| HUNTER
ANY SECOND NOW
Contributing writers Charlotte Clay and John Thomas James (pen name for Roy Huggins), Stephanie Garman & Hollace White, Marianne Clarkson
(Webmaster's note: Make sure to check out an earlier draft of this script called, Can't Anybody Out There Help Me?! I promise you'll get a kick out of it.)
ACT ONE
FADE IN
1 CLOSE - POSTER
The poster is a very dignified announcement of the Monterey
Symphony Orchestra, which is playing a program of George
Gershwin. The featured pianist is Jennifer Hartman. The
date is June 17, 1979.
WIDEN TO
2 EXT. STREET - NIGHT
We are outside the Portland Concert Hall, at the personnel
and performers' entrance. People come out and hurry off.
One young woman, attractive, intelligent, glances at the
poster as she passes it. She is JENNIFER (JENNY) HARTMAN.
FLAGER (O.S.)
Jennifer Hartman?
Jenny turns, startled, and smiles at RALPH FLAGER, a tall,
sinewy man in his late thirties, with peculiar eyes that
reflect light but have none of their own. There is a
faraway quality to Flager's voice, as though he were
reciting instead of talking to another human being.
JENNY
Yes...
FLAGER
I saw your concert tonight.
JENNY
I hope you enjoyed it.
FLAGER
I saw you in Washington and
Denver...
JENNY
You must like music...
FLAGER
You're very beautiful.
Jenny, obviously finding Flager strange, but not wanting
to be rude, begins to back up a little.
JENNY
Thank you.
Jenny is backing away, as Flager comes forward.
FLAGER
I saw you and I heard you play,
but I didn't know what to do... and
then I realized... you're too
beautiful to live here...on this
earth...where everything around
you is ugly...and then I knew what
to do.
Jenny is beginning to panic, as she looks around for someone
to provide protection. The crowd is gone. There isn't
anyone. Suddenly, Flager takes out a knife. It flashes
and Jenny stares at it for a moment, then turns to run.
Flager catches her almost immediately and raises the knife.
As Jenny struggles, screaming, he puts his hand over her
mouth from behind and brings the knife down as we begin to
HEAR piano music and:
CUT TO:
INT. MOTION PICTURE STUDIO - SCORING STAGE - DAY
A color work print rolls on the screen as a full complement
of STUDIO MUSICIANS plays under the leadership of a
CONDUCTOR. At the piano is Jenny Hartman, older now and
more sophisticated looking. The Conductor cues Jenny's
piano solo. She begins it and almost immediately the
Conductor brings down his baton. Everyone stops playing.
CONDUCTOR
One more time folks.
After a beat the work print slows down and stops. The
screen goes black, then the picture starts up again in
reverse to the top of the cue and the screen goes black
again. All this while:
CONDUCTOR
(to string section)
Violins were late...I want you
in on beat three at 48. You came
in on beat one of 49.
CUT TO:
The various Musicians respond by nodding. The Conductor
looks over at the MIXER.
CONDUCTOR
Take it again, please.
MIXER'S VOICE
Okay. Let's go on a take.
The picture starts rolling again, coining up to the cue.
EDITOR'S VOICE
M-24. Take 3.
The click track starts again as:
CONDUCTOR
One...two...
The picture rolls and Jenny plays exceptionally well. The
cue ends, the last note fades away. As the picture slows
to a stop and is reset:
CONDUCTOR
How was it?
VOICE FROM BOOTH
Good for me.
CONDUCTOR
Thanks everybody...that's a wrap.
CUT TO:
INT. RECEPTION AREA - DAY
Musicians are coimg out through the scoring stage door,
ADLIBBING goodnights to each other and the RECEPTIONIST.
As Jenny comes out, the Receptionist hails her.
RECEPTIONIST
Miss Hartman? I've got a phone
call for you. He's been holding
for a while.
Jenny goes to her and takes the phone.
JENNY
Thanks...Probably Robert
Redford...he's getting to be such
a pest.
Jenny takes the receiver as the Receptionist laughs.
JENNY
Hello?
INTEERCUT WITH
EXT. PHONE BOOTH - DAY
Flager stands in the telephone booth.
FLAGER
Jennifer? I've come back...
Jenny, recognizing the voice, almost loses her legs for a
moment. Her face goes pale, the expression changing to
shock.
