murders in this city. Thanks so
much.
WASHINGTON
We're taking out the creeps to
provide healthy organs for the
worthy citizens of the community.
AMY
Somehow, I'm not impressed.
ANDREWS
You should be.
LIPTON
After all, we saved your father's
life.
Amy stares, stunned.
WASHINGTON
Wilder may have been a lot of
things, but at least he wasn't a
drinker. Your father got a nice,
healthy liver because of us.
ANDREWS
Kind of puts everything into
perspective, doesn't it?
CONTINUED
"Blood Ties" 1/29/98 49.
52 CONTINUED: 52
AMY
If he knew, he'd tear it out with
his bare hands.
LIPTON
Go tell him, then.
(off Amy's look)
Easy to object to what we're doing
when it's only a principle. Gets
down to real people, you know
we're right.
Taylor sees how conflicted Amy is. She pushes forward.
TAYLOR
Like when you killed Officer Cole?
You putting cops on your list of
donors, too?
WASHINGTON
Tina was compromised and she knew
it. We'd all make the same
sacrifice if we had to.
TAYLOR
What about her boyfriend? You ask
him if he wanted to make that
sacrifice?
The three bad cops share a look. They're clearly not happy
about that.
LIPTON
He walked in at a bad time. We
didn't have a choice.
WASHINGTON
And if he's the price we pay for
the good we've done, then we're
still ahead.
TAYLOR
That how you're going to justify
killing us?
LIPTON
We didn't come here to kill you.
CONTINUED
"Blood Ties" 1/29/98 50.
52 CONTINUED: (2) 52
WASHINGTON
We want you to join us.
Taylor and Amy share a look. Then:
AMY
This is the scene in every James
Bond movie, isn't it?
TAYLOR
You mean, where the bad guy says
"join me, we'll rule the world
together" and if Bond says yes,
he'll probably have a chance to
get away, come back with the
entire British army, and wipe out
the villain's secret lair?
AMY
Instead, he says "screw you" and
gets thrown in the dungeon. Never
understood that.
TAYLOR
Until now, right?
AMY
Oh, yeah.
(to Lipton)
Screw you.
The three cops stare. Taylor grins.
TAYLOR
So now what? Little Timmy going to
get my pancreas tomorrow?
Lipton just shakes her head sadly.
LIPTON
Too bad. We really could have done
some good together.
And with that, the three bad cops melt turn and walk away. Amy
goes to the car and opens the door.
TAYLOR
Never works like that for James
Bond.
CONTINUED
"Blood Ties" 1/29/98 51.
52 CONTINUED: (3) 52
AMY
They've already killed one cop.
Maybe they'd rather go down than
kill two more.
TAYLOR
Right. Because deep down, they're
really good people.
Amy shoots her a look and gets in the driver's seat. And hears
a CLICK. She freezes.
AMY
Did you just hear a click?
TAYLOR
Yeah, what is that, some fancy new
feature?
AMY
I don't think it's standard
equipment. Look under the seat.
Taylor crouches down and peers under the seat. And sees a BOMB.
TAYLOR
Told you it was a bad idea to hog
the driver's seat.
And on their looks, we FADE OUT.
END OF ACT THREE
"Blood Ties" 1/29/98 52.
ACT FOUR
FADE IN:
53 EXT. PARKING STRUCTURE - DAY 53
Amy is frozen in place. Taylor studies the bomb.
TAYLOR
That thing was triggered when you
sat down. You get up, it goes off.
AMY
So I have to sit here the rest of
my life?
TAYLOR
You could. But since there's also
a timer attached, I'm not sure how
long that would be.
AMY
Great. What do I do?
TAYLOR
You might use this moment as an
opportunity to reflect on how
lucky you are to have a partner
who worked in the bomb squad.
Amy breathes a sigh of relief as Taylor gets down and reaches
in to the bomb. Then:
TAYLOR
Uh-oh.
AMY
Uh-oh? What do you mean, uh-oh?
TAYLOR
Nothing. Everything's fine. It's
just...
