Murder One

Season One - Chapter Twelve

U.S. air date: January 22, 1996

(Complete transcript) - [Final version]

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Disclaimer: These transcripts were made from personal video copies of
the shows and are presented for Fair Use only to Murder One fans. All
of the characters and the scripts are the properties of Steven Bochco
Productions, Charles H. Eglee, Channing Gibson, ABC television and
their respective authors. No copyright infringement is intended nor
implied by the distribution of this document. It is solely meant for
entertainment purposes only.
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"Previously on MURDER ONE"

THE JURY IS SEATED - Narrator's voice-over: "Jury selection is completed."
Clip of Judge Bornstein swearing in the jurors.

Judge: "`Do you and each of you, understand and agree, that you will
accurately and truly try this case now pending before this court. And a
true verdict render only according to the evidence presented to you and
the instructions of the court... '"

The jurors: "I do."

TRIAL HITS HOME - Narrator's voice-over: "The murder trial hits home."
Clips of Ted with Lizzie and Annie. And clips of Ted with the press.

Annie: "I don't want this case and everything that comes with it in our
home. With all the theatrics and media hoopla, it's show business. Crime
is entertainment. Everybody's a celebrity."

Lizzie: "Daddy, look, you're on tv." 

On the TV: "...  over this senseless tragedy."

THE OFFER - Narrator's voice-over: "Richard Cross makes Justine an offer
she can't refuse." Clips of Cross and Justine discussing the art deal.

Cross: "What's your favorite fantasy?"

Justine: "Excuse me?"

Cross: "It's just that I see you doing so much more than being Ted
Hoffman's junior partner."

Clip of Justine discussing Cross' offer with Ted.

Justine: "He wants me to fly to Amsterdam to buy some painting. Made a big
show of wanting it to be all right with you."

Ted: "It's not."

Justine: "I know this isn't about art. But I could be your inside guy
on this."

Ted: "Tell Richard you aren't interested." 

Clip of Justine accepting Cross' offer.

Cross: "Do we have something to celebrate?" Justine nods. "Excellent."

Justine: "Only about Ted, I would just like to choose the right time to
tell him about this."

Cross: "I'm sure you'll tell Ted when you're ready."

CHAPTER ELEVEN

Opening scene: Outside the courthouse. The press corps and fans anxiously
are awaiting the arrival of Neil and his defense team in a van.

Reporter #1: "Good morning. Is there any chance for a last-minute plea
bargain?"

Ted: "Not interested."

Reporter #2: "Have you foreclosed the possibility of an insanity defense?"

Ted: "Yes, we have."

Reporter #3: "Any truth to the rumor that additional counselors will be
brought in?"

Ted: "None that I know of."

Reporter #4: "Are we going to get the opening statements today?"

Ted: "Yes, I'm sure we will."

Reporter #5: "How do you feel, Neil?" Neil replies by giving them a
thumbs-up gesture as he and his attorneys enter the courthouse.

Inside, the men's restroom, Neil is feeling nauseous. Chris and Ted are
with him.

Neil: "Ugh. It's okay. I don't have to."

Ted: "You sure?"

Neil: "Yeah."

Ted to Chris: "Stand outside and make sure no one comes in." Neil goes
over to the sink, drinks some water and splashed some more on his face.
Ted grabs some paper towels and dries Neil's face. "Look at me. When all
is said and done, and that may mean a trial, and that may mean a trial 
and an appeal -- you're going to be all right."

Neil: "Why do I get the feeling that's what you're supposed to say to a
terrified client?"

Ted: "I don't say it unless I believe it."

Neil: "Teddy, I don't think I can get through this."

Ted: "You can get through it, Neil. You can get through it because you're
stronger than you think you are and because I'm going to be by your side
the whole time." Takes Neil by the shoulders, trying to reassure him. "This 
is what I do, Neil. This is what I'm good at. Now you're going to depend on
me and you're going to put your faith in me and you will come out on the
other side. I promise."

[Music and main titles roll]

Daniel Benzali as Theodore Hoffman
Mary McCormack as Justine Appleton
Michael Hayden as Christopher Dochnovich
Grace Phillips as Lisa Gillespie
J.C. MacKenzie as Arnold Spivak
Stanley Tucci as Richard Cross
Dylan Baker as Detective Arthur Polson
Vanessa Williams as Lila Marquette
John Fleck as Louis Heinsbergen
Barbara Bosson as Miriam Grasso
Patricia Clarkson as Annie Hoffman
Jason Gedrick as Neil Avedon

Created by Steven Bochco & Charles H. Eglee & Channing Gibson
Executive Producer: Steven Bochco

[Episode credits roll]

Guest starring:
Joe Spano as Raymond Velacek
Linda Carlson as Judge Beth Bornstein
Ted Marcoux as Richard DiGiacomo
Nancy Cassaro as Mona Feigenbaum
Mariangela Pino as Gretchen Jankow
Ned Vaughn as Dean Crowley
Philip Sterling as Frederick Hartman
Vanessa Zima as Elizabeth Hoffman
Jason Azikiwe as Eddie Rosco
Juli Donald as Julia Antonelli

Music by Mike Post
Casting by Junie Lowry Johnson, C.S.A.
Producers: Geoffrey Neigher, Marc Buckland
Supervising Producers: Ann Donahue, Joe Ann Fogle
Creative Consultant: David Milch
Co-Executive Producer: Michael Fresco
Executive Producers: William M. Finkelstein, Charles H. Eglee
Written by William M. Finkelstein & Charles H. Eglee
Directed by Rick Wallace
------------------------

In court, the Avedon case, the Prosecution makes a motion prior to
opening statements.

Judge: "Ms. Grasso?"

Grasso: "Thank you, your honor. The People do have a motion to offer."

Judge: "Proceed."

Grasso: "Your honor, the People at this time would like to move that
television cameras be banned from the courtroom for the duration of this
trial."