JENNY
Oh, my God... oh, my God.
FLAGER
You wouldn't let me do what I have
to do, Jennifer...
The surprised Receptionist looks, as Jenny is suddenly
angry, her voice rising.
JENNY
I'll fight this time...Are you
hearing me!? I'm going to fight!
Jenny slams the phone down and rushes out.
RECEPTIONIST
Are you okay?
Jenny never even hears her. She's out of there.
CUT TO:
INT. SQUAD ROOM - DAY
McCall is at her desk typing up a report. Jenny enters the
squadroom and asks a uniformed officer something we can't
hear and comes to McCall.
JENNY
Are you Sergeant McCall?
McCall doesn't look up.
MCCALL
Yeah.
JENNY
Could I talk to you for a minute?
MCCALL
Sure. What can I do for you?
JENNY
My name is Jennifer Hartman...
and if I don't get some help I'm
going to be one of your homicide
cases in the next day or so.
This gets McCall's attention. She looks up at Jenny, who
stands waiting for McCall's reaction.
MCCALL
Excuse me?
Jenny takes off her coat, rolls up the left sleeve of her
blouse and turns out her arm. There is a large,
vicious-looking scar there. McCall looks at it.
JENNY
That's a little bit of what he
did last time... there're eleven
other scars.
McCall has lost interest in her tires, etc., now.
MCCALL
I think you'd better sit down.
Jenny sits beside McCall's desk.
MCCALL
Tell me about it.
JENNY
Seven years ago, a man named Ralph
Flager told me I was too beautiful
to live. Then he pulled out a
knife and stabbed me twelve times.
I lived because a cab driver saw
what was happening, jumped out
of his cab and tackled Flager.
Flager completed his sentence and
he called me today to tell me he's
here and he's going to kill me.
MCCALL
And you're sure he really means
it?
JENNY
(nods)
He was up for parole twice. Both
times, he was refused parole
because he said he still intended
to kill me.
MCCALL
(it hurts to say
this, but it's
true)
If he's served his time, there's
nothing we can do until...
JENNY
(interrupting)
Until he kills me. My lawyer's
been through that drill with me:
a person can't be arrested for
making threats - even if he has
a record of violence and might
be insane.
MCCALL
And I'm sure he told you the laws
are interpreted to protect the
rights of everyone - even people
like Flager.
JENNY
He's told me, but I don't really
get it: what good are my rights
when someone like Flager comes
along - someone who's already
tried to kill me! - and no one
can stop him from trying again.
MCCALL
I know. But that's how it is.
He can say whatever he wants and
there's nothing the police can
do about it. Have you talked
with you lawyer about getting a
restraining order?
JENNY
He said they're useless in
situations like this. He advised
me to change my name and run,
disappear.
MCCALL
I hate to say this, but
considering what you've told me,
he's probably right.
JENNY
I won't run! Flager's the
criminal, not me! I've known for
seven years this day would come.
And now that its here, I've made
a decision. He's not taking any
more of my life. That's why I
came to you.
MCCALL
Me? Specifically?
JENNY
I read about you in the newspapers
last year when you were raped.
McCall doesn't enjoy the memory.
MCCALL
I see.
JENNY
Then you know.
MCCALL
Yes, I do...
McCall and Jenny stare at each other. They understand each
other silently and perfectly.
CUT TO:
7 INT. DEVANE'S OFFICE - NIGHT
Evening. Devane and McCall are in the midst of a heated
discussion
MCCALL
He's already cut her to pieces
once...and he's going to do it
again.
DEVANE
I don't have to tell you, McCall
- Departmental directive number
348 specifically forbids the
allocation of police personnel
to protect private citizens who
feel threatened, even when they
have good reason.
MCCALL
Just once, let's break a rule and
save a life! Flager's not gonna
wait, he'll try something soon.
If we're there, we've got him.
DEVANE
The answer's NO. I don't like
it, but that's it.
MCCALL
Directive 348 can't tell me what
to do when I'm off duty.
DEVANE
McCall, I don't want you going
off alone on some personal
crusade.
MCCALL
Don't worry Captain, I won't be
alone on this one.
Devane just looks at her, unhappy as hell about the
situation, but his hands are tied by that damned Directive
348.