AMY
What?
TAYLOR
Which wire do I cut, the red one
or the green one?
CONTINUED
"Blood Ties" 1/29/98 53.
53 CONTINUED: 53
Amy stares, horrified. But Taylor grins, then yanks out a
MICROCHIP and holds it up for Amy.
TAYLOR
Just kidding.
And on Amy's relief, we go:
54 INT. CAR - DAY 54
As Amy drives, the BOMB rests on the back seat. Taylor's mad.
TAYLOR
I can't believe they put a bomb in
our car.
AMY
We knew they'd committed multiple
murders. Of course they were going
to try to kill us.
TAYLOR
Kill us, sure. But blow us up, our
organs are destroyed. What, my
spleen isn't good enough for them?
That's when Amy glances in the rearview mirror. Her face falls.
AMY
Say, is the light on that thing
supposed to be flashing?
Taylor looks back at the bomb. It IS flashing.
TAYLOR
Yes.
Amy breathes a sigh of relief.
AMY
Good.
TAYLOR
When the bomb is armed.
AMY
Excuse me?
CONTINUED
"Blood Ties" 1/29/98 54.
54 CONTINUED: 54
TAYLOR
The light. It flashes to indicate
the bomb is armed.
AMY
But that can't be. You disarmed it.
TAYLOR
That was certainly my opinion. But
it seems I might have been
mistaken.
AMY
You said you worked in the bomb
squad.
TAYLOR
I did. And it was one of the best
weeks I've ever had in the
department.
AMY
A week?
Amy stares at her in shock.
TAYLOR
A long week.
Amy yanks the wheel and the car SCREECHES ACROSS FOUR LANES OF
TRAFFIC and cuts into
55 EXT. ALLEY - DAY 55
The car careens down the alley.
AMY
You don't know anything about
bombs, do you?
TAYLOR
I know they explode.
AMY
Why didn't you tell me you didn't
know what you were doing?
CONTINUED
"Blood Ties" 1/29/98 55.
55 CONTINUED: 55
TAYLOR
I didn't want to alarm you.
AMY
I'm alarmed. I'm very, very,
alarmed.
TAYLOR
Then we'll get rid of it.
Taylor reaches back, picks up the bomb, and HEAVES IT OUT TH
WINDOW into a DUMPSTER. Amy FLOORS it...
56 EXT. ALLEY - DAY 56
The car suddenly SCREECHES TO A HALT.
57 INT. CAR - DAY 57
Taylor can't believe what's happening.
TAYLOR
What are you doing? Drive!
But Amy points back out the rear window. Taylor looks -- and
sees a HOMELESS MAN poking his head out of the dumpster where
he's been sleeping.
TAYLOR
Great.
Amy slams the car into reverse and tears back to the dumpster.
Taylor jumps out of the car, grabs the homeless man, shoves
him in the back of the car, leaps in, and Amy tears off as
58 THE DUMPSTER 58
EXPLODES in a cloud of fire and metal.
59 INT. CAR - DAY 59
Taylor watches the explosion through the rear window, then
turns to Amy.
CONTINUED
"Blood Ties" 1/29/98 56.
59 CONTINUED: 59
TAYLOR
Pretty good driving.
AMY
Pretty good? They put a bomb in
this car -- and I'm still bringing
it back spotless.
That's when the homeless man BARFS all over the backseat. And
on Amy's look:
60 INT. COMMUNITY GENERAL - DOCTORS LOUNGE - DAY 60
Steve is middle of giving Amy and Taylor hell.
STEVE
When part of "report what you find
to me" was vague?
AMY
We didn't know we'd uncover police
corruption.
STEVE
You're right. I should have said,
"report what you find to me, no
matter what you find, wherever you
find it."
TAYLOR
That certainly would have cleared
up any confusion I had.
Steve gets right in her face. He doesn't appreciate her
sarcasm.
STEVE
Good thing you had the sense to
talk to my Dad, or I'd have you
both up on charges. You're lucky
that all I'm doing is taking you
off this case.
