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                                     CODE OF SILENCE


                                       Written by

                 Michael Butler, Dennis Shryack, Mike Gray & John Mason

                                        Story by

                             Michael Butler & Dennis Shryack

                                      SHOOTING DRAFT



               EXT. CHICAGO - NIGHT TO DAWN

               Thundering north through the glass canyons of the Loop, the 
               elevated train SCREECHES through the city awakening. As it 
               races north across the river past ancient factories giving 
               way to high rise splendor, lights glistening against the 
               dawn, we see the complex business of bringing a city to life 
               in the morning.

               On the Near North Side an assortment of revelers are winding 
               up their night on the town.

               The pressmen loiter outside the Tribune loading docks, and 
               fishing boats are outbound through the Chicago River locks.

               A streetsweeping crew moves through the Fulton Market, 
               Chicago's central meat and produce distribution center.

               At the Merchandise Mart platform the elevated train picks up 
               two old cleaning ladies wearing babushkas.

               EXT. ALLEY - DAY

               The el train RUMBLES north past the aging tenements of Uptown 
               into the Belmont Avenue Station.

               And down below, a garbage truck is slowly working its way up 
               the alley. A garbage man in city overalls WHISTLES to the 
               driver and the truck stops. He rolls a can to the grinding 
               jaw as the driver sits, tense and alert, scanning the street.

               There's something odd about this driver. And the garbage man 
               too, for that matter.

               EXT. EL PLATFORM - DAY

               SPIDER, a nervous looking black man, steps out onto the 
               platform. As the train pulls away we see him reach into his 
               shirt pocket and CLICKS his ball point pen a couple of times. 
               He WHISPERS into it. It is a concealed radio transmitter.

                         Say, hey, Cub fans, I hope to hell 
                         y'all down there cause we got a big 
                         game today.

               He heads for the stairs and the street below.

               INT. TRUCK CAB - DAY

               The truck cab is equipped with a police radio. The driver, 
               RICH DONATO, adjusts the volume. Over the SPEAKER, HEAVY 
               WITH STATIC, we can hear the SOUND of the RECEDING EL TRAIN.

                                     SPIDER (V.O.)
                              (from radio)
                         The school bus be waitin.

               Donato motions for the garbage man.

               EXT. ALLEY - DAY

               EDDIE CUSACK jumps up on the truck's running board and sticks 
               his head in. On the seat beside Donato is a sledgehammer and 
               a sawed off automatic rifle. The two men stare at each other 
               as they concentrate on the CRACKLING RADIO.

                                     SPIDER (V.O.)
                              (from radio)
                         S'happenin, Doc?

                                     DOC (V.O.)
                              (from radio)
                         Hey, I got it all right here, my 
                         man. Jus be waitin on you.

                                     SPIDER (V.O.)
                              (from radio)
                         We ain't got far to go.

               EXT. EL STATION - DAY

               DOC is at the wheel of a late model Cadillac. Spider gets in 
               and they pull slowly away from the curb.

               EXT. EL STATION - DAY

               At the corner in a beat up Pontiac are officers MUSIC and 
               BRENNAN. The two rough looking detectives follow Doc's car 
               through half closed eyes.

               They also HEAR Spider's TRANSMITTER. The quality of the 
               reception improves as Spider and his antennae clear the steel 
               support structure of the el platform.

                                     DOC (V.O.)
                              (from radio)
                         This early bird shit just ain't my 

                                     SPIDER (V.O.)
                              (from radio)
                         Dig it. Too close to real work for 

               Doc and Spider talk in a nervous false bravado.

               EXT. ALLEY - DAY

               Eddie nods to Donato who grabs a walkie-talkie from the seat.

                              (to walkie-talkie)
                         O.K. Home Team. Ready in the bullpen.

                                     MUSIC (V.O.)
                              (from radio)
                         Copy Shortstop. Double play. We're 
                         with him now.

                                     SPOTTER (V.O.)
                              (from radio)
                         Center's in.

               SILENCE. Eddie looks at Donato.

                         Where's Cragie?

               EXT. CEMETERY - DAY

               Two cops are against the wall separating the cemetery from 
               the El. CRAGIE, a weathered twenty-five year veteran; and 
               NICK KOSALAS, the new kid on the team. Cragie sits on a crate 
               with a styrofoam cup of coffee.

               Kosalas is trying to maneuver his cup lid off, and still 
               hold on to his walkie-talkie.

                                     DONATO (V.O.)
                              (from radio)
                         Talk to me left field.

                              (to mike)
                         Ready sir. Left Field in position.

               Cragie pulls a pint of whiskey from his pocket and sweetens 
               his coffee with a healthy shot. He notices Kosalas, who has 
               set down the thermos and is nervously moving from leg to 

                         Have a shot, kid. A little nerve 

                         What's the matter with you?

               Cragie grins and raises his cup to drink. His hand shakes 
               and he has to steady it with the other.

               The RADIO CRACKLES.

                                     SPOTTER (V.O.)
                              (from radio)
                         O.K., guys, runner on first base.


               A spotter, KOBAS, covers the scene from an abandoned building 
               across the street.

                              (to walkie-talkie)
                         Just turning on Paulina.

                                     EDDIE (V.O.)
                              (from radio)
                         Double Play, you got him in sight?

                                     MUSIC (V.O.)
                              (from radio)
                         Yeah, we got the on him. He's headin 
                         for the alley.

               EXT. ALLEY - DAY

               Eddie wrestles another garbage can into the truck's hopper 
               as Doc's car cruises slowly past.

               Eddie and Spider LOCK EYES for a split second.

               The car moves on and stops at the far end of the alley. The 
               lights switch off. After a moment, Spider and Doc leave the 
               car and check out the scene. Doc carries a satchel.

                                     DOC (V.O.)
                              (from radio)
                         I say nice and simple now.

                                     SPIDER (V.O.)
                              (from radio)
                         We real cool, Doc. We're frosty. We 
                         jus' doin' a little business, you 
                         know? Ain't no big thing.

               The two men slip into the back gate of an old tenement. They 
               pass through a gangway to the front of the building, and 
               climb the front stairs.

               Though we can no longer see them, we HEAR a DOOR OPENING, a 
               GREETING in Spanish, and FEET FOUNDING up the steps.

               The garbage truck GRINDS forward and halts again. Eddie comes 
               up to the cab. He is wearing a gun under his overalls. He 
               and Donato listen on the RADIO to the CONVERSATION coming 
               from inside the building.


               A muscular Latino, POMPAS COMACHO, leads Spider and Doc down 
               the paint-peeling corridor. The SOUND of BABIES CRYING and 
               FAMILIES WAKING gives a sense of teeming humanity behind 
               every door.

               The Latino knocks at a door heavily fortified with burglar 
               bars. The door opens. The bars are unlocked.

                         How y'all doin?

                                     VOICE (V.O.)
                              (from within)
                         It's O.K. O.K. Como esta?

               Pompas leaves the two men and heads down the stairs toward 
               the front door.


               Doc and Spider enter. They're patted down.

               A sleepy eyed Latino woman comes to stand in the bedroom 
               doorway. VICTOR COMACHO barks at her in Spanish, and she 
               disappears into the bedroom.

               EXT. ALLEY - DAY

               Eddie stands on the running board of the truck with Donato 
               at the wheel. They listen to the RADIO.

                                     DOC (V.O.)
                              (from radio)
                         Hey, man, we're clean, huh. We ain't 

                                     SPIDER (V.O.)
                         You do that real nice, Pancho. what 
                         say we get married.

               Eddie tosses a soiled Rubic's Cube into Donato's lap.

                         Found you a present.

                         Shit, those things will fuck up your 

               EXT. CEMETERY - DAY

               Cragie is watching over the wall with his binoculars. He 
               looks back at Kosalas, who is hopping from foot to foot.

                         If you gotta take a leak, do it now.

                         I can't go wading in with my shlong 
                         flapping in the wind.

                         Sure you can. It's called diversionary 

               Cragie laughs and swigs straight from the bottle. The RADIO 

                                     BRENNAN (V.O.)
                              (from radio)
                         What's going on in the ballpark?

                                     DONATO (V.O.)
                              (from radio)
                         Don't get froggy. Wait for the green 

               EXT. COMACHO STREET - DAY

               A painter's van passes Brennan's Pontiac and parks in front 
               of the building half way up the block.

               INT. BRENNAN'S CAR - DAY

               Music doesn't like this.

                         What the hell is this cat up to?

                         Going to work asshole. What do you 

                         At this hour.

                         They got a hardass for a boss. Like 

               EXT. COMACHO STREET - DAY

               As Music and Brennan watch from their car, the four painters 
               get out of their truck, unpack their ladders and tools, and 
               begin to carry their equipment into the building next door 
               to the stakeout.


               The room is small and bare. A selling den. VICTOR COMACHO 
               and TWO COUSINS, all young and vicious, are sitting around a 
               formica table with the two buyers, Doc and Spider. The 
               Comachos are heavily armed. There is plenty of tension all 
               around, but Doc seems a little more nervous than the rest.

               This is an enormous buy. Doc has placed a bowling satchel 
               full of bundled $20's, $50's, and $100's on the table. Victor 
               is counting it rapidly.

                         This be better than jukin' Seven-
                         Elevens, huh Victor?

                              (to cousins in Spanish)
                         This one's got some balls, huh?
                              (to Spider)
                         I don't juke anybody.

               Victor nods and one of the cousins brings in half a dozen 
               brick-sized bundles of cocaine from the next room.

               Doc slices into one of the bags and with the tip of his knife 
               he drops a bit into a glass vial. He adds clear liquid with 
               an eye dropper and it instantly turns purple.

                         I say, awright. The royal colors.

               EXT. ALLEY - DAY

               Eddie's eyes scan the scene as he sorts through a garbage 
               can with a stick.

               INT. PAINTER'S HALLWAY - DAY

               The painters carry their equipment down the long corridor 
               and enter a vacant apartment.

               A door opens in the corridor, and a naked toddler steps out. 
               A Latino teenager comes out to retrieve the child. He sees 
               the backs of the painters, and carries the toddler back 


               The painters are not what they seem. Working quickly, 
               silently, they open their tool kits and lay out their 
               hardware: machine guns and automatics.

               TONY LUNA, a barrel-chested Italian mobster is running the 
               show and it's well rehearsed. His boys, GUS, VITO, and EENIE 
               move like oiled machinery.

               Vito turns on a radio to a Latino station to cover the SOUND 
               of their preparations. They remove the whole window from its 
               frame. Then they rest a wide plank on the window ledge.

               Three feet away is the window of the adjacent building and 
               silhouetted against the shade we can SEE the drug deal.

               Luna'ys check their weapons.

               They put on painters' masks and goggles.

                         Okay, by the numbers.

               He puts on his goggles.

               EXT. ALLEY - DAY

               Over the IDLING ENGINE of the garbage truck, Eddie and Donato 
               HEAR the deal going down on the RADIO.

                              (to walkie-talkie)
                         Everybody on your toes.

                                     MUSIC (V.O.)
                              (from radio)
                         Their Right Field's Clear. Those 
                         painters are out of the way.

                              (to walkie-talkie)
                         What the hell you talking about?

                                     MUSIC (V.O.)
                              (from radio)
                         We got a painting crew of painters 
                         just went in the building next door.

               Eddie looks at Donato.

                         Painters? That building's gonna be 

               Like a coiled spring, Eddie leaps from the truck and runs 
               for the rear gate, gun in hand.

                         Play Ball! Play-fucking-ball!

                              (to mike)
                         Home Team! We're goin in! Move it! 
                         Move it!


               Tony and his men face the window across the gangway. Two of 
               them hold sawed off double barreled shotguns. Tony counts it 
               down, and they all fire as one.

               One GIANT BLAST tears into the window. It disintegrates.

               The four men toss aside their empty guns, and grab other 

               EXT. GANGWAY - DAY

               Eddie HEARS THE GUNFIRE and hits the wall. He sees the glass 
               showering down around him. He vaults over the backyard fence 
               and head for the porch stairs.

               EXT. CEMETERY - DAY

               Kosalas is finally pissing against the wall.

                         I knew it.

               Cragie is using the crate to climb the wall. He is up and 
               over, and falls to the ground on the other side. He's still 
               trying to get to his feet when Kosalas comes over.

               They start running, yanking their guns out.


               Doc and Spider are blown backwards in their chairs. One of 
               the cousins has fallen across the piles of money and drugs. 
               Victor and the other cousin are slumped on the floor. The 
               woman in the bedroom is screaming.

               Through the jagged glass around the window frame, Tony's 
               boys shove a broad plank.

               EXT. GANGWAY - DAY

               Three floors up, we see the "painters" rush across the gangway 
               to the other building.


               EFREN COMACHO, the heavyweight guarding the back door, is 
               distracted by the SHOUTS and GUNFIRE upstairs. Eddie crashes 
               through the door and Efren spins just in time to meet Eddie's 
               blurring attack.

               The struggle on the landing is brief. Efren's size is no 
               match for Eddie's speed and power. With a grunt he sags to 
               the floor.

               Eddie leaps over him and bounds up the steps.

               EXT. COMACHO STREET - DAY

               Brennan, Music and Kobas are now on their way, using parked 
               cars to cover their advance toward the front door of the 
               Comacho building.