CUT TO:
INT. MCCALL'S HOUSE - NIGHT
Hunter, McCall, and Jenny enter the house through the front
door. Jenny has one of her suitcases in hand and Hunter has
another. They put the suitcases down as McCall turns on
the lights in the living room. Jenny looks around at
McCall's place.
JENNY
This is really nice.
(turns to McCall)
I don't know how to thank you.
MCCALL
You don't have to. I invited
You, remember? Just make
yourself at home.
HUNTER
And when you open the
refrigerator, get ready to find
the world's largest collection
of TV dinners.
MCCALL
Notice the breaded veal cutlet.
It's an antique.
JENNY
I don't care what we have to
eat...I feel safe here.
McCall starts for the kitchen. Jenny and Hunter follow.
LI INT. KITCHEN - NIGHT
CLOSE ON the open freezer and PULL BACK. McCall peers
inside, lifts out a few slim boxes.
MCCALL
(to Jenny)
Turkey tettrazini, zucchini
lasagne, beef stroganoff...
JENNY
Anything...
MCCALL
I've got artichoke hearts and
brussel sprouts. What about it,
partner?
She starts rummaging, pulls out a box of frozen brussel
sprouts.
HUNTER
You don't have any fresh
vegetables?
MCCALL
Do I look like I live on a farm?
(beat)
You want it or not?
Hunter grins and takes the box, McCall starts opening boxes,
turning on the oven. As she does:
JENNY
I'll make a salad.
HUNTER
Good thinking.
MCCALL
Good luck.
Jenny opens the refrigerator and roots around in the
vegetable bin. She comes up with some meager offerings and
proceeds to make the salad as they talk. Hunter sits at
the table.
JENNY
I'll go shopping tomorrow.
MCCALL
You'll go to work and then
straight back here tomorrow.
We're going to trade cars. I'll
need your apartment keys, too.
Jenny is beginning to look a bit bewildered; this is all
news to her.
HUNTER
You're working at a movie studio,
right?
(off Jenny's nod)
See if they can come up with a
wig that matches your hair.
MCCALL
I'll leave the studio ahead of
you, in your car. He'll be
following me before you leave.
JENNY
(to McCall)
I can't let you do that! It's
too dangerous, the man's crazy!
HUNTER
The studio security people are
going to watch for Flager, we'll
know if he's following McCall.
JENNY
I can't believe you'd do this.
You don't even know me...
MCCALL
Yes I do.
On their exchanged looks, we:
CUT TO:
12 INT. SCORING STAGE - DAY
The scene is as before, with another work print reel rolling
while the Musicians play. Jenny is at the piano, a tote
bag next to her. The cue ends, the Conductor signals the
end of the music. As the picture slows to a stop:
CONDUCTOR
How was that?
VOICE FROM THE BOOTH
We have a problem...
CONDUCTOR
I'm coming in to hear it.
(to Musicians)
Let's take ten.
The other Musicians relax, but Jenny stays at her piano,
looking very tense. As the Conductor goes back to the
booth, the stage door opens and McCall is shown in by the
Receptionist. McCall heads over and as she sees her, Jenny
smiles with relief.
MCCALL
Hi. Having a good day?
JENNY
I feel like a Christmas goose on
December 24th.
MCCALL
Relax. We'll get him soon.
(indicates tote)
Is that for me?
Jenny pulls out the wig, looking at it.
JENNY
Yes. I think it's a pretty good
match.
(beat)
Please...be careful.
MCCALL
I will. By the way, there'll be
a man in a tan Dodge following
you till you get to my place.
He'll wait till you're safely
inside. His name's Bernie
Terwilliger.
Jenny nods. The conductor comes out of the booth and
approaches the podium.
MCCALL
Talk to you later.
McCall grabs the tote and quickly starts to the exit.
13 EXT. MOTION PICTURE STUDIO - DAY
McCall, wearing the wig, drives out of the studio gate in
Jenny's car. A rental car is parked on the street nearby,
a man at the wheel.
14 EXT. STREET - DAY
As McCall drives by, the rental car waits a beat and then
falls in behind her.
15 INT. RENTAL CAR - CONTINUOUS
Ralph Flager is at the wheel. And he believes he's got his
prey.
16 INT. JENNY'S CAR - DAY
CLOSE ON
rearview mirror which reflects Flager's car following
McCall.