Ted: "The Defense does not oppose Ms. Grasso's motion, your honor. We
support the elimination of cameras from the courtroom."

Judge: "Reasons?"

Ted: "I'll defer to my colleague to state the reasons."

Grasso: "Your honor, we believe the presence of cameras, rather than
accomplishing the stated purpose of illuminating a trial, has the effect
of distorting it. We believe that attorneys as well as witnesses, either
consciously or unconsciously, play to the cameras. We believe that because
this is an unsequestered jury, they will be that much more hard-pressed to
avoid the ubiquitous commentary and speculation that follows a televised
trial. And given the magnitude of public interest in this case, we believe
that the presence of cameras will transform this trial into a spectacle,
which ultimately will betray rather than serve the interest of justice."

Attorney: "May I be heard, your honor?"

Judge: "State your name and who you represent for the record, please."

Attorney: "Mona Feigenbaum. I'm an attorney for Law TV and I'd like to be
heard on opposition to Ms. Grasso's motion."

Judge: "Go ahead."

Attorney: "The principle of open, public trials is a basic right in this
country, guaranteed by the Sixth Amendment. Yes, this is a trial in which
there is a great deal of public interest, and yes, Law TV is a profit-making
enterprise which stands to gain from being permitted to televise it. What I
would argue is that by doing so we are fulfilling the same function as that
of the rest of the working press -- namely, the transmittal of information
protected by the people's right to free speech." The judge attempts to say
something but the attorney just continues. "Like it or not, television is
the means by which the vast majority of the citizens of this country receive
their news. We don't believe that we distort the process, we believe we're
part of it." Grasso, no longer able to hold back, begins chuckling and Chris
feigns as if he's impressed by what the attorney is saying. "We have full
faith in the ability of this court to ensure the appropriate standards of
behavior for both attorneys and witnesses and we have full faith in the
court to assure the proper administration of justice. What Ms. Grasso and
Mr. Hoffman are asking for, in essence, is to be shielded from the public
view. We ask the court not do that. We ask that the court not shoot the
messenger than for no other reason than how effective a messenger he is."

Judge, finally able to interrupt: "All right, Ms. Feigenbaum, you're not
testifying before a congressional committee -- I get the point. The court
denies the motion. Live television coverage will be permitted. Coverage
will be restricted to when the jury is present. The jury will not be shown
on camera, ever. There will be one camera and one camera only which will
serve as the pool camera for all television coverage."

Grasso interrupts: "Your honor, may I be permitted to speak to this issue?"

Judge: "No."

Grasso: "Your honor, may I be permitted to submit additional points on
authority?"

Judge: "I've ruled, Ms. Grasso. I think that on balance, television coverage
is in the public interest."

Attorney: "Your honor, may I say that... "

Judge interrupts: "Nothing, Ms. Feigenbaum, you won. Take yes for an
answer. We'll take a fifteen-minute recess. We'll begin opening statements
at 10:30." As Ted leaves the courtroom he runs into Ray.

Ray: "Ted? What's up?"

Ted: "What do you know about Roberto Portalegre?"

Ray: "Hum at D.E.A. is he's a broker for the Cali Cartel -- money, drugs, arms
-- with a finger into Cuba, South Africa and the Middle East. Why are we
interested?"

Ted: "He paid me fifty thousand dollars ostensibly to represent his son,
only to buy off the complainant on his own. Something doesn't add up."

Ray: "He was also referred by Richard Cross, wasn't he?"

Ted: "Right."

Ray: "That's all the reason you need to be suspicious. I'll see what else
I can dig up." Ray leaves.

At an outdoor cafe, Justine is there to meet Richard Cross. At the food
cart, where she's ordering a coffee, she watches a commentator on Law TV.

[TV] Commentator: "Jurors tend to pay close attention to the person in the
courtroom who commands the most respect."

[TV] Crowley: "And Ted Hoffman wants to be that person."

[TV] Commentator: "If Ted Hoffman does take control, as he usually does, it
will be quietly."

Vendor: "Double latte."

Justine: "Yes." Pays for her coffee. Turns and spots Cross arriving.

[TV] Crowley: "Is it as important for Miriam Grasso to get control of the
courtroom as it is for Ted Hoffman?"

[TV] Commentator: "The prosecution is usually driven by... "

Justine joins Cross at their table.

Justine: "Hi."

Cross: "Hi, I hope I didn't keep you waiting."

Justine: "No. Just got some good news. The dollar is rebounding against all
the European currencies so if you were to close on that Holbein painting
today, the price would only be ridiculous instead of obscene." Cross smiles.

Cross: "Good. If the dollar takes a wrong turn, I can live with obscene. Uh,
but the reason I wanted to see you has to do with a different matter." To a
passing waiter, "Can I get a double espresso, please?"

Justine to the waiter: "Nope, I've already had my morning jolt."

Cross: "Thank you." Waiter leaves. "Is Teddy okay?"

Justine: "As far as I know. Why?"

Cross: "Well, I'm worried about him. As you know, Ted and I have been
friends for a long time. Regrettably the events over the last few months
have put a strain on our friendship, to put it mildly. My hope was that
everything would work out. But recently he has, um, made some hurtful and
even frightening... "

Justine interrupts: "We're getting into an area here, Richard, I really
don't feel comfortable talking about with you."

Cross: "Understood. You don't want to say anything that would violate
Neil's privilege and I don't want you to. I'm just trying to understand
why Ted feels the need to vent his spleen on me over everything and
anything that upsets him."

Justine: "You want to talk about Flemish painting, fine, that relates to
our business together -- this doesn't."

Cross: "Justine, I'm sorry, I just don't know who to talk to. The line of
communication between Ted and me has broken down completely and I'm left to
ponder the delusional rantings of someone that I once considered a friend,
so... "

Justine interrupts: "It's really between you and Ted. If you want to know
what's on his mind, you'll have to ask him yourself." Cross smiles.

Cross: "I hope you're as discreet in your business dealings with me as you
are with those of Hoffman and Associates."