AMY
The hell you are.
Steve turns to her, bracing for a fight.
CONTINUED
"Blood Ties" 1/29/98 57.
60 CONTINUED: 60
AMY
My father is alive today because
they killed a man for him.
The only way I can live with
that...the only way he can... is
if I make them pay for their crime.
(then, as an
afterthought:)
Sir.
That's when Mark, Jesse, and Amanda come in. Jesse is carrying
a THICK COMPUTER PRINTOUT. Mark looks at Amy and Taylor.
MARK
While you two have been...busy ...
we've been trying to figure out
exactly what those corrupt
officers are up to.
JESSE
We started by examining how the
organ donor registry works. Each
potential recipient is listed
according to blood and tissue
type, then prioritized in order of
critical need.
AMANDA
When a donor organ comes up, it's
given to the first person on the
list with the same blood and
tissue type as the donor. Somehow,
Lipton tapped into that list.
STEVE
So how are they picking their
victims? How do they know that
whoever they kill will match
someone on the list?
MARK
We think they're using the new DNA
database VICAP has compiled on
arrested felons.
Amy is putting it all together.
CONTINUED
"Blood Ties" 1/29/98 58.
60 CONTINUED: (2) 60
AMY
So they're generating a list of ex-
cons with the exact blood and
tissue type needed by the most
seriously ill patient.
MARK
Only they're doing it on a local
level, to make sure the right
organ goes to the right patient in
plenty of time.
Taylor turns to the doctors.
TAYLOR
If you're right, you could figure
out who their next victim will be.
MARK
We already have.
Mark glances at Jesse, who drops the printout on the table.
JESSE
We dug through the Southern
California donor registry,
identified the most critical
patient, and got his blood and
tissue type... then matched it
against the DNA database on local
felons. We came up with four
possible victims.
AMANDA
We eliminated the ones who might
not be good donors and went from
there. Crook number one has a
history of IV drug use, so he's
probably out. Crook number two is
in jail. Crook number three has
HIV. Which leaves number four.
MARK
Gil Thaxton, a small-time pusher
who sells tainted drugs...but is
smart enough not to sample his own
merchandise.
CONTINUED
"Blood Ties" 1/29/98 59.
60 CONTINUED: (3) 60
STEVE
They aren't going to go after
Thaxton now...they know we're on
to them, that if they stop now,
they'll get away with everything.
Amy stands up, so does Taylor.
AMY
At least we know what they're
doing. We'll find a way to use it.
TAYLOR
Soon.
Amy and Taylor walk out. Steve starts to go after them...
STEVE
You aren't doing anything without--
But Mark stops him...and goes after them himself.
61 INT. COMMUNITY GENERAL - CORRIDOR - DAY 61
Amy and Taylor are heading towards the lobby when Mark catches
up to them.
MARK
Amy, wait. I have to talk to you.
Amy turns, frustrated.
AMY
I don't care what Steve says. I
won't let go of this case.
TAYLOR
We won't let go.
MARK
I understand that. And I
understand why.
Mark looks Amy right in the eye.
CONTINUED
"Blood Ties" 1/29/98 60.
61 CONTINUED: 61
MARK
We have to talk about your father.
(then:)
Remember, I warned you there were
no guarantees...
And on her concern, we CUT TO:
62 INT. ABANDONED WAREHOUSE - NIGHT 62
Amy waits alone in a dark, empty warehouse, illuminated by a
narrow shaft of moonlight.
She looks very small...she probably feels even smaller. Three
ominous figures PEEL OUT OF THE SHADOWS... they are HOLDING
GUNS. As they step into the small circle of light, we see it's
Lipton, Washington and Andrews.
AMY
You're late.
LIPTON
We wanted to make sure you were
alone.
AMY
I am.
LIPTON
But are you the only one we're
talking to?
Lipton glances at Andrews, who pulls out a SCANNING DEVICE.
She walks around the room with it, then passes it around Amy.
Andrews nods at Lipton.