               Eddie passes the second floor landing and takes a quick look 
               up the porch stairs. The door to the second floor apartment 
               starts to open behind him. He spins and kicks it.

               There stands a terrified old woman looking up the barrel of 
               his gun.

                         Police! No se mueve!

               He spins and bounds up the stairway.


               The woman is huddled in a corner, still screaming. Tony comes 
               to stand over her, and coldly shoots her. Then he rips off 
               his mask and goggles as his boys clear the bodies and scoop 
               up the drugs and money from the table.

               Victor Comacho lies slumped against the wall, one side of 
               his face and one shoulder bloodied. He appears dead, eyes 
               open. But then he blinks once.


               Eddie has entered the rear of the apartment. He moves 
               cautiously forward.


               Tony and his partners start back over the gangway to the 
               other building. Vito is bringing up the rear.

               Suddenly Victor Comacho comes to life. He gets off A BURST 
               with his AUTOMATIC. Vito catches it in the back.

               EXT. ALLEY - DAY

               Donato is moving down the gangway when Vito's body -- followed 
               by the scaffold plank -- falls from the sky and CRASHES into 
               the pavement right in front of him.


               Eddie jumps into the living room doorway, gun drawn, and 
               takes in the carnage. He kicks the gun out of Victor's hand, 
               and bounds to the shattered bay window and looks down in 
               time to SEE --

               EXT. GANGWAY - DAY

               Donato jumps over the broken body, running through the gangway 
               toward the front of the building.

                         They're goin out the front!


               The bridge to the other building is gone, but there is a 
               large drainpipe running down the outside of the building. 
               Eddie climbs out on the shattered window sill, and stretches 
               for the pipe. The pipe is just out of reach. Pushing off 
               from the ledge, he jumps for the drainpipe, grabbing it on 
               his way down.

               EXT. DRAINPIPE - DAY

               As he slides down three stories.

               INT. PAINTER'S HALLWAY - DAY

               The painters run down the stairs toward the front of the 

               EXT. COMACHO STREET - DAY

               Music, Brennan, and Kobas rush the front door of the Comacho's 
               building, and enter.

               EXT. GANGWAY - DAY

               Eddie lands on his feet and heads for the front.

               EXT. ALLEY - DAY

               Cragie and Kosalas brace themselves on each side of the rear 
               door to the Painters' building. Cragie is white with fear. 
               Kosalas kicks in the door. They enter.

               EXT. COMACHO STREET - DAY

               At the front of the building Donato emerges from the 
               passageway and he's met by a HAIL of GUNFIRE. He jumps back 
               and takes a more cautious look.

               Tony Luna and Gus make a run for the van. Donato steps out 
               from between the two buildings and raises his gun.

               But he hasn't seen Eenie, just coming out of the building 
               next door.

               Eenie fires and Donato goes down, wounded in the foot. But 
               before Eenie can get off another shot --

               -- Eddie leaps from the gangway and drops Eenie with a BURST 
               from his AUTOMATIC.

               EXT. COMACHO STREET - DAY

               Luna pulls out PEELING RUBBER, but he's nearly surrounded. 
               squad cars have pulled in blocking both ends of the street. 
               Another squad car screeches to a halt and both officers jump 
               out and start firing.

               Luna hits the fender of the squad car head on, knocking both 
               officers to the ground. He spins the van around with cops 
               FIRING from every angle, jumps the curb, and roars past the 
               roadblock on the sidewalk with pedestrians leaping in all 


               Heart pounding, Cragie leads Kosalas blindly up the darkened 

               INT. PAINTER'S HALL - DAY

               A door opens behind Cragie. He whirls and FIRES into the 

               The riddled body of a Mexican teenager, eyes wide with shock, 
               pitches into the hall.

               Kosalas, down the hallway, hugs the wall, petrified.


                         It's O.K. I got the sonovabitch.

               Kosalas creeps ahead, gun drawn, just in time to see Cragie 
               pull a small handgun from his pocket and lay it in the boys 

               Cragie looks up at Kosalas and their eyes meet.

               EXT. COMACHO STREET - DAY

               Luna's van, it's windshield shot out, takes the first corner 
               on two wheels. Behind him the police scramble for their blue 
               and whites. Half way down the block, the van lurches into an 

               EXT. ALLEY - DAY

               The van hurtles down the alley, splashing through puddles 
               past the loading docks of a packing company. Parked along 
               one side of the end of the alley is a meat truck from the 
               opening montage. A loading ramp leads to the gaping rear 

               The thieves have done their homework. The Luna gang slams up 
               the ramp into the rear of the meat truck.

               A bee fy compatriot in a blood stained butcher's smock pulls 
               several sides of beef along the rail and into the truck. 
               With the van concealed, the line of police cars ROAR splashing 

               INT. PAINTER'S HALL - DAY

               Cragie, kneeling over the body, looks at Kosalas eyeball to 

               SCREAMS come from within the boy's apartment.

                              (yelling into the 
                         Police! Stay where you are!

               They HEAR FOOTSTEPS pounding up the front stairs. Cragie and 
               Kosalas look up.

               Eddie appears at the front of the hall, gun drawn. He sees 
               the boy on the hallway floor.

               He approaches cautiously, taking in the body, the gun, Cragie 
               sitting against the wall, and the distraught Kosalas who 
               stands transfixed by the dead kid. Eddie goes to Kosalas.

                         Take it easy, Kosalas.

                         The kid didn't dust him. I did.

               Eddie looks at Cragie.

                         Him or me, Sarge.
                         The kid saw the whole thing.

               Both Eddie and Cragie look at Kosalas.

                         Tell him, Nick.

               It almost sounds like an order.

               Kosalas looks like he's going to be sick.

                         Yeah, that's how it went down.

                         Stay here.
                              (to Cragie)
                         Take care of your partner.

               Eddie walks away.

               EXT. GANGWAY - DAY

               The gangway is now filled with squad cars, ambulances, and 

               As the paramedics walk Victor Comacho to the ambulance, 
               bloody, bandaged, but very much alive, he and Eddie LOCK 
               EYES for a brief instant.

               Several ferocious looking Comacho relatives have been allowed 
               inside the police lines. One of them steps close to Victor.

                              (to relative)
                         Call Luis.

               The lab technicians arrive.

               The throng of streetwise punks and horrified commuters are 
               across a roped off area.

                         Get these people back out of here, 

               INT. PAINTER'S HALL - DAY

               Kosalas and Cragie are still with the body. The corridor is 
               blocked off by uniformed patrolmen.

               Kosalas is shakey. Cragie is tries to calm him down.

                         Look, it's no big thing, Kid. A 
                         friggin' dog and pony show. Some 
                         dumb ass questions by dumb ass 
                         bureaucrats. "When's the last time 
                         you were at the range?" Crap like 

                         Look. It was a fuckin' accident. Why 
                         can't you just be --

                         You born yesterday?! These ain't 
                         cops. They'll roast our ass just 
                         cause we carry a badge. Both of us.
                         We stick together on this, kid. We're 
                         partners, right?

               Kosalas nods.

               EXT. GANGWAY - DAY

               Donato sits on the ground as two paramedics work on his foot. 
               Eddie crouches beside him as one medic cuts away Donato's 
               ankle boot.

                         Aw man, don't do that. You know how 
                         much these things cost?

               He gasps as they draw the boot off. Donato grabs for Eddie's 
               hand, and squeezes against the pain.

                         Eddie. Scam this. A bait shop. Worms, 
                         minnows. Don't even need real worms. 
                         Storage problem. Got those rubber 
                         ones, you know?

                         Yeah, what about the winter?

                         We winter in Florida. Rubber neck 
                         the beach bunnies. Aw, look at that. 
                         Ruined my brand new fence climbers. 
                         Hand made in Italy.

               Someone points Eddie out to Partida, an attractive, no-
               nonsense woman, who heads for him. Donato sees Partida coming.

                         Oh, fuck, Partida. I'm gonna tell 
                         her you shot me.

               The resentment the other cops feel against Partida is readily 

                         Cusack. You were in charge here?

                         Does it look like it?

               Partida looks at the covered body nearby.

                              (to Donato)
                         And you were a principal in one of 
                         the shootings?

               Eddie nods.

                         OW! A goddamn Dr. Jekyll!

               Eddie smiles at Donato, who with his good foot, kicks at the 
               medic bandaging the wound.

                         Where's the officer who was involved 
                         in the other shooting?

                         Third floor rear.

               As Partida heads for the building, another suited civilian 
               comes over to meet her. The civilian escorts a Mexican 

               The old lady is agitated, jabbering in Spanish and pointing 
               at the cops.

               Eddie sees this, and then is pulled away as he helps one of 
               the medics lift Donato and carry him to the ambulance.

               Eddie helps Donato into the ambulance.

                         Catch you later, Hopalong.

               INT. HEADQUARTERS - DAY

               The two Comacho lookouts who survived the raid, Efren and 
               Pompas, have been brought in for questioning. The 
               interrogation is taking place in a small room.

               Officers Brennan and Music are here with Eddie.

               The Comachos sit silent as stones.

                              (to Efren)
                         You know that, Efren. When your big 
                         bad brother Luis gets the word, your 
                         ass is freeze dried and fried.

               Efren stares ahead. Music looks at Eddie who is fiddling 
               with the Rubic's Cube, to little success.

               Brennan takes Music's place. He kicks Pompas' chair hard.

                         Talk you hemorrhoid!

                              (in Spanish)
                         Your mother fucks dogs in the street.

                         You wanna tune-up? Hey Sarge, you 
                         know why a Comacho's like a cue-ball? 
                         Cause the harder you hit 'em, the 
                         better their English gets.

               It's not a joke, but a threat. Pompas spits at Brennan. 
               Brennan is enraged, but Eddie pushes him back with a hand.

               Eddie faces the Comachos.

                         We're jerking off here.

               Eddie goes out the door.


               As Eddie emerges, he bumps into the Camacho's lawyer SANCHEZ; 
               thirty-eight, well dressed, smooth as silk.

               Sanchez sees the tableau in the room. As Cusack walks down 
               the hall the attorney follows him.

                         Let's cut the shit, Cusack.

               Eddie ignores him.

                         Option 1: you can send em downtown. 
                         If Judge Collins didn't get laid 
                         last night, you can probably get him 
                         to arraign my clients for loitering 
                         in their own hallway. He'll set bail. 
                         I'll take care of it. Option 2: 
                         release them here and now and we'll 
                         call it a day.
                         Up to you.

                         I like to see you earn your money.

               Sanchez backs off. We follow Eddie down the hall.

               INT. KATES' OFFICE - DAY

               The head of Area Four, COMMANDER KATES, is grilling Cragie 
               and Kosalas.

                         We come up the back stairs. We start 
                         cleanin' the hallway when the deceased 
                         pops out of a doorway with a 25 
                         automatic. I tell him to drop it, 
                         but he's comin. We had no choice. 
                         Kosalas here saw the whole thing.

               Kates turns to Kosalas.

                         Did you?

               Kosalas looks haggard.

                         I was on another doorway...

                         But you saw the action?

                         I saw him fall.

                         And the kid was armed?

                         That's the way it went down.

                         And you saw the weapon?

                         Yes sir. I saw it in his hand.

                              (signs document)
                         Cragie, you'll be assigned to 
                         headquarters until the hearing --

                         Hearing? Who called for a hearing? 
                         The little fuck tried to shoot me in 
                         the back!

               Eddie enters. Kates looks up from his desk.

                         Ms. Partida --

                         That piece of shit!

                         Shut-up, Cragie.
                         Partida has demanded a formal hearing. 
                         You will be under oath so the 
                         department will provide you with a 
                         lawyer unless you've got your own.
                         An OPS Review Board member is waiting 
                         to talk to you. Doesn't sound like 
                         you got anything to worry about.

               Cragie gets up. Kosalas, sitting through this interview in 
               stunned silence stands also.

                         Kosalas, you work with Cusack until 
                         this is over.

                         Yes sir.

               Kosalas and Cragie exit.

                         I ain't got no time to nursmaid a 
                         rookie. I don't need a partner.

                         Your right! You don't need a partner! 
                         You need a goddamn keeper!
                              (slams fist on desk)
                         Jesus Christ! How do I explain this 
                         one upstairs?
                         We gave you 600 man-hours, you took 
                         a month planning the damn thing, and 
                         what have you got to show for it? 
                         Nine bodies? A dead informant? One 
                         of my best men shot! For Christ's 
                              (stares at ceiling)
                         You're going to have me back on a 
                         beat busting perverts in the park.

               Kates sits, sighs, suddenly tired.

                         We got a bigger problem. These 
                         Comachos aren't gonna take this lying 
                         down. The animals are out of the 

                         Just what I need. A goddman war.

               Eddie turns to leave.

                         Keep track of this business with 


               The PHONE RINGS.

                         I'll deal with upstairs.

               Eddie starts to leave again. Kates picks up the phone, and 
               puts a hand over the mouthpiece.

                         Just get me some answers, huh.

                         That's my job.

               Eddie exits.


               Kosalas, without an attorney, is being interviewed by Partida. 
               A court stenographer is silently typing.

                have the right to remain 
                         silent. You have the right to have 
                         an attorney present at all times. 
                         Anything you say may be used against 
                         you in a court of law...