17 EXT. STREET - CONTINUOUS
Flager's car changes lanes. He's maneuvering to get a
better look at McCall without coming too close. A traffic
light turns red as the car ahead of him makes a right turn,
and Flager is caught a lane over from McCall. If he drives
all the way up to the crosswalk, he'll be directly next to
her. He stops half a car-length back.
18 EXT. JENNY'S APARTMENT BUILING - DAY
McCall pulls up to the garage, inserts a key in the
automatic gate opener, and as it works, she drives into the
underground garage. Flager's car glides to a stop on the
street.
19 INT. JENNY'S APARTMENT - DAY
Hunter is at a window in the living room looking down into
the street as the door opens and McCall comes in.
MCCALL
He followed me here.
HUNTER
I know.
20 EXT. JENNY'S APARTMENT BUILDING - NIGHT
CUT TO:
A car we haven't seen before, with two occupants, comes down
the street and turns into the driveway. The driver inserts
a key in the automatic gate opener, and as it works,
proceeds into the garage. As the car disappears from view,
a shadowy figure appears from the bushes and slips into the
garage just before the gate closes.
21 INT. JENNY'S BEDROOM - NIGHT
McCall and Hunter are seated in the dark room, but the
curtains are parted and we can see them clearly in the light
that shines from the moon and street lights through the
window. They are seated on either side of the closed
bedroom door. McCall is not wearing the wig, which lies
(probably unseen) on a dresser.
22 INT. GARAGE - NIGHT
The shadowy figure makes his way through the parked cars,
passing the one (now empty) that we saw entering earlier.
The figure approaches the locked stairwell door, pulls a
key ring from his pocket, selects a passkey, and uses it.
He opens the door and quickly steps inside the stairwell.
23 INT. STAIRWELL - NIGHT
The shadowy figure glides up the stairs to the third-floor
landing, pulls out a set of picks and begins working on the
door lock. He opens it, looks down the hallway in both
directions, and starts down the hall.
24 INT. HALLWAY - OUTSIDE JENNY'S DOOR - NIGHT
We're CLOSE on a pair of hands QUIETLY working the lock.
25 INT. JENNY'S BEDROOM - NIGHT
Hunter and McCall seated as before, waiting. We HEAR a
sound.
HUNTER
(whispers)
He's right on time.
MCCALL
(whispers)
Yeah.
Hunter and McCall stand, getting themselves into position.
INT. JENNY'S LIVINGROOM - NIGHT
The door opens, a pinpoint flashlight bean searches the
room. The shadowy figure enters.
INT. JENNY'S BEDROOM - NIGHT
Hunter and McCall are on either side of the door, guns
drawn. A long beat passes, then the door slowly opens and
the pinpoint flashlight beam precedes the shadowy figure
into the room.
HUNTER AND MCCALL
Hunter grabs the intruder and slams him against the wall.
McCall snaps on a room light with one hand, a gun pointed
at the man in the other. Hunter spins the guy around to
find a very shocked KENNY DUNSTAN who stands stock still,
mouth gaping. He's tall, wormy looking, no gun in evidence.
30 OMITTED
HUNTER
Who the hell are you?
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN:
INT. JENNY'S LIVING ROOM - NIGHT
Dunstan, now handcuffed, is looking helpless and indignant.
DUNSTAN
I been had! I been set up!
MCCALL
What're you doing here?
DUNSTAN
This is entrapment! I know the
law!
McCall keeps him covered as Hunter pats him down. He finds
no wallet, no I.D.
HUNTER
Who are you and what're you doing
here?
DUNSTAN
There wasn't supposed to be
anybody here.
HUNTER
(handcuffing him)
Who told you that? A short, fat
guy?
DUNSTAN
No. A creepy looking guy, about
my height, with glasses and light
hair.
HUNTER
That's him.
DUNSTAN
What is he? A cop, too?
HUNTER
Nope. Not a cop. You remember
his name?
DUNSTAN
Are you talkin' deal?
HUNTER
Could be.
DUNSTAN
Said his name was Henshaw.
HUNTER
It's Flager. What's yours?
DUNSTAN
Kenny Dunstan.
(waits for
response, gets
none)
You've heard of me, right?
HUNTER
What did Flager hire you to do?