Justine: "Well, I should be getting to work." About to get up and leave.

Cross stops her: "I made you feel uncomfortable. I'm sorry, I didn't mean
to. I guess I just needed to vent a little bit myself. You've been a good
listener, thank you." Justine rises and leaves but at the food cart, Lisa
is waiting on line and has just seen Justine leave Cross' table.

Back in court, opening statements begin. The Prosecution goes first.

Grasso to the jury: "Good morning, ladies and gentlemen. I work for the
District Attorney's office of the county of Los Angeles and I represent the
people of the state of California. I represent you. One thing I want to
advise you of right from the start, I am not anywhere near as entertaining
as Ted Hoffman is. I'm not entertaining. I'm not flamboyant. And I'm not
famous, like Neil Avedon. I think it's hard not to be blinded by celebrity,
don't you? I don't know of anyone who's not impressed at the sight of seeing
famous people, in person. You know what it's like in this town, you go to
a restaurant or a store -- there's Clint Eastwood or Mary Tyler Moore or
someone like that. And it, it just makes the whole experience a little bit
special. And I'll be honest with you, I would love to be meeting either of
these people under different circumstances." Ted leans over to whisper to
Chris. "I'd love to go to dinner with Ted Hoffman, hear his war stories.
I'll admit it. I would love to sit at Spago's at a table with Neil Avedon
and have people ogle me just because I'm with him. But that's not our
business here today, ladies and gentlemen. Our business is much more
serious. Much more sad. And it's also, much more important."

Ted interrupts: "Your honor, I have to object at this point."

Judge: "Approach the bench."

Ted: "This is an attempt on the part of the Prosecutor, who has the majesty
of this state behind her, to cast herself in the role of the underdog. It's
irrelevant to the facts of this case, it's untrue and I object to her use of
it to pander to this jury."

Grasso: "Your honor, this is opening statement rhetoric. Mr. Hoffman knows
that. Mr. Hoffman has registered his objection for no other reason than to
interrupt me. Now that he has completed his task I would ask the court to
permit me to resume."

Judge: "You keep to the facts of the case, Ms. Grasso. You, Mr. Hoffman, I
remind not to keep jumping in with gratuitous objections. Hmm? Proceed."

Grasso: "My opening statement provides me with the opportunity to give
you a roadmap, where the People are going with this case and how we intend
to prove it. It's a simple case, ladies and gentlemen. There's nothing
complicated about it at all." She turns and points directly at Neil. "This
man raped and strangled to death a fifteen-year-old girl." Neil looks at
the jury and shakes his head. "The evidence will place Neil Avedon at the
scene of the crime on the night in question. The evidence will prove beyond
a reasonable doubt that he committed the crimes he's charged with. We will
provide you with scientific evidence that he vaginally penetrated her and
evidence that was found in the bedroom indicates there was a struggle. We
will demonstrate to you that this was a fifteen-year-old who was bound
and beaten and raped before she was killed. He did that to her. Jessica
Costello's character may be an issue in this trial raised by the Defense.
Defense counsel will try to make `that' what this trial is about. He will
say that this was consensual sex, that this young girl in fact wasn't raped.
She couldn't have been raped. After all, look at who she was -- someone who
abused drugs, someone who was promiscuous. My adversary will put her on 
trial. Don't let him do it. Nobody deserves to be raped and murdered. And
nobody deserves to get away with raping and murdering them, no matter how
famous they may be."

Back at the firm, Justine watches Law TV in her office when Lisa drops by
for a chat. Dean Crowley, host of Law TV is summing up the day in court.

[TV] Crowley: "During her opening statement this morning, Miriam Grasso
gave us a preview of the Prosecution's case against Neil Avedon -- the 
physical evidence linking him to the murder, and the time line which places
him at the crime scene when the murder is thought to have taken place."

Lisa: "Hey."

[TV] Crowley: "She also asked the jury... "

Justine: "Now tell me you don't think he's a doll?" Pointing to Crowley
on the television screen.

[TV] Crowley: "... what Grasso clearly anticipates will be a key
defense... "

Lisa: "Well, there's definitely something there but I don't know, maybe
just that red hair and freckles thing doesn't work for me."

Justine: "Good, then he's all mine."

[TV] Crowley: "... great risk, thereby raising the possibility of other
suspects." Justine shuts off the TV.

Lisa: "Justine, um, this is probably none of my business, so I apologize
if I'm crossing a line here because I'm sure there's a perfectly reasonable
explanation."

Justine: "What's the question?"

Lisa: "I saw you having coffee this morning with Richard Cross."

Justine: "We had to take care of something from Julie Costello's DUI."

Lisa: "Wasn't that case dismissed?"

Justine: "You know what, Lisa, you're right. This is none of your business."

Lisa: "I, I just don't want to see you or the firm compromised in any way
by even the appearance of impropriety."

Justine: "What's your point?"

Lisa: "Look, for all we know Miriam Grasso is going to call Richard Cross
as a witness and it's not exactly a secret that Ted doesn't trust him as
far as he can throw him."

Justine: "And your fear is what? That I'm having an affair with him or
something?"

Lisa: "I didn't say that. And even if it was, I couldn't care less what you
do with your private life."

Justine: "Apparently you care a great deal."

Lisa: "Look, Justine, I'm not trying to be a cop here. I just think that
given the given... "

Justine: "You don't think it looks good."

Lisa: "Right."

Justine: "I understand. Appearances mean a lot to you, Lisa. But just
because Chris Dochnovich doesn't appear to be putting the wood to you
doesn't mean he isn't." Lisa leaves. Justine sighs and turns the TV back
on. Law TV has live coverage of the Avedon trial and is showing Ted's
opening statement.

[TV] Ted: "My name is Ted Hoffman. I say that in the event I'm not as
famous as my adversary has accused me of being." Scene switches from the
TV coverage to the actual courtroom.