               INT. EDDIE'S CAR - DAY

               Eddie and Kosalas are parked on an airport access road, 
               watching private planes land and take off. Eddie's car, a 
               five-year old Chevy, is wreckage. The quarter panels are 
               rusted, the radio antenna is a coathanger, and when Kosalas 
               pushes a tape into the cassette player, the windshield wipers 
               start moving.

               Kosalas pops the cassette out, the windshield wipers stop; 
               he throws the cassette into the glove compartment. But now 
               he can't get the door to stay closed.

                         I'm going to have to fix that.

               Eddie has to shout to be heard over the sound of an airplane 
               passing directly overhead.

               Eddie glances at Kosalas who looks uncomfortable.

                         You know, it's kind of interesting. 
                         That 16 year old in the hallway with 
                         the gun? Partida told me he doesn't 
                         have a record. The kid's never been 

                         Yeah, well, you know, if you read 
                         the papers, cops only shoot honor 
                         students. Sole support of the family 
                         and all that.

               EXT. AIRPORT - DAY

               The airport bristles with corporate jets departing and 

                                     TOWER (V.O.)
                         ...Lear 9 Lima Kilo number 2 for 
                         landing -- wind south 20, altimeter 

               And now comes a mystery jet, wearing no company colors, 
               banking in over Lake Point Tower and WHISTLING low over the 
               Planetarium to a touchdown.

               The white Learjet taxis to a halt at the far end of the field 
               as an undistinguished Buick rolls down the ramp to meet it.

               Eddie and Kosalas stand by their car, parked across the runway 
               from the Learjet.

               The jet's engines shut down, the door opens, and a grim but 
               handsome man emerges. LUIS COMACHO, a cruel and uncompromising 
               survivor, has arrived. With him is an incredibly beautiful 
               exotic woman.

               He is met by Pompas and Efren Comacho, the two lookouts who 
               survived the raid. And Victor Comacho, who was wounded in 
               the raid, is here with his shoulder bandaged.

               EXT. EDDIE'S CAR - DAY

               From where Eddie and Kosalas are standing it is impossible 
               to hear the conversation at the Learjet, but it is clear 
               that Luis Comacho is upset. They see Luis slap Pompas and 
               Efren. Then he grabs Victor by both arms, ignoring his wound, 
               and screams at him.

                         Nice fellow this Luis Comacho. Donato 
                         says they call him the Angel-of-Death.

               Victor grimaces, in great pain, and his knees buckle.

                         Real sweetheart.

               INT. LUNA'S HOUSE - DAY

               In the dining room DIANA LUNA, a pretty 19 year old, helps 
               her 80 year old grandmother THERESA decorate a "HAPPY 
               BIRTHDAY" banner, some red and green crepe paper.

                                     MOLLY LUNA (O.S.)


               Diana and her grandmother grin at each other. They are done. 
               Theresa stands back to admire their work.

                                     MOLLY (O.S.)


               A PHONE RINGS

                         Daddy, would you get that!

               Diana rushes into the kitchen and comes right out with a 
               birthday cake, and sets it on the table next to some presents.


               Diana goes to the stairs where her mother sits with her hands 
               over her eyes.

                         Keep 'em closed now.

               She leads her mother to the dining room.

                         O.K., open 'em.

               MOLLY LUNA opens her eyes. Theresa and Diana beam. Diana 
               kisses her mother who almost cries.

                         Happy birthday, momma.

                              (in Italian)
                         Happy birthday, Molly.

               Diana hands Molly a card from the table. Molly starts to 
               open it.

               Tony Luna burst in from another room.

                                     TONY LUNA
                         Molly! Pack me a bag! Quick! Ok? 
                         C'mon I'm in a hurry!

               Molly heads for the stairs, leaving behind the half opened 

                         But Tony, why...?

                                     TONY LUNA
                         Business! C'mon, move. Do what I 
                         tell you!

               Molly goes upstairs. Diana is pissed.

                         Don't do it, momma! Make him pack 
                         his own bag.

                                     TONY LUNA
                         I ain't got time to put up with your 
                         bullshit today.

               Tony goes to the phone, dials, gets a busy signal, and slams 
               it down.

               Theresa sits down watching sadly.

               Diana goes to stand in front of her father.

                         Listen goddammit! It's momma's 
                         birthday! She deserves better'n this!

               Tony sorts through the closet looking for a jacket.

               Gamiani comes in puffing with a clumsily wrapped present 
               under his arm.

                         Hey, Tony. What's shaking? Sorry I'm 
                         late. I got stuck on Wacker. Some 

                                     TONY LUNA
                         Victor Comacho is alive.

                         Oh sweet Jesus.

               Diana is really angry at her father ignoring her.

                         You can't go now.

                                     TONY LUNA
                         Shut up!

               He slaps her. She slaps him back, turns, grabs her purse, 
               and runs out.

               Tony watches her go and turns to Gamiani.

                                     TONY LUNA
                         Put someone on the house. And you 
                         keep an eye on her.

               He nods out the door.

                         You got it, Tony. What about your 

                                     TONY LUNA
                         What Felix don't know doesn't hurt 

               Molly comes down with the bag. Tony takes it from her and 
               starts out the door. Suddenly he turns back, snatches 
               Gamiani's present from his hands, and thrust it at his wife.

                                     TONY LUNA
                         Here. Happy birthday.

               Tony rushes out the door. Gamiani goes to the phone.

               Molly is left alone in the doorway.

               EXT. EDDIE'S STREET - DAY

               Eddie parks in front of his apartment building, leaves the 
               car, and enters the building.

               INT. EDDIE'S HALL - DAY

               Dead on his feet, Eddie reaches the top of the stairs and an 
               object comes flying at him out of the shadows. ODELL, a slim 
               10 year old black kid, fakes a series of karate kicks at 

                         Bow to your master!

                         Later, Odell. It's been a rough one.

                         Y' tellin me! We all seen it on the 

                                     WOMAN'S VOICE (O.S.)

                         Bow to your master.

               Odell takes off.

                         Hey, Odell. Here, make yourself crazy.

               The kid stops, and Eddie tosses him the Rubic's Cube.

               Eddie nears his apartment, we hear a MALE VOICE SINGING.

               INT. EDDIE'S APARTMENT - DAY

               The door is ajar. Eddie lives in a modest apartment. FRED 
               PIRELLI, a great bear of a man, 65, sings at the top of his 
               lungs. He is bent over the space heater, tearing it apart.

                         You look like shit.

                         Thanks, pal.

                         They had a shot on the tube of you 
                         guys comin' out in front of the 
                         building. How's Donato?

               Eddie collapses on the sofa.

                         Pissed cause he lost a shoe.
                         Luis Comacho is in town.

                         He'll collect himself some scalps 
                         before this one's over. Your answering 
                         machine is on the fritz again. Some 
                         woman with a fantastic voice was 
                         callin' about comin' over this weekend 
                         ta help you with somthin', and then 
                         the tape went nuts.

                         Want somthin' to drink?

                         Does the Pope shit in the woods? Is 
                         a bear Catholic?

                         Me too.

               Odell shows in the doorway. Eddie gets up and the kid tosses 
               him the Rubic's Cube -- all done.

               Eddie looks at it, and the kid goes into the kitchen.

                         I hate smart ass kids.

               Odell laughs.

                         Gonna get down in the 30's tonight. 
                         Your pilot light is out.

               Eddie tosses the Cube into the waste basket and opens the 

                         I've been told that more than once.

                         So, who you figure pulled out the 
                         rug? Gypsies? Mob?

               Eddie comes back into the living room, hands a beer and a 
               soda to Odell, and flops back on the sofa with his own beer.

                         Somebody knew what they were doin'. 
                         They blew the top off an anthill.

               Pirelli reaches for his drink and Odell hands him the soda. 
               Pirelli grabs the beer before Odell can drink and switches.

                         I'd figure the Mob but Scalese ain't 
                         that stupid.
                         Hah! Sombody put the valve in 

               Pirelli and Odell turn to Eddie who tries to look innocent -- 
               but fails. Eddie purposefully studies the answering machine 
               on the coffee table in front of him.

                                     WOMAN'S VOICE (O.S.)
                         Odell! I ain't calling you again!

                         Later, fellas.

               Pirelli finishes with the heater, and gets up.

                         There. Heat.

                         What was the Cubs final score?

                         8 to 1.

               Eddie punches a button on the answering machine. It spews 
               tape across the table.

                         Machines just don't like you.

               Pirelli grabs the machine, unplugs it, and carries it out 
               the door toward his own apartment.

                         Maybe I don't like machines.

               EXT. SOLDIER FIELD - DAY

               The machine in question looks like a miniature tank. This is 
               the "Prowler," a robot anti-terrorist vehicle that is being 
               maneuvered around various obstacles in a demonstration for 
               the city's law enforcement agencies.

               The "Prowler" is amazingly agile. And its BULLHORN VOICE 
               breaks everybody up.

                              (from speaker)
                         Arretez! Halten Zie! Stop! Do not 
                         move! No se mueve!...

               The machine's three video eyes, searching the crowd 
               independently, give it the appearance of an extra-industrial 
               bug. One camera is mounted on a telescoping mast which extends 
               to give it the perspective of a giraffe. The thing seems 
               almost alive.

               Commander Kates is here, leading a contingent of departmental 
               brass. With them are several dozen officers and a gaggle of 
               city councilmen.

               The Prowler is being put through its paces by the FACTORY 
               ENGINEER. He controls the machine with a pistol-grip device 
               that looks like a small TV camera.

                         ...After the gyros are locked, any 
                         movement of the hand controller is 
                         duplicated by the 'Prowler.'

               He turns his hand to the right and the Prowler, 50 yards 
               away, sweeps its turret to the right, aiming the twin 30 
               calibre machineguns at the politicians. They move aside.

                         This simple control system means 
                         that even semi-skilled employees can 
                         operate the unit with a minimum of 
                         training. As they say, "Even a child 
                         can operate it."

               Standing with Chief Kates, Eddie watches the demonstration 
               with contempt. Kates turns to him.

                         He's talking about you, Cusack. Pay 
                         attention. You're all gonna have to 
                         be qualified on this. It's the future.

                         Just what the world needs, another 
                         gun without a brain.

                         You're looking at the perfect cop. 
                         The damn thing follows orders.

               Eddie has seen enough.

                         I got better things to do than play 
                         with toys.

               Kates is about to say something when the demonstrator 

                         If the Commander will pick someone 
                         to try and elude 'Prowler,' we can 
                         show how our various target 
                         acquisition systems function.

               Kates points to Eddie, and smiles.

               Instantly the turret sweeps the horizon and locks on Eddie 
               as he walks across the astro turf.

               CLOSE-UP of the Prowler's hand controller.

               The MONITOR SCREEN shows the crosshairs on the back of Eddie's 
               head. ON THE SCREEN the digital readout says: LOCKED AND 

                              (from speaker)
                         Bang. You're dead.

               Eddie keeps walking, seemingly oblivious to the Prowler. 
               Suddenly he whirls and ducks behind a wall out of the 
               Prowler's sight.

               He pops up with his gun pointed at the Prowler's controller.

                         Drop it.

               The controller, scared shitless, drops the hand control.

               The Prowler dies -- the plug pulled.

               Eddie smiles at Kates, and exits.


               The curtain is drawn back from the viewing window and the 
               Comachos SEE the bodies of their cousins. Luis is here with 
               Pompas, Efren, and Victor. Their attorney, Sanchez, has joined 
               them. They are speaking Spanish.

                         A war does no good for any of us. It 
                         can only make what is bad worse.

               Luis says nothing. He looks through the window at the bodies. 
               Finally he speaks.

                         Get them out of here. Fix them up. I 
                         want them to be beautiful for their 

               He kisses his fingertips and touches the glass.

                         I promise you, my brothers, there 
                         will be blood for blood.

               Sanchez sighs.

               INT. MORGUE HALL - DAY

               Luis Comacho storms out of the room into the corridor followed 
               by the others.

               Eddie and Kosalas are just entering. Victor spots Eddie and 
               turns to Luis.

                         This is the cop.

               The Comachos slow down. The two groups survey each other -- 
               Luis, hatred oozing from his eyes. And Eddie, without slowing, 
               looks the vicious Colombian over with cool contempt.

               Eddie walks by.

                         How much did they pay you to set up 
                         my brothers, Pig.

               Eddie freezes, makes a slow turn, and meets Luis' eyes.

               Suddenly Eddie moves, faster than anyone else can react to, 
               and he has Luis pinned to the wall, choking him.

                         Stay off my streets, asshole. Or 
                         I'll bite your head off, and shit in 
                         your neck.

               He releases Luis just as quickly, and turns to walk out, 
               Kosalas backing with him, hand on gun.

               Luis gets some air back, and starts to scream.

                         You're meat cop! Dead meat!

               The other Comachos have to restrain him.


               Retired detective HANK FLANNIGAN runs the high-tech morgue 
               where the bodies are stacked on trays like bakery buns. 
               Flannigan, a trim, bespectacled Mr. Clean, clicks his false 
               teeth between thoughts.