DUNSTAN
To grab a picture off the bedside
table and bring it to him.
Breaking and entering is my
specialty.
(a beat)
You never heard of me? Kenny
Dunstan? I'm a legend.
Hunter and McCall are not impressed.
HUNTER
Do you know who lives here?
DUNSTAN
I don't know, I don't wanna
know... What's goin' on? I smell
heavy stuff here...
MCCALL
A very pretty young lady lives
here, and Ralph Flager had every
reason to expect her to be here.
DUNSTAN
I don't get it.
MCCALL
You weren't supposed to. Flager
wants to know if she's being
guarded. He didn't want a
picture. He just wanted
information.
DUNSTAN
Nobody sets up Kenny Dunstan.
He ain't gonna get nothin' outta
me!
HUNTER
Yes he is, Kenny.
DUNSTAN
You want me to tell him I broke
in here and found two cops in the
bedroom?
HUNTER
No, you'll tell him what we tell
you to tell him.
CUT TO:
EXT. PARKING LOT - NIGHT
Ralph Flager sits at the wheel of his rental car, tapping
his fingers and waiting. He's very much in control of
himself. A few beats pass and Kenny Dunstan drives into
the lot and pulls up next to Flager's car. Dunstan gets
out of his car and slams the door angrily. He starts for
Flager's car.
DUNSTAN
(yells)
You set me up, jerk! You set me
up!
Flager gets out of his car, a tall and dangerous-looking
man.
FLAGER
(he even sounds
crazy)
Something went wrong?
DUNSTAN
You told me the place'd be empty.
FIAGER
But it wasn't...?
DUNSTAN
(vehement)
Sure it was.
(beat)
Except for this good-looking
brunette in the bed!
(yells)
I almost had a heart attack right
there! I don't need this kind
of aggravation...I got a blood
pressure problem.
FIAGER
Did she hear you? Did you wake
her up?
DUNSTAN
I don't make noise. You're
talking to Kenny Dunstan!
(nasty)
And you still owe me.
FLAGER
I'll pay you.
DUNSTAN
Now, right?
Flager reaches for his wallet, starts counting out bills.
FLAGER
And you will forget we ever met.
Do you understand?
DUNSTAN
Mr. Henshaw, that'll be the only
pleasure I get out of this.
Flager hands over the money. As Dunstan takes it, Hunter
and McCall step out of the shadows with guns drawn.
HUNTER
(to Flager)
You're under arrest.
DUNSTAN starts to walk toward his car.
MCCALL
Stay where you are, Kenny, we're
not through with you yet.
As Hunter steps over to Flager:
A mad look in his wild eyes, he lowers his head and charges
Hunter, ignoring the gun in Hunter's hand. It takes Hunter
a good ten or fifteen seconds to subdue Flager and cuff him,
and he isn't too delicate about it.
33 MCCALL
has been kept busy by Dunstan, who has decided to take off
when Flager rushes Hunter, but McCall trips him up and he
lands on his face.
34 THE SCENE
After Hunter has Flager cuffed and subdued, McCall pulls
DUNSTAN to his feet and handcuffs him.
DUNSTAN
Hey! We made a deal!
MCCALL
You're a witness. We're taking
you in and booking you.
(beat)
You'll make bail, but you'll have
a real good reason to show up when
we need you to testify.
During this, Hunter has, not too gently, patted Flager down,
disappointed that he has found nothing incriminating, like
a gun, or a knife.
FLAGER
Testify? He is a witness to
nothing!
MCCALL
Yeah? You hired him to break into
Jenny Hartman's apartment, and
we're gonna nail you for
conspiracy to break and enter,
which'll put you back in the slam
for 5 more years.
Flager gives DUNSTAN a lethal look.
DUNSTAN
(shrugs)
She wasn't there. They were.
FIAGER
(looking at no one)
I shouldn't have depended on
anyone else...Next time, I won't.
HUNTER
(shows Flager
toward police car)
There won't be a next time, creep!
McCall gets Dunstan started in the same direction.
FLAGER
You can't stop me. No one can.
CUT TO:
INT. PAROLE DEPARTMENT - DAY
ON a door with a sign reading:
"DEPARTMENT OF CORRECTIONS -- PAROLE OFFICE".