Ted: "I ask only one thing of you as we go into this trial: please keep an
open mind. Things are not always what they appear to be. The reason why we
have this thing called `the presumption of innocence,' the reason we hold
prosecutors to proving their case beyond a reasonable doubt, the reason we
have this courtroom and this trial and the twelve of you -- is to provide
checks and balances so the police don't arrest the wrong man. We try very
hard to prevent innocent men from being sent to prison. The man you see
before you, Neil Avedon, is innocent -- until evidence if produced that
convinces you of his guilt beyond a reasonable doubt." A bailiff has just
handed the judge a note. "Before you can convict him of first degree murder
you must require Miriam Grasso to prove that he is guilty. And to prove it
beyond a reasonable doubt."

Judge: "Excuse me, Mr. Hoffman, for interrupting you. I'd like to see both
sides in chambers, please."

They all gather in Judge Bornstein's chambers.

Ted: "Your honor, I trust this interruption isn't a retaliatory gesture of
some sort on the part of Ms. Grasso."

Judge: "Your daughter's been abducted, Ted."

Grasso: "Oh my God." Ted is shocked.

Judge: "I'm declaring the court in recess for the day. You need to get
home." Ted and Chris rush out of chambers and into the hallway.

Chris: "Teddy, if there's anything I can do... "

Ted: "Stay with Neil." Polson meets up with Ted.

Polson: "Hoffman."

Ted: "Not now, detective."

Polson: "I've got a black-and-white standing by downstairs to take you home
and I've spoken with the chief." Ted presses the button for the elevator and
nervously awaits the car to arrive. "He's put S.I.S. assets at our disposal
and metro's standing by to field a SWAT call, if necessary. Response team of
detectives from West LA is en route to your house now."

Ted: "Thank you." Elevator arrives and Ted enters it.

Polson: "Whatever our differences, I'm a father too. I'll keep a good
thought for your little girl."

At the Hoffman home, detectives are there with Annie, awaiting word on
Lizzie's abduction. Ted arrives.

Ted: "Annie!" She's crying. "What happened?"

Annie: "I went to pick up Lizzie after ballet but she never even made it to
class. One of her friends saw her get into a strange car and drive away. Oh,
Ted, if anything's happened... "

Ted: "Let's try and stay calm, huh? Let's not get too far out in front of
things."

Annie: "This has something to do with the case, doesn't it?"

Ted: "Annie, I don't know."

Annie: "Just tell them you'll walk away right now, just give us our little
girl back! I want her back, Ted!" She's sobbing as Ted tries to comfort her.
She pushes away from him and runs upstairs. One of the detectives introduces
herself to Ted.

Jankow: "Mr. Hoffman? Gretchen Jankow." They shake hands.

Ted: "Detective."

Jankow: "I know this is an upsetting time for you both."

Ted: "I'm sure you're doing all you can."

Jankow: "We have an officer interviewing your daughter's friend right now.
Also, we'll monitor your phone, put a trap on your line to locate incoming
calls... Mr. Hoffman, do you think this could be related in any way to the
Avedon case?"

Ted: "I honestly don't know."

Jankow: "Have you received any threatening phone calls, letters?"

Ted: "Nothing out of the ordinary, just the usual crackpots."

Jankow: "Well, if you think of anything and it could be helpful... " The
phone rings. Ted answers it.

Ted, on the phone: "Hello?" Annie rushes to be near Ted. "Lizzie." He sighs.
"Are you all right? Where are you, sweetheart?"

Annie: "Where is she? Is she okay?"

Ted to Gretchen: "Holmby Park on Beverly Glen." Again to Lizzie on the
phone, "Honey, are you by yourself there? Okay. Stay right where you are,
mommy and I are coming to get you."

Annie: "I want to talk to her."

Ted: "Here's mommy." Hands the phone to Annie.

Annie: "Lizzie? Are you okay? Thank God."

Gretchen: "Don't let her hang up. Keep her on the line till we get someone
there."

Annie: "I, I want you to listen to me very carefully, honey. Don't hang up.
Daddy and I will be there in a few minutes. I, I'm going to give the phone
to a police detective and you tell her what happened. No, no, no, no! Don't
be scared! You didn't do anything wrong! I love you!" She and Ted hurry to
a police car and rush to the park where Lizzie is. Another police car with
officers is already at the scene with Lizzie. Annie runs from the car to
meet up with her daughter who's with a police officer. She carries the girl
as she relates what happened to her.

Lizzie crying: "The lady said she was with the police and daddy sent her to
pick me up. Please don't be mad at me. She had a badge and everything."

Ted: "Nobody's mad at you, honey. We were just worried about you, that's
all." He kisses his daughter. "Come on, let's go home." Annie puts her down
and they head back toward the police car and home. At home, they go over
what happened in more detail with Gretchen Jankow and Arthur Polson.

Gretchen: "Shall I call you Elizabeth or shall I call you Lizzie?"

Lizzie: "Elizabeth."

Gretchen: "Okay, Elizabeth. I'd like you to call me Gretchen. Okay?"

Lizzie: "Okay."

Gretchen: "I'd like you to tell me what happened." She and Polson take notes
throughout.

Lizzie: "I came out of school and a lady called me over to her car. She told
she was a police woman and that she was going to take me to meet my dad."

Gretchen: "Can you tell us what she looked like?"

Lizzie: "She wore a red jacket and she was pretty."

Gretchen: "What color hair did she have?"

Lizzie: "Kinda light brown."

Gretchen: "Did she say what her name was?"

Lizzie: "Linda."

Gretchen: "Okay, that's great. You remember a lot. Okay, you got inside the
car -- then what did you do?"

Lizzie: "She drove around."

Gretchen: "Do you remember where she went?"

Lizzie: "We went to Jack in the Box."

Gretchen: "Wow. Did you get out of the car and go inside?"

Lizzie: "No, we stayed in the car. She ordered into the clown's mouth and
we ate in the car."

Gretchen: "Do you remember what kind of car it was she drove?"