               The body on the exotic lab table is the gunman Eddie shot 
               during the raid. Eddie is here to confirm the identification. 
               His new partner, Kosalas, is with him, very uncomfortable in 
               this setting.

                         Eenie Verona is the gentleman's name.
                              (looks down)
                         You did a hell of a job on him.

                         I was motivated.

               Flannigan has already pulled Verona's record. He hands it to 
               Eddie who passes it on to Kosalas without looking at it. 
               Kosalas concentrates on the file, uneasy with the dead.

                         Know him?

                         He's a punk. Punk thief. Booster.

                         Looks like he graduated.

                         He had a brother-in-law. They were 
                         tight. Served time together. 
                         Ganelli..., Gagleone...


               Eddie looks at Kosalas who glances up from the report 

                         If I was you, I'd sit on him.

                         You figure he's connected?

               Eddie just smiles.

                         Looks like you're gonna be busy, 
                         Cusack. Uh, you gonna be using those 
                         Cubs' tickets?

               Eddie reaches into his pocket, and tosses a ticket to 
               Flannigan who grins.

               INT. EDDIE'S CAR - NIGHT

               Eddie and Kosalas cruise the Rush Street area at night. They 
               search the neon lit crowds on the sidewalks for a glimpse of 
               Lou Gamiani.

               EXT. GAMIANI'S STREET - DAY

               On a tree-shaded block of classic brownstones, the unmarked 
               car is parked at the corner.

               INT. EDDIE'S CAR - DAY

               Eddie is at the wheel wearing a sportscoat and sweater, 
               scanning the sports page. Kosalas is nervous and chatty, 
               bubbling. He's still reading the records from the morgue.

                         This Ganiani's a swinger, huh?

                         He's just makin' up for the time he 
                         spent in the joint.

               EXT. GAMIANI'S STREET - DAY

               LOU GAMIANI, 55, Italian, and huge, comes out the front door 
               of a brownstone, and gives a perfunctory kiss to his aging 
               "Playmate", who stands in the doorway in a housecoat. Gamiani 
               comes down the steps, and jumps into a car.

               In the car with Gamiani, a fat man, TITO, is at the wheel. 
               They pull into the street passing the unmarked car.

               EXT. NORTH SIDE STREET - DAY

               Trailing Gamiani and his partner through the North Side 
               neighborhoods, they wind up in Lincoln Park.

               With considerable skill Kosalas and Eddie manage to stick to 
               them undetected.

               EXT. PARK - DAY

               Gamiani and Tito park by the botanical gardens and stroll 
               past the fields of flowers into the zoo. Eddie and Kosalas 

                         Now what? They selling protection to 
                         the bears?

                         Relax kid.

               EXT. CHILDREN'S ZOO - DAY

               Strolling among the baby elephants and fuzzy rabbits, the 
               two heavies could not be more out of place. Tito has a racing 
               form. Lou, tall enough to see over heads, looks like a loose 
               gorilla on the prowl. He is searching for somebody.

               Surrounding the incubators filled with hatching chicks is a 
               cluster of schoolchildren.

               They are having a ball.

               Eddie has noticed DIANA, a lovely 19 year old who is in charge 
               of the children.

               And she has noticed Gamiani. She's visibly upset.

                                     KOSALAS (V.O.)
                         What's this? Kinda young for that 
                         old fart ain't she?

                                     EDDIE (V.O.)
                         Just watch, kid. Learn.

               Diana leaves the children with the zoo lecturer.

                         Be back in a minute.

               She crosses to the two goons and looks up at Gamiani.

                         What do you want?

                         Your Papa worries about you.

                         Get out of here, Lou. Leave me alone.

               Gamiani shrugs, his pal Tito seems embarrassed, but they 
               don't move.

               INT. GORILLA HOUSE - DAY

               The CHILDREN SCREAM, and LULU, the half-ton baboon flies 
               into frame, swinging down from the artificial branches of an 
               iron tree in the three story central cage. The children clutch 
               at Diana in delightful terror. The gorilla, inches away, 
               kisses the thick glass that separates them.

               Lulu swings to the upper branches and sits, arms crossed, 
               staring eyeball-to-eyeball at her human counterpart, Gamiani. 
               Tito eats popcorn.

               Eddie and Kosalas walk behind a mother and child, each holding 
               a balloon.

               EXT. LIBRARY - DAY

               Diana is on the front steps of the library saying good-bye 
               to two of the children from the zoo. She hands them over to 
               their mothers, and goes up the steps into the building.

               Gamiani and Tito pull over and park down the street.

               Eddie comes around the corner, and follows her in.

               INT. LIBRARY HALL - DAY

               The sign on the door tells us this is the city's Special 
               Education Program office. Diana enters the office and confers 
               briefly with another staff member.

               INT. LIBRARY HALL - DAY

               Through the open door of the Special Education Program office, 
               Eddie observes Diana chatting with her co-workers.

               INT. READING ROOM - DAY

               Eddie follows as Diana walks through the great hall past 
               long tables and out the other door.

               EXT. LIBRARY - DAY

               Diana comes down the steps, wading through the swarm of 
               homebound commuters, and catches a cab.

               And head and shoulders above the crowd, scanning the tops of 
               heads, is Lou Gamiani.

               Tito comes around the corner in his car, and pulls up to the 
               curb. Gamiani jumps in, and they take off after Diana's cab.

               Eddie and Kosalas follow in Eddie's car.


               Diana enters an apartment building.


               By the time Diana exits it is dark. She is with a friend, 
               and both are in some kind of Halloween costume. They catch a 

               EXT. PARTY STREET - NIGHT

               The taxi stops in front of an ancient brick loft building. 
               Diana and her friend get out and hit the buzzer at an unmarked 
               door. The door opens and they disappears inside.

               Gamiani's car cruises past. It pulls up at the corner and 
               it's lights switch off.

               Eddie's car pulls up. Eddie hops out. Kosalas slides behind 
               the wheel.

               INT. EDDIE'S CAR - NIGHT

               Eddie leans down to the open drivers window.

                         Hold here a second.

               Eddie goes to the back of the car, and Kosalas follows him 
               in the rearview mirror, losing sight when Eddie pops open 
               the trunk.

               Kosalas watches the party goers enter the building.

               There is a tapping at the window.

               Eddie has donned a baseball uniform, matching cap, and now 
               carries a baseball bat with a pair of cleats hanging from 

                         Keep with Gamiani.

               Eddie tosses the keys back to Kosalas, and heads to the 
               building. Kosalas calls to him.

                         Bang a few for me.

               INT. PARTY STAIRS - NIGHT

               In the darkened stairway Eddie joins a group of outrageously 
               dressed characters. The door at the top of the stairs bursts 
               open on a punk-funk art student Halloween party.

               INT. PARTY - NIGHT

               A hundred people are jammed into the studio. It feels like 
               the Star Wars Saloon. The LIVE MUSICIANS match the look of 
               the party. The costumes are outrageous. Everyone is dancing.

               Eddie looks the place over. He spots Diana.

               Eddie walks over to her, grabbing a drink along the way. He 
               sidles up to Diana.

                         Wanna play ball?

               She looks him over taking in the outfit, the bat.

                         Are you pitching?

                         Some people say I've got a pretty 
                         good inside curve.

                         I don't know. You look strictly minor 

               She smiles.

                         I'm Eddie.

                         I make it Eddie-The-Cop.

                         You've had a lot of experience with 

                         All bad.

               She is angry now, and walks away from him.

               Eddie watches her go, and is about to follow. He sets his 
               drink down, and turns to find a girl, luscious as hell, 
               dressed like a Frederick's wet dream, making eyes at him. 
               She takes his bat, and gives it a long, lascivious lick.

                         You'll get slivers.

               He walks by her.

               INT. PARTY BACK ROOM - NIGHT

               Eddie steps over and around an assortment of wasted witches 
               and gooned out goblins snorting lines on the coffee table to 
               get to Diana who is tensely by herself.

               He grabs her purse.

                         Hey, what the hell do you think you're 

                         I thought you knew all about cops. 
                         You don't put anything up your nose 
                         do you?

               Eddie searches Diana's purse. He find her drivers license.

                         Diana Luna?
                         You're Tony Luna's daughter?

               He drops the license into the purse and hands it back to 
               her. She stares him in the eye defiantly.

                         I don't know where he is, and I don't 
                         really give a shit.
                         When are you people going to realize 
                         I don't have anything to do with my 

               Eddie tries to give her his card.

                         For when you need a friend.

               She won't take it.

                         I've got all the friends I want.

               Eddie puts the card into her purse.

                         But do you have all the friends you 

               She walks away angrily. Eddie watches her leave, and then 
               steps over a few of the wasted witches to get to the phone 
               on the drug laden coffee table. He dials.

                              (to phone)
                         This is Sergeant Cusack. I want a 
                         team to cover a house on the southwest 
                         L-U-N-A, Anthony.
                         Yeah. Crazy Tony Luna. I don't think 
                         he's around, but if he shows up bring 
                         him in.

               The dope-smoking party-goers stare at this cop in shock. One 
               of the ladies tries to casually cover the cocaine with a 
               magazine. Eddie hangs up the phone, and pushes past them to 
               the door.

                         Catch you later.

               He is out the door.

               INT. GYM - DAY

               Several plainclothes officers, some of them women, stand on 
               either side of the door with their backs to the wall, guns 
               at the ready. One of the men reaches out and POUNDS on the 

                         Police! Open up!

               They rush the door and SMASH it, SHOUTING and scrambling 
               into the apartment.

                                     KOBAS (V.O.)
                              (from bullhorn)
                         Awright awright hold it.

               The instructor, Kobas, walks in criticizing their style.

                         For Christ's sake! You tryin to get 
                         your partner killed, Jackson?

               This is not the real thing; only practice.


               INT. GYM - DAY

               The apartment is only a mockup set in the corner of this 
               vast skylit city warehouse. Runners race around the track at 
               the perimeter.

               On the wall are large photos and diagrams of the Prowler. 
               Below the photos are sign-up sheets for the required training 

               In another corner is the weight room, the ring, and the 
               workout area. Eddie is here, working out, sparring with a 
               partner who has large padded mits on each hand.

               INT. LOCKER ROOM - DAY

               Brennan and a couple of buddies approach Kosalas as he ties 
               his gym shoes. Brennan is carrying a petition. He hands it 
               to Kosalas and looks around the room. He spots another cop. 
               Cragie is in the background putting on his jacket.

                              (shouts across the 
                         Hey, Mahoney. I want you to help me 
                         get some signatures on this letter 
                         for Cragie.

               Brennan looks down at Kosalas who is hesitating. Kosalas 
               looks back at Cragie. There eyes meet. He signs.

               Cragie comes by and slaps him on the back.

                         Way to go, partner.

               INT. GYM - DAY

               We see Music talking to several cops working out the exercise 
               machines, and getting signatures on Cragie's petition.

               INT. GYM - DAY

               Eddie gives his sparring partner, Howard, a furious series 
               of blows, driving him back. They are kickboxing.

                         Let's try the mitts for awhile.

               Eddie nods. He sees Cragie cross the gym and exit. As Cragie 
               goes out, Donato comes in on crutches. Everybody shouts a 

               Eddie sits down to change gloves, and take his footpads off.

                         Say, partner.

                         How ya doing, Richie?

                         Swinging. How's this? Two G's, we 
                         get a sausage and beef stand stand 
                         outside Wrigley Field. You pass the 
                         beef, I take the cash. Free games. I 
                         got a contact downtown.

                         How you gonna watch the game if you're 
                         hawking sandwiches?

                         Never thought of that. TV? Hey, I 
                         tell you about this nurse I met? 
                         Talk about physical therapy.

               The sparring partner returns, and Eddie goes back to practice.

                         She's got this friend just dying to 
                         meet you. Intensive care.

               Eddie grins.

               Brennan comes up to Donato, and hands him the petition. Donato 
               signs quickly.

                              (to Eddie)
                         Later, partner.

               Eddie nods to him, concentrating on the sparring.

                         Hey, Cusack. How about taking the 
                         gloves off long enough to sign this 
                         for Cragie.

                         This about the hearing?

                         You bet.

                         I pass.

                         What the fuck's the matter with you?

                         He's burnt, Brennan, and you know 
                         it. He was a good cop, but he ain't 

               PUNCH! Eddie hits the mit so hard that Howard is knocked 
               back a couple of steps.

                         Get off your high horse, Cusack. He 
                         made a couple of mistakes, OK. The 
                         guy was a hero. What the fuck does a 
                         bunch of civilians know about comin' 
                         up some shithouse stairway day after 
                         day, scared outta your shorts.

               PUNCH! With a whirling kick, Eddie knocks the mit right out 
               of the Howard's hand, and across the gym.

               Eddie turns to face Brennan, nose to nose.

                         We're all scared, Brennan. Cragie 
                         should have been off the street a 
                         long time ago. He's gonna hurt 
                         somebody else with his bullshit. 
                         Maybe even you.

               Eddie goes back to punching. Brennan storms out.

               EXT. LATIN STREET - DAY

               A funeral cortege makes it's way sedately down the street 
               past the Comacho owned pool hall. Two hearses, a flower car, 
               a limo, and several other cars with funeral stickers on their 
               windshields pass bye. The slain Comacho cousins from the 
               raid are being escorted to the cemetery.