ANDREWS
It's just the four of us.
Lipton takes a step closer to Amy.
LIPTON
You're taking quite a risk.
AMY
It's worth it.
(then:)
That offer you made us... I've
changed my mind.
CONTINUED
"Blood Ties" 1/29/98 61.
62 CONTINUED: 62
There's a catch in her voice. She's trying to fight back her
emotions.
WASHINGTON
You don't blame us for the car
trouble you had?
AMY
You did what you thought you had
to do.
(then:)
It doesn't matter now.
Lipton shares a skeptical look with her fellow rogue cops.
LIPTON
You don't really expect us to
believe you've changed your mind...
(snaps her fingers:)
Just like that.
Amy starts to reply, and is almost overwhelmed by her
emotions. That last thing she wants to do is shed a tear... to
show weakness in front of them. She picks up a FILE on the
floor and hands it to Lipton.
Lipton looks through it...and understands.
LIPTON
Your father's body has rejected
the liver.
She tosses the file back to Amy.
LIPTON
Sorry, we don't have a returns
policy.
AMY
He needs another liver.
LIPTON
Not our problem.
Lipton starts to walk away. The others follow. They are nearly
in the shadows when Amy whispers:
AMY
Please.
CONTINUED
"Blood Ties" 1/29/98 62.
62 CONTINUED: (2) 62
Lipton stops and turns around slowly, stepping back into the
narrow shaft of light.
LIPTON
We can't help you. But we can show
you how to help yourself.
And on Amy's acceptance, we CUT TO:
63 EXT. THAXTON'S HOUSE - DAY 63
As a SEDAN pulls up nearby. The FOUR COPS are in it. Lipton
turns to Amy.
LIPTON
This house belongs to Gil Thaxton.
He likes to cut the drugs he sells
with baking soda, paint thinner,
anything he happens to have in the
garage. He doesn't have a lot of
repeat customers.
WASHINGTON
He does have one redeeming quality.
AMY
He's the same blood and tissue
type as my father.
ANDREWS
There's just one tiny problem.
AMY
Thaxton is still alive.
Lipton smiles. Amy feels sick.
LIPTON
So, what are you going to do about
that?
AMY
Me?
LIPTON
Daddy needs a new liver, there it
is.
CONTINUED
"Blood Ties" 1/29/98 63.
63 CONTINUED: 63
Lipton motions to the house.
LIPTON
You want it, you take it.
Amy is trapped in a no win situation... and she knows it. She
comes to a decision. Her expression hardens. She gets out of
the car and heads for the house, taking out her GUN and using
available cover. The three cops watch her SLIP INTO THE HOUSE.
After a long moment, there's A GUNSHOT. The three cops
exchange a look and get out of the car. CUT TO:
64 INT. THAXTON'S HOUSE - DAY 64
Lipton, Washington, and Andrews enter, GUNS DRAWN, to find Amy
standing over the body, which is FACE DOWN. Her gun is at her
side.
AMY
Now what do we do?
LIPTON
We arrest you for murder.
Amy looks at them, uncomprehending.
WASHINGTON
We were following you. We saw you
come in. We heard a gunshot.
ANDREWS
We came in and found you standing
over his body. He was unarmed,
shot in the back.
LIPTON
You were desperate to save your
father's life. That's probably how
your killing spree started. But
we'll never know for sure...
Lipton takes careful aim.
LIPTON
...since you were gunned down in
a shoot-out with police.
CONTINUED
"Blood Ties" 1/29/98 64.
64 CONTINUED: 64
AMY
Every one is going to know I was
murdered.
ANDREWS
How?
AMY
They'll listen to the tapes.
Amy smiles and points to the walls.
AMY
I'm not wired...but the house is.
And we INTERCUT WITH:
65 INT. TAYLOR AND AMY'S CAR - DAY 65
Taylor sits in the driver's seat, Mark next to her. They are
listening to the conversation in the house on the RADIO.
MARK
We've got them.
TAYLOR
They'll fold now. They have no
other choice.