Lizzie: "It was like Sheila's mom has."

Gretchen to Annie: "What kind of car is that?"

Annie: "Oh, it's, um, it's a wagon."

Ted: "A station wagon?"

Annie: "Not, not the old kind of station wagon."

Polson: "A sports utility vehicle?"

Annie: "I don't know."

Gretchen: "If you could find it, that'd be great." Annie heads to the phone
to call up the woman and find out. To Lizzie, "Okay, Elizabeth, did Linda
talk to you a lot?"

Lizzie: "Yeah, she asked me about school. She asked me what movies I liked
and she talked on the phone a lot."

Gretchen: "Do you remember what she was talking about when she talked on the
phone?"

Lizzie: "It sounded like business stuff. I really don't know."

Gretchen: "Well, that's okay."

Lizzie: "I remember that she wrote down numbers on a piece of paper that 
was on the front seat and the piece of paper was yellow and black."

Polson: "Was it a folded-over piece of paper?"

Lizzie: "Yeah."

Gretchen: "Rental car folder."

Polson: "Yellow and black is Hertz." Annie returns to the table where they
are sitting.

Annie: "She has a Ford Explorer."

Lizzie: "Are we almost done?"

Gretchen: "Yeah. But I want you to promise me something. If you remember
anything, no matter how silly you think it is, I want you to call me. Or I
want you to get your mom and dad to call me, okay?"

Lizzie: "I remember one thing. The car reached a thousand."

Gretchen: "What do you mean?"

Lizzie: "I watched it go from nine hundred and ninety-nine to a thousand."

Polson: "Narrows it down some."

Gretchen: "Hmm. You have been a lot of help, Elizabeth, a lot of help.
You're very observant."

Polson: "May I talk to you for a minute, Ted?"

Ted: "Sure." They both rise, move away from the table and head out the back
way of the house.

Polson: "Any theories?"

Ted: "They weren't looking for money. Somebody's sending me a message."

Polson: "Who should we be looking at?"

Ted: "It's a little premature for me to be naming names."

Polson sighs: "We're going to need your help if we're going to crack this
case."

Ted: "I appreciate you're getting involved, detective."

Polson: "Just doing my job."

Ted: "It's a little bit more than that, so I thank you." Polson nods and
leaves.

The next day, Grasso, Ted and Neil, meet with Judge Bornstein in her
chambers.

Judge: "How's your little girl?"

Ted: "She's back, she's home and by all outward appearances, she's fine."

Grasso: "Thank God for that."

Judge: "Do you need some time?"

Ted: "No."

Judge: "You sure?"

Ted: "Yes. Thank you, your honor, for your concern. I'm fully capable of
proceeding."

Judge: "Let me put the same question to you, Ms. Grasso. This is not a
sequestered jury. I'm sure they're all aware of the abduction. To the
extent it makes Mr. Hoffman unduly sympathetic in its immediate aftermath,
do you want to stand in recess until next week?"

Grasso: "I don't think that'll be necessary, your honor. Now that the jury's
impaneled I'd sooner move ahead."

Judge: "Okay, let's go."

Back in court, Ted resumes his opening statement.

Ted: "I'm sure all of you know that yesterday was a difficult day. And
I'd like to thank Ms. Grasso and Judge Bornstein for your understanding.
Some of you may be under the impression that a defense attorney is somehow
sympathetic to criminals. Let me disabuse you of that notion. I loathe crime
no less than Ms. Grasso does. I loathe it with every part of my being. The
crime committed in this case was a ghastly, evil act. And the perpetrator of
it deserves to be punished, severely punished. What I'm here to tell you is
that Neil Avedon is not that man. Neil Avedon loved Jessica Costello and
when he left that apartment that night, Jessica Costello was alive. Someone
came to Jessica's apartment after Neil left. That person killed Jessica.
That person is not on trial here. I'm not going to represent to you that
I know who that person is, nor am I going to tell you that in the course
of this trial we will find out -- or that we will ever find out. It is
neither your job nor your responsibility to solve this crime. You cannot
make Neil's guilt or innocence contingent on finding an alternative. We
all want closure, but closure can't come at the price of justice. I'll
be expecting all of you to keep your promises to us -- to listen to the
evidence and to questions asked by both sides before you begin to form
opinions regarding that evidence. This is a case based on circumstantial
evidence from which you will be asked to conclude that certain facts are
present. No one but you determines what the facts are. It doesn't matter
what any of us thinks, not even Judge Bornstein. I'm sure you will all
take your job and your oath seriously, and I thank you in advance for
your willingness to do so. Be patient, be objective, and don't jump to
any conclusions before you've heard all the evidence. The memory of Jessica
Costello will not be served by sending an innocent man to prison." After
his opening statement, Ted, Chris and Neil leave the courtroom together.

Neil: "Why was Grasso taking so many notes while you were talking?"

Ted: "To get the jury to ask the same question you just did. So they're not
giving a hundred percent attention to what I'm saying."

Neil: "Can she do that? Isn't that dirty pool?"

Ted: "When she does it to us, yes. When we do it to her, no." Polson arrives
to speak with Ted.

Polson: "Mr. Hoffman, I need a word with you. We have a suspect in custody.
We found the car off the information your daughter gave us and tracked down
the woman who rented it."

Ted: "You need Elizabeth to make the ID."

Polson: "We do." Ted nods.

Ted: "Neil, I have to go down to Parker Center. They've got a suspect.
Chris, you're going to be cross examining DiGiacomo. Have Arnold come down
to back you up."

Neil: "Shouldn't we ask for a recess until tomorrow?"

Ted: "Neil, Chris is every bit as competent to do this as I am. He wouldn't
be second chair if he weren't." To Chris, "Tear it up." He slaps him on the
back.

Chris: "Done." Ted turns to leave with Polson. To Neil, "Come on." They
leave together.

Afternoon session at court. Grasso begins the prosecution's evidence against
Neil.