               Luis Comacho is in the limo along with the woman from the 

               INT. BRENNAN'S CAR - DAY

               Brennan and Music are following the procession. Brennan is 
               on the radio.

                              (to mike)
                         The funeral director says they plan 
                         on cruisin right past luna's house.

               EXT. LUNA'S STREET - DAY

               Tito, one of Tony Luna's bodyguards, watches from the steps 
               of Luna's porch as a procession of cars follows the hearses 
               slowly up the street.

               At the end of the block, an old man is selling produce to 
               the neighborhood housewives off the tailgate of his truck. 
               They watch the procession in wonder.

               INT. EDDIE'S CAR - DAY

               The cortege passes the unmarked car down the block from Tony's 
               house. Eddie is watching. Kosalas is with him.

                              (to radio)
                         They're wastin' the show. Tony's not 
                         even in town.

                         He'll get the word.

               Across the street, WE SEE another bodyguard joint Tito on 
               the front steps. They stand, arms folded, watching the 

               INT. LIMO - DAY

               Luis Comacho takes a flower and tosses it out the window as 
               he cruises past the two goons. Their EYES LOCK. Tito walks 
               up and grinds the flower into the ground with his shoe.

               EXT. LUNA'S STREET - DAY

               Brennan and Music bring up the rear in their ummarked car.

               INT. LUNA'S HOUSE - DAY

               Tito, the body guard, picks up the phone.

               EXT. LAKE - DAY

               At the pay phone next to a lakeside bait shop, Tony Luna is 
               getting the word. He's worried.

                              (to phone)
                         What the fuck are you talkin about? 
                         Nobody's gonna touch nothin. Just 
                         stay put.
                         I give a shit about their fuckin 

               A floozy slides up next to him, and he puts an arm around 
               her waist.

                              (to phone)
                         They wanna throw flowers we can fix 
                         it so they're pushing up daisys.

               He laughs. The girl joins in like she's supposed to.

               EXT. WAREHOUSE - DAY

               A tan Dodge rolls over the rutted scrapyard roadway, bouncing 
               toward the immense old warehouse along the river's edge. The 
               city seems to have abandoned this remote industrial area; 
               giant grain elevators, rusting freighters and vast scrapyards 
               surround us.

               INT. POMPAS' CAR - DAY

               Pompas and Efren Comacho drive through the gate and enter 
               the warehouse as the door opens for them.

               INT. WAREHOUSE - DAY

               The car halts in the vast empty chamber. It is quickly 
               surrounded by members of the Comacho family. They begin to 
               unload the car. The trunk is filled with cases of heavy 

               At the back of the warehouse, other Comachos are test firing 
               their weapons.

               INT. LUIS' OFFICE

               Luis is directing things as they are preparing for battle. 
               The weaponry spread on the table is astonishing.

               EXT. HARBOR - DAY

               Eddie's beat up Chevy is parked beyond the line of yachts 
               toward the end of the pier. Eddie gets out of the car. Kosalas 
               looks worried.

                         I can back you up.

                         Stay by the radio.

               Eddie walks to the 75 foot steel cruiser tied to the end of 
               the pier.

               Eddie walks up the gangplank.

               EXT. YACHT - DAY

               An ape in a suit, ROCCO, appears.

                         What the hell you doin' here? Off, 

               Rocco goes for Eddie. A couple of quick blows and Rocco is 
               in the water. Eddie continues up the gangway to the rear of 
               the boat.

               EXT. YACHT - DAY

               Eddie finds FELIX (THE RAIL) SCALESE sitting on a chaise 
               lounge, reading. A beautiful girl lays on her stomach on a 
               deck pad typing at a personal computer terminal.

               Scalese looks up at Eddie. He is momentarily discombobulated, 
               but recovers.

                              (referring to computer)
                         The modern age's answer to the crystal 
                         ball. Marvelous. If you know how to 
                         read it.
                         Listen. If you have some extra cash, 
                         buy oranges. The price is low, and I 
                         can promise you the threatened 
                         trucking strike will be avoided.

                         We talking about a bribe, Scalese?

                         It's a prediction.

               Another beautiful bikinied girl comes by and gives Scalese a 
               tall cool drink.

                         No. I wouldn't try to bribe Eddie 

               He drops the name with a smile. Eddie doesn't react.

                         You're incorruptible. Untarnished. I 
                         hear they call you stainless steel 
                         on the street. Me, I think you're a 
                         fuckin' pain in the ass.


                         It's not a compliment.

                         I'm looking for your nephew.

                         Tony? Forget it. Tony Luna's none of 
                         your business.

                         Wrong. Tony just made himself my 

                         No he didn't. We take care of our 
                         own. Just like the cops. Just like 
                         the Comachos. You understand.

               Eddie sits down next to Scalese and looks him in the eye.

                         He shit on my turf, old man. And I'm 
                         going to nail him and anybody else 
                         tied to him. You understand, Felix?

                              (with cool rage)
                         Nobody threatens Felix Scalese.

                         It's not a threat. It's a prediction.

               On the shore, Kosalas is honking the car horn to get Eddie's 
               attention. Eddie rises.

                         There's a shitstorm coming. You better 
                         get yourself a good umbrella.

               The girl at the computer terminal watches him leave.

               EXT. YACHT - DAY

               Eddie walks by as Rocco, soaking wet, is pulling himself 
               from the water. Eddie pushes him into the water again.

               Kosalas is still sounding the HORN.

               EXT. HARBOR - DAY

               Eddie runs toward the car.

               EXT. PARKING LOT - DAY

               A body lies in the flowers in the service area next to the 
               giant greenhouse. Several unmarked cars and two blue and 
               whites are parked in the dirt drive as Eddie and Kosalas 
               pull up. The cops have roped off the area. Music and Brennan 
               are there.

               Eddie looks at the body as Music comes over.

                         Tony Luna's bagman.

               Kosalas looks at the body.

                         They call that a Columbian necktie.

               Kosalas winces.

                         They found the manager of Tony's 
                         restaurant hanging from a hook in 
                         his kitchen. Looked like someone 
                         tried to carve a canoe out of him. 
                         Tony's used car lot on Ashland is 
                         burning as we speak. The head salesman 
                         is a fried zuccini.

                         Oh Jesus. It's starting.

               Eddie stands to one side.

                         Let's go.

               EXT. LUNA'S STREET - DAY

               A kid on a bike makes his way up the quiet tree-lined street, 
               tossing newspapers onto the porches of the block.

               Around the corner at the end of the block, the produce truck 
               starts slowly forward. As it turns onto Luna's block, a car 
               pulls up behind it and stops, blocking the street.

               The produce truck parks at the curb in front of the Luna 
               house. A neighbor from across the street approaches. The 
               front door of Luna's house opens, and Tito emerges, helping 
               Tony's aged mother down the steps to buy vegetables.

               INT. PRODUCE TRUCK - DAY

               On the floor near the wheelwell is the dead produce man.

               EXT. LUNA'S STREET - DAY

               The rear doors of the produce truck swing open. The neighbor, 
               Tito, and Tony's mother are instantly killed.

               From outside three Comachos enter the open front door of the 
               Luna house. We hear the SOUND of MUFFLED GUNFIRE from inside.

               INT. LUNA'S HOUSE - DAY

               Bits and pieces. A Shattered orange juice container. Eggs 
               cooking on the stove. A woman's vanity.

               On the floor; a woman's legs, a housecoat, slippers. A 
               silhouette of a Comacho in the hallway RAKING one of Tony's 

               A family photo on the mantle which includes Diana and her 
               father is BLASTED to bits.

               EXT. LUNA'S BACK YARD - DAY

               One of Tony's men tries to escape through the back of the 
               house. He is pursued by a Comacho who guns him down.

               EXT. LUNA'S STREET - DAY

               Luis Comacho sits in a car in the next block surveying the 
               scene. The cousins are walking briskly out. They jump in a 
               car and drive off.

               INT. LUIS' CAR - DAY

               Luis nods to his driver. They pull away.

               EXT. LUNA'S STREET - DAY

               The street is QUIET again. Next door, a neighbor, wearing 
               only his underpants and carrying an old pistol, stands 
               trembling in disbelief.

               EXT. LAKE - DAY

               Pines reflect in the dappled lake as Tony Luna rows slowly 
               for shore. He ties up at the dock. He's taking his tackle 
               out of the boat when one of his boys comes running down to 
               the dock.

               We cannot hear the conversation but we can see Tony drop the 
               tackle box and we can hear his SCREAM echo across the water.

               EXT. EDDIE'S STREET - DAY

               Eddie runs down the rear stairs to Kosalas' unmarked car. He 
               opens the driver's door, pushes Kosalas across the seat, and 
               gets behind the wheel. He PEELS OUT.

               INT. UNMARKED CAR - DAY

                         Music's at the scene.

               Eddie picks up the mike.

                              (to mike)
                         Was there a girl? Late teens. Reddish 

                                     MUSIC (V.O.)
                              (on radio)
                         Two male caucasians, two female. One 
                         mid-to-late forties. The other a 

               With the SIREN full out, LEANING ON the HORN, he simply puts 
               his foot on the floor and sends the car into a four wheel 
               drift that slides into a neat U-turn.

               EXT. LIBRARY - DAY

               Eddie leaves the car running, and burst through the main 
               entrance flashing his badge at the stunned security guards.

               INT. LIBRARY - DAY

               Eddie races through the corridors and reading rooms searching, 
               Kosalas arriving at his heels.

               INT. LIBRARY - DAY

               Gamiani tells Diana about her mother and grandmother.

               INT. LIBRARY - DAY

               Three Comachos; Pompas, Efren, and ANGEL, search for Diana.

               EXT. LIBRARY - DAY

               Lou Gamiani emerges from the building with Diana. She is 

               He checks out the scene, then descends the crowded steps and 
               crosses the street, keeping a sharp lookout.

               EXT. FLOWER SHOP - DAY

               Luis and Victor Comacho loiter by the outdoor flower stand 
               next to the library. They watch the activity on the library 

               EXT. LIBRARY - DAY

               Distracted for an instant by a cluster of conventioneers, 
               Lou fails to notice the two Comachos who have fallen in step 
               behind them. He goes down with a gasp, almost silently, a 
               knife sticking from his back. A Comacho grabs Diana's arm. 
               She jabs him in the eyes, and runs.

               Diana disappears into the crowd.

               Hysterical citizens scatter in all directions. A woman stands 
               in horror unable to keep from looking at Gamiani's body lying 
               on the sidewalk. She SCREAMS.

               Eddie and Kosalas come crashing out of the entrance of the 

               The girl isn't here.

               Eddie spots a commotion at the end of the block, under the 
               el station.

               He dashes down the steps and across the street with traffic 
               screeching to a halt.

               Kosalas flags down a blue and white, and barks for backup, 
               then tears out after Eddie.

               EXT. WABASH AVENUE - DAY

               In the shadow of the el tracks, Diana runs for her life, 
               racing north on Wabash through crowds of shoppers with the 
               Comachos moving relentlessly a half block behind.

               Opposite Marshall Field's, she abruptly cuts across traffic 
               and runs into an alley between the giant men's and women's 

               With terror in her eyes, Diana runs, searching frantically 
               for a guard, a policeman, somebody with a gun. But the 
               Comachos are closing in on her.

               She dives through a revolving door into the building.

               INT. DEPARTMENT STORE - DAY

               Diana runs past the perfume displays, notions, and lingerie, 
               and out the Randolph Street exit.

               EXT. RANDOLPH STREET - DAY

               Two Camachos, who stayed on the street, spot her as she 

               Racing through the alley, Eddie spots them running in the 
               next block.

               EXT. LAKE STREET - DAY

               Running east on Lake Street, she glances over her shoulder. 
               She doesn't see them. She ducks into the alley. But the 
               Comachos round the corner just in time to catch a glimpse of 

               EXT. ALLEY - DAY

               This alley leads to the lower level of Michigan Avenue. She 
               turns back to find the exit blocked by the Comachos. She 
               flees downward.

               INT. LOWER MICHIGAN - DAY

               The green flourescents of the "Emerald City" give a deathly 
               cast to the underground street as Diana rounds the corner, 
               and collapses against the wall. Her heart pounding like a 
               frightened deer, she has run as far as she can.

               Pompas Comacho and two of his colleagues come racing around 
               the corner. They spot her crouched against the wall.

               She starts to SCREAM but Angel grabs her by the collar and 
               pulls her up to his face and she stops, wide-eyed with terror 
               as he touches her throat with his knife.

                         Come on, Chika. We gonna have some 
                         fun. You gonna take us to your father.

               We hear a loud metallic CLICK. We see the barrel of a huge 
               revolver. They wheel to see Eddie crouched, gun drawn, in 
               the alley entrance.

                         Pompas, you're getting to be a fucking 
                         pain in the ass.

               The boys put their hands up, but Eddie doesn't see the third, 
               SAMO, coming up behind him.

               Angel grabs Diana by the hair, shielding himself, and starts 
               backing up the stairs that lead to the street.

                         Let her go, pooch.

               Samo jumps Eddie, and the gun goes flying. It hits the 
               pavement and bounces off the high curb into the street.