66 INT. THAXTON'S HOUSE - DAY 66
Amy faces her foes...who haven't lowered their guns. She is
still in their gunsights.
AMY
We knew who your next victim would
be. The key was getting you to
strike.
She glances down at the body...and the victim rolls over and
sits up. It's JESSE.
JESSE
The real Gil Thaxton is in
protective custody.
CONTINUED
"Blood Ties" 1/29/98 65.
66 CONTINUED: 66
LIPTON
I don't know who you are, but
you're going to wish you were him.
STEVE'S VOICE
It's not that easy.
Lipton smiles now as Steve steps out behind her with TWO
UNIFORMED OFFICERS, their guns aimed at the three bad cops.
Washington whirls around to aim her gun at Steve. Andrews
shifts her aim between the two uniforms. Lipton doesn't take
her eyes off Amy. It's one of the Mexican standoffs, ala
Tarantino.
ANDREWS
Now this is ugly.
LIPTON
Gonna be a massacre, anyway you
look at it.
STEVE
Not if you give yourself up.
ANDREWS
You're kidding, right?
WASHINGTON
You put us in jail, it's the same
as giving us the death penalty.
ANDREWS
Only a lot more painful.
STEVE
It doesn't have to be that way.
LIPTON
Oh, yeah, because cops do so well
in prison.
AMY
Shooting us isn't going to help
you.
LIPTON
Not, but I'm sure there are some
people on the organ-list who will
be grateful.
CONTINUED
"Blood Ties" 1/29/98 66.
66 CONTINUED: (2) 66
ANDREWS
So who wants to shoot first?
And on the stand-off:
67 INT. TAYLOR AND AMY'S CAR - DAY 67
Taylor glances at Mark in disbelief.
TAYLOR
That's psychotic. What kind of
person thinks like that?
Mark gives her a look, then:
MARK
I don't know... but we have to do
something to stop them.
Taylor slams the car into gear and stares at the house with
grim resolve.
TAYLOR
Buckle up.
Before Mark can argue, she FLOORS it, and on Mark's wide-eyed
terror, she steers the car DIRECTLY TOWARDS THE HOUSE.
68 EXT. THAXTON'S HOUSE - DAY 68
As Taylor's car ROARS DOWN THE ROAD, jumps the CURB and PLOWS
THROUGH THE FRONT WALL, Mark SCREAMING the whole way.
69 INT. THAXTON'S HOUSE - DAY 69
As the POLICE SEDAN SMASHES INTO THE ROOM. Amy TACKLES Jesse
out of the way. Lipton, Washington, and Andrews dive out of
the way.
Taylor bursts out of the BASHED CAR, a gun in each hand,
aiming in the general direction of the rogue cops.
TAYLOR
First corrupt cop who moves never
moves again.
CONTINUED
"Blood Ties" 1/29/98 67.
69 CONTINUED: 69
Steve and the two uniformed officers, who were a safe distance
away from the car, are is still standing, their guns drawn.
STEVE
You're all under arrest.
Amy scrambles to her feet and stares in HORROR at the CAR.
Jesse helps a shaky Mark out of the car.
JESSE
Are you all right?
MARK
That's an experience I could have
lived without.
JESSE
I'm not sure I could have.
Amy advances on Taylor.
AMY
What were you thinking?
TAYLOR
I was thinking of saving your life.
AMY
Couldn't you have done it without
the car?
TAYLOR
I don't know, I didn't give it any
thought.
AMY
That's exactly your problem...
Mark and Jesse join Steve as the two cops continue to bicker,
and we hear APPROACHING SIRENS. Mark motions to the two women.
MARK
How long do you think they can
survive together?
STEVE
Longer than any one who gets near
them.
CONTINUED
"Blood Ties" 1/29/98 68.
69 CONTINUED: (2) 69
MARK
If I were a criminal, I'd be very
afraid.
JESSE
I'm not, and I am. Bye.
And on Jesse leaving, and Mark and Steve smiling after him, we
FADE OUT.
THE END