Grasso: "The People call to the stand Richard DiGiacomo." The Bailiff
escorts DiGiacomo to the witness stand where the clerk swears him in.

Clerk: "Please raise your right hand. Do you swear to tell the truth, the
whole truth and nothing but the truth, so help you God?"

DiGiacomo: "I do."

Clerk: "State your name."

DiGiacomo: "Richard DiGiacomo."

Clerk: "Be seated."

Grasso: "Good afternoon, Mr. DiGiacomo."

DiGiacomo: "Good afternoon."

Grasso: "Are you familiar with an establishment here in Los Angeles known
as `The House of Blues?'"

DiGiacomo: "Yes, I am."

Grasso: "You ever been there?"

DiGiacomo: "Many times."

Grasso: "Have you ever been present at a time when the Defendant, Neil
Avedon, was also present?"

DiGiacomo: "Yes."

Grasso: "Was one such occasion the night of September 13, 1994?"

DiGiacomo: "Yes, it was."

Grasso: "And were you in a position to observe Mr. Avedon that night?"

DiGiacomo: "Yeah, I was sitting at the next table."

Grasso: "Was Mr. Avedon alone?"

DiGiacomo: "He was there with this young woman. Plus various friends of his
would stop by his table."

Grasso: "Can you tell us what, if anything, you observed about Mr. Avedon's
behavior that was unusual that night?"

DiGiacomo: "Well, he and this young woman, uh, made a little bit of a scene,
you might say."

Grasso: "Can you tell me what you mean by that?"

DiGiacomo: "They were making out. He had his hands all over her. And
from the way he was acting and the number of times he got up to go to the
bathroom I'd say he was doing a fair amount of cocaine."

Chris: "Objection. Speculative and inflammatory. I move to strike."

Judge: "Sustained. The witness' last remark is stricken. The jury will
disregard."

Grasso: "Was there a point during the evening when Mr. Avedon appeared to
lose his temper?"

Chris: "Objection. Leading the witness."

Judge: "I'll allow it."

Grasso: "You may answer, sir."

DiGiacomo: "Yes."

Grasso: "And would you describe what happened?"

DiGiacomo: "Well, I don't know what led up to it but, um, all of a sudden
she threw a drink in his face. He grabbed her by the throat and he pushed
her head up against the wall and he said if she ever did that again he'd
kill her."

Grasso: "Have you made a positive identification of that young woman?"

DiGiacomo: "Yes I have."

Grasso: "Would you please tell us who she was?"

DiGiacomo: "It was Jessica Costello."

Grasso: "I have no further questions."

Chris: "They have live music at `The House of Blues,' don't they?"

DiGiacomo: "Yeah."

Chris: "Is it pretty loud?"

DiGiacomo: "Yeah."

Chris: "And yet you were able to hear Neil Avedon make this threat against
Jessica Costello's life over the sound of the live, loud music?"

DiGiacomo: "Well, first of all, I was sitting at the next table and second
of all, he didn't exactly whisper it."

Chris: "Then you weren't the only one who heard it?"

Grasso: "Objection. The witness is in no position to know that."

Judge: "Sustained. It's speculation."

Chris: "What did you do after you heard you've described as a threat?"

DiGiacomo: "What do you mean?"

Chris: "I mean, did you attempt to intervene?"

DiGiacomo: "It wasn't my place to intervene."

Chris: "Did you alert security that this young woman's life was in
jeopardy?"

DiGiacomo: "No, I didn't. I guess at the time I didn't take it serious
enough."

Chris: "How is it that your observations of Mr. Avedon that night came to
the attention of the District Attorney, Mr. DiGiacomo?"

DiGiacomo: "Well, I got in touch with her as soon as I saw the girl's
picture in the paper."

Chris: "Why?"

DiGiacomo: "Because I thought the District Attorney would want to know."

Chris: "So, you were just doing your duty as a citizen?"

DiGiacomo: "Right"

Chris: "You have no underlying vendetta against Neil Avedon?"

DiGiacomo: "No, I do not."

Chris: "Have you ever had any contact with Neil Avedon?" Arnold rises to
go to the main entrance to the courtroom.

DiGiacomo: "No."

Chris: "Anyone you know ever had any contact with Neil Avedon?"

Grasso: "Objection."

Judge: "Overruled."

DiGiacomo: "What am I, his wife? I don't know who he has contact with."
Arnold brings in a young woman. They remain standing by the door.

Chris: "Do you know this woman, Mr. DiGiacomo?" Chris turns and points to
her.

DiGiacomo: "Yeah, I know her."

Chris: "Can you identify her by name?"

DiGiacomo: "Corinne Wylie."

Chris: "What was your relationship with Corinne Wylie?"

DiGiacomo: "We used to live together."

Chris: "Were you living together in January of 1994?"

DiGiacomo: "Ah, I'd have to think about that. I don't know off the top of
my head."

Chris: "Well, let me phrase that another way. Were you living together at
the time Corinne went to North Carolina to work as a wardrobe assistant on
a movie called `Deadbolt?'"

DiGiacomo: "Yeah, we were living together then."

Chris: "Were you aware of the fact that while on location, Ms. Wylie had
an affair with Mr. Avedon?"

DiGiacomo: "I became aware of it."

Chris: "How did you become aware of it?"

DiGiacomo: "Because a grip who worked on that movie told me."

Chris: "How is it that one of the grips told you?"

DiGiacomo: "Because I'm a grip and we were working together on another movie
and he told me."

Chris: "How did it make you feel to know that your girlfriend was cheating
on you with Neil Avedon in front of the entire motion picture crew?"

Grasso: "Objection. Argumentative."

Judge: "Overruled."

DiGiacomo: "How do think it made me feel?"

Chris: "When you said you called the District Attorney solely out of civic
duty, well, that wasn't quite true, was it?"

DiGiacomo angry and shouting: "I heard what I said I heard! He said he'd
kill her!" Neil shakes his head. DiGiacomo, more composed, "Scumbag."