               In a staggering blur Eddie takes out the Comachos, kicking 
               the last one end over end. But Angel and the girl have 
               disappeared to the street above.

               Eddie retrieves his gun and runs up the steps.


               With a knife at her side, Angel Comacho leads Diana up the 
               steps of the old el station. They pass through the turnstyle 
               out onto the platform just as the train pulls to in. Angel 
               forces her onto the train.

               Eddie comes pounding up the steps and onto the platform just 
               in time to stop the closing train door with his foot.

               INT. EL TRAIN - DAY

               Eddie wedges his way aboard and the train pulls out. The 
               passengers looks at him like he's crazy.

               Eddie works his way through the cars toward the rear.

               Angel spots him. Knife still in hand, he pulls Diana from 
               car to car past the terrified passengers until finally he is 
               cornered at the end of the train. Angel searches frantically 
               for a way out.

               Eddie enters. Diana sees him.

                         Another step, and I take her head 

                         You don't have the balls.

               Eddie takes another step.

               Diana slams her elbow into Angel's groin, and breaks free.

               Angel jumps back. He breaks open the rear door and climbs 

               EXT. EL TRAIN - DAY

               Angel climbs up the back of the car onto the roof.

               Eddie's right behind him.

               The spectacular pursuit from car to car on the roof of the 
               speeding el train is witnessed by startled second-floor 
               secretaries whose desks look directly out at the roof of the 
               passing cars.

               VERY HIGH ANGLE

               Angel and Eddie's figures appear as specks, roaring through 
               the canyon of skyscrapers.

               ON TRAIN ROOF

               A low bridge forces both men to hug the roof of the train. 
               Eddie recovers first and grabs Angel, pulling him down. They 
               roll from side to side on the roof, nearly slipping over the 
               side. With a desperate shove, Angel breaks free. Eddie points 
               his gun at him. The train is now over the Chicago River. 
               Angel dives into the water.

               Eddie reholsters his gun and dives in after him.

               INT. EL TRAIN - DAY

               We see Diana's looking out the window of the train. She 
               follows Eddie's decent with her eyes.

               EXT. RIVER - DAY

               Dozens of startled pedestrians line the bridge railing as 
               Eddie swims toward Angel, bobbing in the middle of the stream.

               A hotdogger in a speedboat is racing up the river and Angel 
               is directly in his path. The skipper, showing off for his 
               passengers, doesn't notice him until he hears the sickening 
               THUNK under the keel. The boat's wake is suddenly red with 

               EXT. RIVER BANK - DAY

               Eddie is helped from the water by a couple of passersby.

               He stands there, soaking wet, looking around.

               A crowd is gathering. We hear SIRENS in the background. Then 
               he spots her.

               Diana is standing on the bridge watching him.

               EXT. BRIDGE - DAY

               Eddie walks to Diana, and she folds into his arms. He holds 
               her a second.

               EXT. LAGOON - DAY

               Eddie, now in dry clothes, and Diana walk along the lagoon.

               They talk, argue, and she sits on a bench and cries. Eddie 
               comforts her.

                         Where are you taking me?

                         Downtown first. Then I'm gonna place 
                         you in protective custody.

                         The hell you are!

                         You'll be safe --

                         I'll take my chances.

               NOTE: Ad lib dialogue throughout scene for possible later 

               NOTE: Radio newscast describing the Luna killings can be 
               mixed with the above dialogue.

               INT. EDDIE'S HALL - NIGHT

               Eddie and Diana climb the stairs.


               The DOORBELL buzzes repeatedly.

                         Keep your goddamn pants on!

               Pirelli, padding across the floor in his shorts, looks like 
               a bear called out of hibernation. He has a service revolver 
               in his hand. He peers through the peep hole, then unbolts 
               the door.

                         This your idea of a social call?

               Eddie enters with Diana.

                         Fred Pirelli, this is Diana. Diana 

               Pirelli reacts to the name.

               Diana is in a daze, close to shock.

               Pirelli takes her and leads her to the couch.

                         C'mon, kid. Let's get you off your 

               Eddie motions him aside.

                         Can you put her up till I find her 
                         old man?

                         Does a bear...?

                         Am I putting you on the spot?

                         I spent 30 years on the spot. What 
                         ever you need.

               Eddie starts to go, and Diana reacts, suddenly frightened.


                         I'll be right across the hall. I'm 
                         just gonna clean up.

               He leaves.

               INT. EDDIE'S APARTMENT

               Eddie falls fully clothed onto the mattress. The PHONE RINGS.

               He rolls over in disbelief, staring at the ceiling.

               It RINGS, and RINGS again and again and again. He finally 
               picks it up.

               INT. TAVERN - NIGHT

               This is the after-hours watering hole for the police force 
               and half the cops we've seen so far, including Cragie, are 
               clustered at the bar or playing darts at the back of the 
               room. There are a half a dozen women there also. Three of 
               them are cops.

               Kosalas is here too. He's been drinking. He leans against 
               the wall talking on the pay phone by the men's room.

                              (to phone)
                         Say, Eddie. Why don' you come by and 
                         tip a few?
                         Cause I gotta talk to you.
                         Yeah, I know. But we gotta talk.
                         Yeah, at Mike's.

               He hangs up and heads back to his table, passing Officer 
               Music at the bar.

                         You oughta crash, man. You had a 
                         helluva day.

               EXT. TAVERN - NIGHT

               Two tough looking guys are watching the entrance to the bar 
               from a car parked across the street. We can HEAR the NOISE 
               from the BAR.

                                     FIRST HOOD
                         Love it, Flash. Gonna be a slide. 
                         Easy in, easy out.

                                     SECOND HOOD
                         Just a quick and dirty?

                                     FIRST HOOD
                         Yeah, yeah, nothin to it. You know 
                         the drill.

               They check their weapons.

               INT. TAVERN - NIGHT

               Everybody but Kosalas is having a good time. Donato, flanked 
               by two girls, foot up on a chair, entertains a small crowd.

                         He picks her up on Forty-third, and 
                         he's takin' in. She says, "Say, baby. 
                         Ain't no need for goin' downtown." 
                         An' she pulls back her skirt. So the 
                         dumb shit climbs in the back an' 
                         takes a piece...
                              (starts to chuckle)
               ' leaves the keys in the front 
                         and locks the two of 'em in the squad. 
                         And he hasta kick out the window 
                         see, an' she starts screamin', "Rape! 
                         Rape!" An' they charge him with rape 
                         an' every other fuckin' thing in the 
                         book. Internal Affairs is gonna give 
                         him a kayak and a lantern an' put 
                         him out in the lake.

               A group laughs at the story. There is a stillness at the 
               front door. One of the hoods from outside steps in. He wears 
               a leather coat.

               The heads at the bar turn.

               He walks the length of the bar and enters the john. He is 
               obviously out of place in this saloon. Nobody has both hands 
               on the bar.

               The front door opens. The other hood steps in, walks up to 
               the bar, and orders.

                                     SECOND HOOD
                         Bartender. Gimme a black russian and 
                         a Courvoisier.

               The First Hood comes out of the bathroom and walks up to the 
               bar. Suddenly he whips a sawed-off shotgun from under his 

                                     FIRST HOOD
                         Yo! Get your hands up motherfuckers. 
                         This is a ho --

               THIRTY HAMMERS CLICK. Thirty guns are drawn.

               The room is frozen. Only the JUKEBOX makes a sound. The two 
               hoods, eyes fixed on the array of iron pointed at them, can't 
               even swallow. Finally...

                                     SECOND HOOD
                              (to partner)
                         You stupid motherfucker.

               The cops swarm the hoods and in an instant they are on the 
               floor being cuffed and roughly handled. Kosalas is at the 
               end of the bar, frozen, his gun still in his holster.

               EXT. TAVERN - NIGHT

               Eddie gets out of his car and heads for the front door.

               INT. TAVERN - NIGHT

               The place is in an uproar -- everybody doubled up with 
               LAUGHTER -- as the two luckless hoods, handcuffed together, 
               are lying on the filthy tavern floor under a table. They 
               continue to berate each other.

               Eddie enters.

                                     SECOND HOOD
                         My old lady tol' me you was fucked 
                         up in the head. Do I listen? Piece o 
                         cake, you say. Snap, you say. Nothin 
                         to it, you say.

                         Shut up over there.

               Donato spots Eddie and calls to him.

                         Eddie! Partner! Meet Ruthie. Dental 
                         Hygienist. She's oral.

               Ruthie giggles.

                         And this is... Marlene. She works 
                         for a proctologist.

               Marlene swats at him.

                         Siddown, partner. I got a proposition 
                         for you.

                         Not now, Donato.

                         O.K. O.K. But just let me plant two 
                         words in your brain. Alligator 

               Eddie shakes his head and walks to the back of the room where 
               Kosalas sits hunched over a drink, the only man in the room 
               not laughing. He looks up whens Eddie pulls over a chair.


               Eddie nods, and Kosalas signals the waitress. There is a 
               long beat at Kosalas fidgets and Eddie waits.

                         Looks like I'm caught between the 
                         rock and the hard place, Sarge.

               Eddie just looks at him.

                         You know I really wanted to be a 
                         good cop, but... shit. It's hard 
                         enough sometimes just to stay alive. 
                         Comes so easy to you. You got all 
                         the fuckin' answers. Me, I'm still 
                         tryin' to find the questions.

               Eddie is still silent. Kosalas takes a swig of his beer, and 
               finally blurts is out.

                         Cragie planted the gun on the kid. 
                         Just wasted him, and then I... I 
                         don't know what to do about the 
                         hearing tomorrow...

                         Tell the truth.

                         See. It's all so nothin' for you. If 
                         I talk straight every cop on the 
                         force will shit on me. If I don't... 
                         Cragie gets away with murder.

                         And the chance to do it again. Next 
                         time he might take away a cop. That 
                         make any difference?

                         He's my partner.

                         Your partner's selling you out, 
                         Kosalas. He kills an unarmed kid, 
                         and now he's risking your ass to 
                         save his own.

                         It was a mistake.

                         It cost an innocent kid his life.

                         I know that! I KNOW THAT!

               He is too loud, and attracts attention.

                         Jesus. I see that kid's face every 
                         time I close my eyes.

                         Tell 'em like it is, Nick. I'll back 
                         you up.

               Eddie gets up and walks away.

               INT. TAVERN - NIGHT

               The two amateur holdup men are being hustled out to the paddy 
               wagon as Eddie heads for the door. Someone grabs his arm.

               It's Cragie, a little drunk.

                         Nice to see you out with the boys 
                         for a change, Sarge.

                         Hello, Cragie.

                         They tell me my Sergeant wouldn't 
                         sign for me. You want to tell me 

                         You know why.

                         No. Tell me.

                         You were a good cop for a lot of 
                         years. You've passed your limit now 

                         Fuck you. Where do you get off?

                         Right about here.

               Eddie walks out the door.

               INT. EDDIE'S HALL - NIGHT

               Eddie buzzes the door. Pirelli opens it. He lets Eddie in, 
               scans the hall, and closes it.


               Pirelli sets down his gun, and pours Eddie a cup of coffee.

                         She's havin' a bad night. Gave her a 
                         shot of brandy. Maybe she'll sleep.

                         Giving liquor to a minor, Pirelli?

               He turns to leave.

                         I'll be back right after the hearing 
                         tomorrow, and you can get some sleep 


               Eddie cracks the door and peeks in. Diana sits on the bed, a 
               lonely forlorn figure.

               She looks at Eddie, and tries a smile that fails.

               Eddie walks over to sit on the bed next to her.

               She falls apart, and lies down, on the verge of crying, 
               collapsing so that her head rest in Eddie's lap.

               They are quiet like that for a moment, she curled into a 
               ball, Eddie stroking her hair.

                         What do you do when you don't have 

                         You find someone.

               She looks up at him.

                         Could you... Hold me for a while?

               Eddie lays on the bed beside her. She curls up in his arms, 
               and closes her eyes. Eddie's eyes remain open.

               INT. HEARING ROOM - DAY

               The Civilian Review Board is in the Office of Professional 
               Standards. The panel consists of eight civilians. It is a 
               real cross-section of the city of Chicago. Leon Partida chairs 
               the proceedings. We recognize several faces from the opening 

               An old Mexican woman is on the stand facing the panel. Cragie 
               sits at a table with his representative, facing the officials.

               A female panel member is questioning the old woman.

                                     MALE PANEL MEMBER
                         How far were you standing from where 
                         your grandson was shot, Mrs. Murillio?

               The question must be TRANSLATED by a bumbling clerk, the old 
               woman answers in Spanish, then the answer is translated.

                         In the next doorway. Four meters.

               The room is packed. In addition to the police officers, 
               character witnesses, and friends of the dead kid, there are 
               a dozen reporters.

               Eddie enters and looks over the scene. He nods to Donato, 
               sitting at the rail with his foot propped up.

                         How you doin', Sarge?

                         What's the score?

                              (nods toward witness)
                         Kid's grandmother says Cragie threw 
                         down the pistola.

               Eddie takes a seat. Officer Cragie is called back to the 
               witness stand.

                              (to steno)
                         Officer Cragie has already been sworn.
                         Officer Cragie, you have heard Mrs. 
                         Murillio's testimony --

                         Yes, sir.