Chris: "I have no further questions." Murmuring in the courtroom.

Down at Parker Center, Ted and Annie bring Lizzie down to meet with Gretchen
Jankow and Arthur Polson to try and identify the woman who abducted her.
Polson leads them into a room.

Polson: "Right here."

Gretchen: "Elizabeth, can I get you a soda or anything?"

Lizzie: "No thanks."

Gretchen: "Okay. The reason we asked your mom and dad to bring you down
here is so that you can help us do our job. Now what I'm going to do is
show you pictures of some people, ask you if you've ever seen them before.
And if you haven't, that's okay too. Are you comfortable?" Lizzie nods.
"Little bit nervous?" Lizzie shakes her head. "Good girl. 'Cause there's
no reason to be. Just relax, see if you recognize anybody and don't feel
like you have to pick somebody out, you know, if you're not sure. Okay?"
Lizzie nods again. "Ready?" She turns over a card and shows Lizzie several
photos of different women. "Have you ever seen any of these women before?"
Lizzie looks at the six photos.

Lizzie shakes her head: "No."

Gretchen: "Okay. I'm going to ask you to take a second look, you know, just
to be sure." Lizzie does take a second look as Ted looks at the photos too.

Lizzie: "None of these is the right lady."

Gretchen: "Does looking at these pictures help you to remember anything
about that lady that picked you up?"

Lizzie: "Not really."

Gretchen: "That's okay."

Lizzie: "Sometimes the police get mad at my dad 'cause of his job." She
looks at Polson. "But please don't get mad at him 'cause I couldn't catch
the lady." Jankow looks at Polson. He kneels down by Lizzie's side to speak
with her.

Polson: "First of all, by helping us rule these people out, you've been a
big, big help. And even though the police and your dad don't always agree,
both of our jobs are very important." He and Ted look at each other. "And
we both know that."

Back at the firm, Ted finds Richard Cross waiting in reception to speak
with him.

Ted: "Richard."

Cross: "Teddy, how's your little girl?"

Ted: "She's fine."

Cross: "Look, can I talk to you in private for a moment?"

Ted: "Let's go into my office." They continue speaking on the way to Ted's
office.

Cross: "When I heard the story on the news last night, I wanted to call
you but I thought you and your family might need some time together
undisturbed."

Ted: "Thank you for your concern." Cross closes the door behind him.

Cross: "So, what kind of person would do such a thing, Teddy? And why?"

Ted: "To send me a message."

Cross: "About?"

Ted: "I haven't a clue."

Cross: "I cannot imagine what you and Annie must have gone through."

Ted: "She'll come down off the ceiling in a day or two."

Cross laughs: "Some kind of world we live in, huh? I'm just glad everything
turned out okay. Look, the reason I came by was to let you know that, uh,
the full resources of my security staff are at your disposal."

Ted: "I've already made arrangements."

Cross: "Well, Teddy, I don't need to tell you, this is not an area that you
should cut corners on. My people are culled from the finest law enforcement
personnel in the world. You say the word and they're yours."

Ted: "Thank you. You're very generous." Ted walks over to the door and opens
it. "If I feel I need to take any additional steps, I'll send up a flare."

Cross: "Please do. And please give my regards to your family." Cross leaves
as Arnold and Chris arrive. "Gentlemen."

Chris: "Mr. Cross."

Ted: "Arnold." To Chris, "I caught the last part of your cross-examination
on television."

Chris: "How'd I do?"

Ted: "How do you think you did?"

Chris: "I think I did fine."

Arnold: "Ted, don't take Chris' reluctance to beat his chest to mean he
isn't completely convinced of his own brilliant performance and intrinsic
superiority. You kicked ass, Chris."

Ted: "Atta boy."

Chris: "Thanks, thanks. That suspect pan out?"

Ted: "No."

Arnold: "This the, uh, the handiwork of Richard Cross?"

Ted: "Maybe."

Chris: "What could Cross possibly gain out of doing something like this?"

Ted: "It was a shot across the bow. He could be trying to discourage me
from being too aggressive during trial, painting his as Jessica's real
killer. Hard to say but I do know this -- Richard Cross is a dangerous man
who'll stop at nothing if it advances his interests, whatever they are.
I'm not going to be intimidated by him, but I will be wary. All of us
should be."

In the firm's law library, Lisa is working on something when Justine
drops by for a chat.

Justine: "For the record, I'm not sleeping with Richard Cross. It's way
too creepy a concept, even for me. And you were right. I was so wrapped
up with my own agenda I didn't stop to consider the public perception of
me dragging around with him or how Ted might feel about it. I was the one
who was out of line, not you."

Lisa: "No big deal. So, do you think Cross is behind this thing with Ted's
daughter?"

Justine: "I wouldn't put it past him."

Lisa: "You wonder what makes a guy like that tick."

Justine: "I used to ask myself the same question. Now I think I'd be afraid
to find out the answer." She turns to leave.

Lisa: "Justine? How did you know about me and Chris?"

Justine laughs: "Are you kidding? Everyone knows about you two."

Lisa: "They do?"

Justine: "Everyone, except Ted." She leaves.

Next scene, Justine meets with Richard Cross.

Cross: "If you'll sign the signature card, I'll fax it to my bank in
Liechtenstein authorizing you to draw the funds for the Holbein." 

Justine: "Yep." She signs the card Cross has passed to her.

Cross: "And here's power of attorney, binding me to the transaction. And
I have had them set a table on the off-chance that drinks might turn into
dinner."

Justine: "Sounds delightful."

Cross: "Good. To tell you the truth, I'm a little surprised you showed up
at all."

Justine: "You asked me to meet you, why wouldn't I come?"

Cross: "Well, when I was in the office today, Ted made it very clear that
he thinks I have something to do with his daughter's kidnapping. He didn't
come right out and say it, of course. He didn't have to. I thought perhaps
you might share his, uh, suspicion."

Justine: "Do I have reason to?"

Cross: "No, no! None whatsoever. In fact if I thought you were asking that
question seriously I'd have no other choice but to go out and kill myself
immediately. That anyone would consider that I'd do anything so utterly
vile as to harm a child... "

Justine: "Why do you suppose Ted thinks you had a hand in this?"

Cross: "I wish to hell I knew. But I hope you're not scared off by your
employer's prejudices."

Justine: "I've always been an independent thinker."

Cross: "Good." Proposes a toast. "To independent thought, the works of
Hans Holbein and what else shall we toast to?"

Justine: "Mutual opportunity."

Cross: "Indeed." They touch glasses.

Outside the Hoffman household. Ray Velacek and Eddie Rosco step out of
their car to meet Ted as he pulls into his driveway.

Ray: "Teddy, say hi to Eddie Rosco." They shake hands.

Ted: "Pleased to meet you. Ray's been saying good things about you."

Rosco: "Yeah, well he has to. I carried him through the academy."

Ray: "Eddie'll be sitting on your place from eight till three, then I
take over."

Ted: "And you sleep when?"

Ray: "After the verdict."

Eddie: "If you need anything, I'm here."

Ted: "Thanks." He takes Ray aside.

Ray: "He's a good man."

Ted: "He seems so. Are we playing in a whole other league here, Ray?"

Ray: "Starting to look like it."

Ted: "And now my family's up for grabs. We can put Eddie Rosco and forty
more like him out here but if they want you bad enough, it won't stop them."

Inside, Ted tries to reason the situation out with Annie.

Ted: "Annie, this was a one-shot occurrence that'll never happen again
because we've taken precautions to make sure it won't."

Annie: "Are you just telling me that because you know I want to believe
it's true?"

Ted: "Whoever did this was probably some tourist from Wilkes-Barre,
Pennsylvania or wherever, out here looking for her fifteen minutes of fame,
trying to get as close as she can to one of the players in a big-time murder
trial. I'm not saying we shouldn't be vigilant but that's why we have round-
the-clock protection and we'll have it for as long as we need it."

Annie: "I have to admit I will sleep better knowing there's someone out
there keeping an eye on things."

Ted: "Me too. That's why he's out there."

Annie: "Are you going to come to bed and watch the news?"

Ted: "In a little while, I want to go over today's testimony." They kiss.

Annie: "Don't stay up too late." She goes up to bed.

[End titles]

Steven Bochco Productions
20th Century Fox Television, a News Corporation Company
Story Editor: Doug Palau
Supervising Associate Producer: Gigi Coello-Bannon
Associate Producer: Chad Savage
Casting in New York: Alexa L. Fogel, C.S.A.

Co-Starring:
Elisabeth Harmon-Haid as Reporter #1
Tim Hutchinson as Reporter #2
Toni DeRose as Reporter #3
Markus Redmond as Mark Washington
Donisha Walker as the Clerk
Alexia Robinson as Akeesha Wesley
June Saruwatari as Karen Ting
Rosanna Huffman as Eleanor Iverson
David Fresco as the Retiree
Paul Goodman as the Actor
Victor Bevine as the Chef

Director of Photography: Anthony R. Palmieri
Production Designer: Paul Eads
Edited by Lance Luckey
Unit Production Manager: Patrick McKee
First Assistant Director: Bob Yannetti
Second Assistant Director: Brian Faul
Costume Designer: Brad R. Loman
Legal Consultant: Howard Weitzman
Technical Advisor: David J. Gascon
Production Coordinator: Nancy Wilkerson
Costume Supervisor: Debra Beebe
Make-Up Artists: Norman Page, Jim Scribner
Hairstylists: Paulette Pennington, Anthony Wilson
Continuity Supervisor: Mary Ann Newfield
Camera Operator: David Boyd
First Assistant Camera: Brian LeGrady
Gaffer: Mark Vuille
Key Grip: Harry L. Rez
2nd 2nd Assistant Director: Andy Spilkoman
Technical Consultant: Debra Carrillo
Production Sound Mixer: Susan Moore-Chong, C.A.S.
Supervising Sound Editor: Dave Weathers
Music Editor: Barry Moran
Background A.D.R.: Superloopers
Re-recording Mixers: Robert L. Appere, Ken Burton
Set Decorator: Mary Ann Biddle
Set Designer: Mindy Roffman
Lead Person: Randy Bostic
Property Master: Jerry Moss
Location Manager: John Armstrong
Script Coordinator: Michael Norell
Casting Associates: Libby Goldstein, John A. Aiello
Construction Coordinator: Pete Lawrence
Transportation Coordinator: Norm Benson
Assistant Production Coordinator: Ann M. Kaiser
Post Production Coordinators: Laina Mumbrue, Jamal A. Swinton
Production Accountant: Candace Montgomery-Lira
Asst. to Steven Bochco: Barbara Kroells
Asst. to Charles H. Eglee: Marian Devney
Asst. to Fogle/Buckland: Karin Londgren
Asst. to Donahue/Neigher: Holly Baker
Asst. to Michael Fresco: Maureen Milligan
EPR (R) Telecine and Electronic Assembly by Encore Video Inc.
Telecine Colorist: Steve Porter
Re-recorded at Sony Pictures Studios
Post Production Sound Editorial by Miles of Fun Sound
Presented in Dolby Surround
Lenses & Panaflex (R) camera by Panavision (R)
Copyright   1996 Steven Bochco Productions #7112 All Rights Reserved
Steven Bochco Productions is the author of this motion picture for purposes
of copyright and other laws.
(AMPTP) Color by Foto-Kem Laboratory (R)

The events and characters depicted in this photoplay are fictitious. Any
similarity to actual persons, living or dead, or to actual events is purely
coincidental.

Ownership of this motion picture is protected by copyright and other
applicable laws, and any unauthorized duplication, distribution or
exhibition of this motion picture could result in criminal prosecution
as well as civil liability.