               Cragie is neat as a pin, humble, cooperative to a fault.

                         You have heard her tell this panel 
                         that she saw you lay the gun in her 
                         grandson's hand.

               He feigns compassion.

                         I'm not saying the woman would make 
                         this up. But there's no way she could 
                         have seen anything from where she 
                         was standing in a hallway that dark.
                         Like you said, she's the boy's 

                         If it was dark, Officer, how were 
                         you sure Vega had a gun?

                         We were lucky. There was a glint of 
                         light, a reflection comin off the 
                         barrel of the weapon.

               EXT. EDDIE'S ALLEY - DAY

               A carload of Comachos, including Luis, cruises down the street 
               and parks in the alley next to Eddie's building.

               INT. OPS HALL - DAY

               The hearing is in recess and the hall is filled with smokers 
               and coffee drinkers.

               Eddie is getting a BUSY SIGNAL on the pay phone.

               Donato approaches.

                         You think he'll get a pass?

                         You heard it all. What do you think?

                         If the hearing was over I'd have to 
                         put my money on the old lady.
                         But Kosalas's next. My bet's on 

                         The kid may surprise you.

               Eddie dials the number again. Still a busy signal.


               Pirelli has Eddie's answering machine plugged in, and is 
               tinkering with the insides.

               Diana comes into the living room, toweling her wet hair, 
               just out of the shower, but in her street clothes.

               INT. HEARING ROOM - DAY

               Kosalas is on the witness stand.

                         And right after you heard Officer 
                         Cragie's gun discharge, what did you 
                         do then?

                         I immediately advanced down the hall.

                         And what did you see?

                         The deceased, Vega, lying on the 
                         floor. Officer Cragie was checking 
                         his vital signs.

                         What happened then?

                         We recovered a .25 calibre automatic 
                         from the teenager's right hand.

                         Did you see that weapon in Vega's 
                         hand before Officer Cragie fired?

                         Yes, sir.

               Cragie leans back.

               A ripple is felt in the crowd. The reaction of the boy's 
               relatives, delayed by translation, is one of outrage.

                         No more questions.

               As Kosalas steps down he keeps his eyes on the floor ahead 
               of him avoiding eye contact.

               Eddie leans back in his seat. A couple of people get up and 
               head for the door.

               Eddie gets to his feet and heads for the door. Partida hits 
               the gavel.

                         I'd like to now call Sergeant Cusack.

               Eddie halts with his hand on the knob.


               Pirelli works on the answering machine, but the phone is 
               reconnected. Diana is looking at photographs on the wall.

                         You made that uniform look good.

               Pirelli looks up.

                         That good looking gorilla next to me 
                         is Eddie's father. Better than good 
                         cop. Killed in the line of duty. 
                         Another cop shot him. An accident.

               He goes back to the machine.

               INT. EDDIE'S HALL - DAY

               The Comachos come up the stairs, led by Luis. They stop at 
               Eddie's door. They pull out their guns, and kick the door 

               Across the hall, Pirelli's door opens, and Pirelli, holding 
               his pistol steps into the hall.

               The Comachos turn and fire, blasting Pirelli back into his 

               Through the open door we see Diana dash across the living 


               Luis and his men burst in.

               Diana runs for the phone.

               A Comacho takes it from her and rips it from the wall.

               Diana is caught by two Comachos.

               INT. HEARING ROOM - DAY

               Eddie is on the witness stand.

                         I can't comment on that. It was over 
                         before I got there.

                         You are his superior officer, are 
                         you not?

                         Cragie's in my unit, yes.

                         Did you give the men their various 

                         I did.

                         Did you request that officer Cragie 
                         be on your TAC team?

                         No, I didn't.

               Partida lifts a document from the table.

                         Sergeant... I have here a department 
                         document dated 24 September, of last 
                         year. It is a request by you, to 
                         your superiors, to have Officer Cragie 
                         transferred to another unit. Are you 
                         familiar with this document?


               The room listens to every word.

                         Why did you request his transfer?

                         Maybe 30 years is too long for anyone 
                         to look at the city's guts, Mr. 

                         What happened to this request?

                         It was denied.

               Partida lifts another document.

                         This is a letter of support for 
                         Officer Cragie.
                              (hands it to him)
                         Everyone in his unit signed it but 

               Eddie glances over the letter and hands it back.

                         I don't agree with what it says.

                         Are you saying you do not believe 
                         Officer Cragie is fit to work the 
                         streets of Chicago?

                         That's what I'm saying.

               INT. OPS HALL - DAY

               The reporters are clustered around Eddie as he emerges but 
               he walks past them back to the pay phone. He puts in a quarter 
               and dials. Frowns.

               The cops in the corridor are passing the word about Eddie's 
               testimony, discussing it in little clusters. Their appearance 
               is frightening. Eddie dials another number.

                              (to phone)
                         I just dialed 348-6610, and I get 
                         this funny buzz. Check the line for 
                         me? Thanks.

               Cragie, backed up by a couple of buddies, comes up to him.

                         Seems to me the man's got his tongue 
                         stuck to his asshole, Cragie.

                         Hey, that don't bother him. He's the 
                         fuckin White Knight.
                              (to Eddie)
                         You wanna take on the whole world by 
                         yourself? Now you're gonna get your 
                         chance, Sarge.

               They walk down the hall.

                                     OPERATOR (V.O.)
                              (from phone)
                         Sorry, sir, that number seems to be 
                         out of service. I've reported it.

               Eddie drops the phone.

               INT. OPS HALL - DAY

               Eddie races down the hallway past hostile clusters of former 

               EXT. EDDIE'S CAR - DAY

               Roaring north on the boulevard without regard to traffic, 
               Eddie speeds toward his house in his rattling Chevy.

               INT. EDDIE'S CAR - DAY

               Eddie rockets through the red lights LEANING on his HORN.

               INT. EDDIE'S HALL - DAY

               Eddie runs up the stairs, and slows when he sees Odell. The 
               boy is sitting on the floor, head in his hands, crying.

               Just past Odell, several uniformed policemen are standing 
               over Pirelli's body. They step back as Eddie approaches.

                         He was a friend of yours wasn't he?



               Eddie hurries to the bedroom and back. He rushes out of the 

               EXT. EDDIE'S STREET - DAY

               Eddie runs for the Chevy and peels away from the curb.

               INT. EDDIE'S CAR - DAY

               Eddie is on the radio, speeding west on Diversey Parkway.

                              (to mike)
                         Squad, this is 1462. I need a backup. 
                         Have 64 and 63 from TAC 4 meet me at 
                         the billiard parlor on 18th near 
                         Halsted. Questioning suspects.

               EXT. BRENNAN'S CAR - DAY

               Music is standing on a streetcorner talking to a couple of 

               Down the street, Brennan waits in their unmarked car.

               INT. BRENNAN'S CAR - DAY

                                     DISPATCH (V.O.)
                              (from speaker)
                         1463 and 1464, Unit 1462 requesting 
                         assistance at the poolroom on 18th 
                         Street near Halsted. Questioning a 

               Brennan picks up the mike.

                              (to mike)
                         Ten-four, Dispatch. Unit 1463 

               Music returns to the car and gets in.

                         I could use a cup of coffee.

               EXT. POOL HALL - DAY

               Eddie squeals to a stop, hops out of the car, starts for the 
               pool hall.

               Eddie enters the poolhall.

               INT. POOL HALL - DAY

               The place is busy. Everybody in sight is either mean or ugly. 
               Eddie enters and a dozen pair of eyes are on him.

               The pool players not connected with this confrontation take 
               one look at him, hang up their cues, and split.

               Eddie heads for the back of the room. A pair of heavyweights 
               fall in behind him. One of them grabs Eddie.

                         Hey, you ain't got no business back 

                         I want your opinion I'll beat it out 
                         of you.

               Eddie spins with deadly precision and catches them in mid-
               step and they go down like gut-shot rhinos.

               He heads for the rear hallway and everybody clears a path.

               He steps up to the door in back and kicks it in.

               INT. POOL HALL BACK ROOM - DAY

               A startled Camacho, DEGAS, looks up, straw in hand with a 
               line of coke on a mirror on his desk.

                         Where is Luis?

                         Get the hell out of here.

               Eddie grabs Degas by the hair and starts slamming his face 
               into the mirror which shatters with every blow.

                         Talk to me, Degas, or I'll hit you 
                         with so many lefts you're gonna beg 
                         for a right.

               He holds up Degas' head to look him in the eye. Blood and 
               cocaine stain the man's face.

                         He's coming here. He's on his way.

               Eddie lifts the head once and gives Degas one punch in the 
               face that sends him ass over teakettle across the floor.


               Beneath the lighted map of Area 4, the police dispatcher 
               trying to raise Eddie's backup.

                         We need a verification on a back-up 
                         for Unit 1462...

               The dispatcher at the next panel overhears the call.

                                     SECOND DISPATCHER
                         1462. That's Cusack, right?

               First dispatcher nods.

                                     SECOND DISPATCHER
                         Good luck finding a backup for that 

               INT. POOL HALL - DAY

               Eddie opens the door and emerges from the back room. A dozen 
               Comacho goons have gathered. Behind them are another two 
               dozen hostile spectators. But no sign of the backup.

               He pulls out his gun. The remaining innocent bystanders split 
               for the exit. Eddie walks forward into the room. The Comachos 
               and their soldiers stand around him. Several have guns.

               Eddie keeps them under the point of his gun. He gets to the 
               door and has to turn his back on it to keep the gang in his 

               A gun is pressed into Eddie's back. He drops his gun.

               Luis kicks Eddie across the room. Eddie lands at the feet of 
               the gang.

                         Take him apart.

               Eddie springs to his feet, and in the same motion decks his 
               nearest attacker. The battle is on. Hardwood pool cues crack 
               around him.

               The first four or five never get a chance to lay a finger on 
               him. Battered and broken, they litter the billiard tables 
               and floor. But Eddie is outnumbered 20 to 1.

               INT. TAVERN - DAY

               Cragie and Kosalas sit at the bar. The TV is off, and the 
               few customers pay attention to the police monitor.

                                     DISPATCHER (V.O.)
                              (from radio)
                         ...request verification for backup 
                         for unit 1462. Patrol 47, are you in 
                         the area.

                                     OFFICER (V.O.)
                              (from radio)
                         Squad. 47. We're having vehicular 
                         problems. Not able to respond.

               Cragie smiles. Kosalas looks ashamed.

               EXT. SQUAD CAR - DAY

               Two uniformed police sit in a cruiser.

                                     DISPATCHER (V.O.)
                              (from radio)
                         ...need backup at 18th and Halstead...

               One cop turns to the other.

                         Fuck him.

               INT. POOL HALL - DAY

               Coming at Eddie now from all sides, the Comachos wear into 
               him. Finally they begin to connect. Blind-sided, he goes 
               down and they are on him like jackals.

               They drag him to the top of the rear stairs, and kick him 
               down to the alley.

               It seems like they are about to finish him off when suddenly 
               all is quiet. The crowd parts. Eddie looks up through swollen 
               eyes to see Luis Comacho standing above him, cool as ice. 
               Luis reaches down and pulls Eddie's head up by the ear.

                         The sun comes up. You give me Luna, 
                         or the girl dies -- slow.

               Luis kicks him in the face.

               EXT. POOL HALL ALLEY - NIGHT

               Eddie opens a bloody eye and looks over his surroundings. 
               He's alone. He moves, a joint at a time, checking himself 

               Staggering to his feet, he opens a spiggot on the wall. He 
               lets the cold water wash over his head.

               INT. POOL HALL - NIGHT

               Donato hobbles through the deserted pool hall, his pistol in 
               his hand.

               EXT. POOL HALL ALLEY - NIGHT

               Donato comes out the back door of the poolhall, and finds 
               Eddie sitting on his haunches and resting against a wall 
               between two garbage cans.

                         I would have been here, Sarge. They 
                         kept it from me.

                         You're Ok, Hopalong.

               Donato holsters his gun, and helps Eddie to his feet.

                         Listen, I'm havin' a drink with this 
                         friend of mine, name of Mickie. She 
                         works on a computer over in the 
                         Federal Building, FBI. I got here as 
                         soon as I heard.

                         They got Diana Luna.

                         That's what I'm tryin' to tell ya. 
                         Mickie told me she read on the wire 
                         Tony Luna's comin' into Union Station 
                         at ten tonight.

               Eddie runs down the alley toward his car.

               EXT. TRAIN STATION - NIGHT

               Eddie's car pulls up. He gets out and runs inside.

               INT. TRAIN STATION - NIGHT

               A train sits at the platform. Tony Luna is walking down the 

               INT. TRAIN STATION - NIGHT

               Eddie runs through the cavernous lobby.

               EXT. TRAIN STATION - NIGHT

               Eddie arrives in time to see Tony step into a waiting Cadillac 
               that immediately takes off.

               Eddie races up the ramp to his car.

               EXT. UNION STATION - NIGHT

               Eddie jumps into his car, and roars away in pursuit of the 

               EXT. CADILLAC - NIGHT

               Tony settles in, and then sees Scalese sitting calmly in the 
               back seat.

                                     TONY LUNA
                         Hello, Felix.

                         Hello, Tony.

               Tony moves for his gun. The hood next to Tony relieves him 
               of his gun, using his own for persuasion.

                         You see, Tony. You make no sense. 
                         You start a war... Waste people... 
                         Money... You're like a kid, Tony. 
                         You're a bad boy.

               Tony is scared. The driver spots something in the rearview 

               EXT. LOOP - NIGHT

               The Cadillac rockets through the empty orange-lighted canyons 
               of the financial district, with Eddie in hot pursuit.

               EXT. UPPER WACKER - NIGHT

               Roaring north on Wacker past an astonished group in front of 
               the Civic Opera House, the Cadillac drops out of sight on 
               the down-ramp to Lower Wacker.

               EXT. LOWER WACKER - NIGHT

               This bi-level street is as different as night and day. The 
               lower level's eerie green lights make us feel like we're 
               under water. Iron girders and concrete pillars support the 
               street above.

               LOW WIDE ANGLE

               The Cadillac races through this vast man-made cavern, past 
               the sub-level loading docks and service entrances of 
               skyscrapers above. City work crews and all night commercial 
               deliveries dot both the upper and lower levels of the chase.

               INT. EDDIE'S CAR - NIGHT

               Eddie is gaining in the battered Chevy. The Cadillac rockets 
               up the next ramp to the street level.

               EXT. UPPER WACKER - NIGHT

               The Cadillac zooms up from below, crosses the intersection, 
               and immediately takes the next down-ramp. Eddie flies up 
               from below, briefly airborne, barreling after them into the 

               EXT. LOWER WACKER - NIGHT

               A block later the Cadillac heads topside again. Eddie takes 
               a gamble and goes straight ahead.

               At the next down-ramp, the Cadillac descends and Tony's boys 
               find themselves doing 70 knots side by side with Eddie in 
               the other lane.

               In the narrow concrete tunnel, the two cars battle each other 
               like bulls in a chute, each one trying to cut the other off, 
               bouncing from each other into the walls and back again.

               INT. CADILLAC - NIGHT

               The goon next to Luna is trying to get a shot off at Eddie.

                         This sonovabitch is crazy!

               Tony sees his chance and he lunges for the gun. In the 
               struggle, the gun goes off and drills Rocco, the driver, 
               through the side of the head.

               EXT. LOWER WACKER - NIGHT

               The Cadillac ROARS out of control, its dead driver's foot 
               pressing the accelerator to the floor. Scalese, in the front 
               seat, tries to grab the wheel.

               Eddie is all over the road trying to avoid them. The river 
               and the curve are ahead.

               Scalese's car hits the median at high speed, rolls, and slides 
               SCREAMING into a concrete pillar and EXPLODES.

               Eddie stands on the brakes as his car slides alongside the 
               flaming wreckage.

               INT. EDDIE'S CAR - NIGHT

               Eddie's car is on fire now, and the doors have been rammed 
               shut. He kicks the window out on the passenger side.

               EXT. LOWER WACKER - NIGHT

               Eddie runs for his life. The explosion knocks him to his 

               He gets up and moves away, looking back at Luna's and 
               Scalese's spectacular funeral pyre.

               EXT. LOWER WACKER - NIGHT

               The fire engines and police cars are arriving from every 

               With the flames still lighting his face, Eddie is making a 

                         You tell Luis I got Tony Luna for 
                         him. Get me a time and place.

               INT. WAREHOUSE - NIGHT

               Diana is in bad shape. She is tied up. Numb with terror she 
               listens, not comprehending, as the Comachos discuss their 
               plans for her in Spanish.

               Luis comes over to her, and with his knife begins cutting 
               off part of her clothes.

                         Your cop friend is smart. Too smart 
                         and he dies. Then I take care of you 

               EXT. LOWER WACKER - NIGHT

               Eddie's car is totally ablaze. He walks past the streaming 
               hoses and slips into a parked blue and white, it's mars lights 
               still flashing. He roars off.

               INT. GYM - NIGHT

               The giant door opens, and a lone blue and white pulls in and 

               The place is deserted except for the duty officer who sits 
               in his tiny office watching television with his half-naked 

               Eddie enters silently, glances into the duty office, and 
               heads to the other end of the large hall.

               In the background we see the practice apartment set, the 
               boxing ring, and several special task force undercover 
               vehicles seen before.

               INT. LOCKER ROOM - NIGHT

               Eddie opens his locker and takes out his sawed-off automatic 
               shotgun. He checks the action. He loads it. He fills a duffle 
               bag with ammo and drops in another gun. He closes the locker 
               and heads out.

               INT. GYM - NIGHT

               The duty officer is still occupied. Eddie eases past him and 
               checks the key-board at the desk. He finds what he's looking 
               for. He lifts a set of keys from the hook.

               EXT. GYM - NIGHT

               From inside, we hear the SOUND of a TRUCK STARTING.

               EXT. EXPRESSWAY - DAY

               This city garbage van, an immense blue semi-trailer, is moving 
               south on the Dan Ryan at incredible speed, pushing traffic 
               out of the way like a battleship slicing through Sunday 

               Eddie is at the wheel.

               EXT. WAREHOUSE - DAY

               Among the dockside ruins of the old facility, Luis carefully 
               checks his snipers and lookouts. Shouting in Spanish, he 
               directs them into position.

               From the distance we see a signal from the Comacho stationed 
               at the top of a huge grain elevator overlooking the Calumet 

               INT. GYM - DAY

               Kosalas enters. The place is in chaos. He joins the crowd 
               gathered in the center of the facility. Brennan and Cragie 
               are here. So is Music. Commander Kates has just arrived.

                         What the hell is goin on?

                         Cusack made off with a truckload of 

                              (shakes his head)
                         He's a fucking one man army now.

                         What'd I tell ya. The sonofabitch is 

               Kosalas wanders through the wreckage. He is stunned. He is 
               starting to wake up.

                         OK, everybody. No more games. Where's 

               The men all look at him silently.

               Kosalas turns on them.

                         I can't swallow this shit! Eddie 
                         Cusack's out there takin' on the 
                         world by himself. And you fuckin' 
                         heros are gonna sit on your goddamn 

               He is mad and loud.

                         Cool it kid.

                         Don't you fuckin' tell me to cool 
                         it. I won't cool it. I'm not going 
                         to fuckin' lie for you any more.
                              (to Kates)
                         I lied, Commander. He laid a gun on 
                         that kid. I saw the whole thing.

                         You little fuckin' bastard!

               Cragie jumps at Kosalas, but Kosalas is ready for him, and 
               braces Cragie against the wall.

               With one hand Kosalas slams Cragie again, and reaches down 
               with his free hand, lifting Cragie's pants leg and extracting 
               a drop-gun from it's concealed holster.

                         What's this for partner? Your next 
                         fuck up?

               Kates steps in and separates them.

                              (to the others)
                         Get someone in the air. We're gonna 
                         find Cusack.

               INT. WAREHOUSE - DAY

               Diana, now hanging from her wrists like a slab of beef, is 
               guarded by a couple of Luis' boys, eyeing her hungrily.

               Luis enters.

                         Take off the gag. I want them to 
                         hear her.

               EXT. WAREHOUSE - DAY

               Luis scans the daybreak sky. He and Efren take up positions. 
               Above them and around them, every line of fire is covered.

               EXT. GRAIN ELEVATOR - DAY

               From the lookout's POV atop the towering grain elevator, WE 
               SEE several garbage trucks moving in and out of an adjacent 

               One of them seems familiar to us.

               INT. TRUCK CAB - DAY

               Eddie's eyes search the harbour as he maneuvers slowly 
               alongside a rusting freighter. He stops and gets out.

               EXT. GRAIN ELEVATOR - DAY

               Eddie opens the rear of the truck and lowers a ramp.

                         Here we go partner.

               He picks up his gun and a duffle bag from the cab and heads 

               INT. WAREHOUSE - DAY

               The Comachos are ready and waiting. Luis walks through the 
               middle of the vast empty plant toward the front, checking on 
               his troops one last time.

               EXT. DOCK - DAY

               Against the grotesque shapes of the surrounding scrapyards, 
               Eddie moves quickly from one concealment to the next, crouched 
               low, advancing on the abandoned factory at the end of the 

               He lays down his duffle and pulls out a Halliburton case. He 
               opens it.

               EXT. GRAIN ELEVATOR - DAY

               From inside the garbage truck WE HEAR an ENGINE STARTING. It 
               REVS a couple of times. And from within the container 
               compartment of the truck emerges the Prowler. It clatters 
               down the ramp.

               EXT. GRAIN ELEVATOR - DAY

               The lookout spots the Prowler moving down the dock. He can't 
               believe his eyes.

               He sights on the machine and FIRES.

               And in the distance, the Prowler senses the insult and 
               immediately turns its camera eye up to him.

               The lookout FIRES again. Immediately, the turret swivels and 
               the twin MACHINEGUNS ROAR.

               It's a long way down.

               INT. WAREHOUSE - DAY

               The SOUND of MACHINEGUN FIRE from outside galvanizes the 
               Comachos. Luis runs through the long building toward the 
               front with half a dozen of his men, all SHOUTING.

               EXT. DOCK - DAY

               Eddies eyes watch the miniature monitor of the Prowler's 
               hand controller. On the monitor WE CAN SEE the Comachos 
               running out in the front of the factory from the camera on 
               top of the Prowler.

               Eddie gets up and moves toward the factory. He looks up at 
               several high broken windows.

               EXT. DOCK - DAY

               The Prowler is having a field day. It's electronic sensors 
               trace the source of every hostile shot and immediately return 
               a withering stream of hot lead that chews the surrounding 
               scenery -- and several Comachos -- to pieces.

               But Eddie has not figured out how to control the Prowler's 
               BULLHORN VOICE command system. It continues to BARK ORDERS 
               to the dead hoodlums in three languages.

               INT. WAREHOUSE - DAY

               Luis runs through the empty plant toward the office screaming 
               to Diana's guards.

                         Now! Do it now! Kill her!

               INT. WAREHOUSE - DAY

               Diana, tied to the chair, is momentarily alone as the guards 
               rush out to the floor of the factory to see what's happening.

               The two guards, their guns flying from their hands, are 
               hammered back into the room by Eddie who blasts through the 
               door after them.

               Diana is petrified.

               INT. SQUAD CAR - DAY

               Kosalas and Kates are in the same car. Kosalas is driving.

                                     DISPATCHER (V.O.)
                              (from radio)
                         ...Harbor Patrol reports gunfire and 
                         explosions in the vicinity of Calumet 

                         That's Cusack.

               Kosalas spins the wheel into a U-turn.

               INT. WAREHOUSE - DAY

               The "Prowler" rolls around the corner, its brutal turret 
               bristling with firepower. It is driving Luis and the other 
               stupefied Comachos further back into the building.

               Eddie guides his deadly partner with the hand controller.

               The Comachos dive for cover and spray the miniature tank 
               with AUTOMATIC FIRE. But they are no match. Two continuous 
               streams of hot lead chew up the place, splintering the loading 
               dock and the catwalk hiding places and disintegrating the 
               structure, churning the Comachos to hamburger.


               Eddie goes down and the Prowler hand controller falls to the 
               ground, shattered.

               The Prowler goes berserk, SPRAYING DEATH in a 360 degree 
               circle until all the ammo is gone.

               Then SILENCE.

               Eddie touches the blood on the side of his leg. It's not 

               It appears everyone is out of ammunition. But a few Comachos 
               are still hidden in the factory.

               Eddie is after them like a tiger. Victor, shoulder still 
               bandaged, never has a chance. He goes down, battered and 

               But Luis has crept up behind Eddie. He jumps over a steel 
               plate. He's going for Diana, a long knife in his hand.

               Eddie reaches for a reload. Puts it in his magnum. Aims, and 
               blows Luis away just as he reaches for Diana.

               INT. WAREHOUSE - DAY

               Across the littered battlefield, Eddie escorts Diana toward 
               the light streaming through the factory entrance. He takes 
               off his jacket and wraps it around Diana's shoulders.

               EXT. WAREHOUSE - DAY

               The pier is crawling with cops with more arriving every 

               A fire boat is extinguishing the blaze set by the Prowler's 
               incendiary ammunition.

               The bodies of the Comachos lying everywhere astound the 
               arriving "Home Team."

               Officer Kosalas screeches to a halt and jumps from his car. 
               Brennan and Music are running down the dock. Donato, a cast 
               on his leg, hobbles after them.

               EXT. WAREHOUSE - DAY

               Emergency vehicles are arriving, and more squad cars, paddy 
               wagons, and fire engines.

               Eddie walks by the cops toward an ambulance, now carrying 
               Diana. Kates calls out after him.

                         Hey, Cusack!

               Eddie stops, slowly turns around.

               There is a long pause.

                         I'm glad you don't follow orders.

               Eddie hands Diana over to the waiting medics, who put her in 
               the ambulance.

               We pull back further and further until we see the rest of 
               the Home Team. The ambulance, carrying Diana, pulls away 
               with it's lights flashing.

               Eddie walks down the pier alone.

                                         THE END

Code of Silence

Writers :   Michael Butler  Dennis Shryack  Mike Gray  John Mason
Genres :   Action  Drama

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