DUNSTAN'S VOICE
Hey, it's no big deal. Nothin'
to get upset about.
INT. PAROLE OFFICE - DAY
Dunstan sits next to the desk of his parole officer, a
beefy man in his mid-40's named HANK MARGOLIS. From his
tone, we can tell Dunstan is trying to talk his way out of
a fast one and Margolis is not buying one word of it.
MARGOLIS
Oh, yeah?
(re: report on his
desk)
When the D.A. tosses a report
at me saying one of my people's
been busted and is out on bail,
I tend to get pretty damned
concerned.
DUNSTAN
I thought the thing was just a
gag, a joke!
MARGOLIS
Okay, tell me the joke.
DUNSTAN
This guy gets a hold of me and
says he needs a favor. Says he
wants a picture from his
ex-girlfriend's place - for
sentimental reasons.
MARGOLIS
And you believed him?
DUNSTAN
He said 'grab the picture and
run'. What's not to believe?
MARGOLIS
(scans report)
Says here his name's Ralph
Flager, a convicted felon.
Didn't you read the conditions
of your parole? Item 7: You will
not consort with ex-convicts.
DUNSTAN
If I'd known that, I'd have run
from the guy like he was the
plague.
MARGOLIS
Sure you would've. What happened
next?
DUNSTAN
Well, I get into the apartment,
but instead of finding any
picture, there's these two cops
waiting for me, this creep Flager
set me up to take a fall for him
I guess.
MARGOLIS
And he did one hell of a job,
'cause I gotta pull your parole.
You' re goin' back to the slam.
DUNSTAN
Aw, for God's sake, Hank, gimme
a break!
MARGOLIS
He paid you to do this little
B and E job, didn't he?
DUNSTAN
Well, yeah, but...
MARGOLIS
You guys never learn, do you?
DUNSTAN
Hank, you know I been tryin' to
do my parole time straight. My
God, the guy told me he wanted
a picture of his girl!
MARGOLIS
And you go right ahead and break
into the girl's apartment.
Maybe you're just stupid, Kenny,
but you're going back to the
block.
Margolis picks up his telephone receiver, punches in some
numbers. Dunstan's mind is turning at high speed, knowing
he's got to escape.
MARGOLIS
(into phone)
This is Margolis. Send an
officer to my office. I have
a parolee I...
Dunstan leaps to his feet, grabs the edge of
desk, turns it over on the startled probation
knocking him to the floor.
Dunstan streaks to the door, throws it open and runs out
into the hall. Margolis scrambles to his feet and races
out the open doorway in hot pursuit of Dunstan.
34C OMITTED
CUT TO:
34D INT. COURTROOM - DAY
A preliminary hearing. The JUDGE, Alvin Gross, sits behind
the bench about to give his trial recommendation to a
DEPENDENT, a DEFENSE ATTORNEY, and a PROSECUTOR.
JUDGE
The defendant is ordered to stand
trial on two counts of grand
theft auto. The hearing date
is set for the 15th of next
month.
34E ANGLE - GALLERY
Where we find Hunter, McCall, and Jenny. ALAN
AHLBERG, the District Attorney, enters the court, walks
quickly to McCall, and whispers something in her ear. McCall
reacts to the news which is not good.
MCCALL
(agitated)
I don't understand! How did it
happen?
AHLBERG
I don't know. I just heard about
it.
Jenny catches the tension in their voices, an expression
of growing anxiety on her face.
34F THE SCENE
The BAILIFF reads from the court docket as the participants
in the previous case leave the courtroom.
BAILIFF
Next case, the People versus
Flager.
Ahlberg stands, leaves the gallery and moves to the
prosecution table. An OFFICER OF THE COURT brings Flager
from a holding area to the defense table where they meet
Flager's ATTORNEY.
JUDGE
Are the people ready, Mr.
Ahlberg?
Ahlberg takes a step toward the bench.
AHLBERG
Your Honor, we were ready to
present at this tine, but we have
just been notified that our key
witness has left this
jurisdiction.
JUDGE
Is this witness necessary to your
case, Mr. Ahlberq?
AHLBERG
He's our only witness, you Honor.
ON JENNY
Confusion and fear on her face.
JUDGE
Do you have any idea where this
witness is?
AHLBERG
(commiserable)
No, your Honor. The witness fled
and forfeited his bail.
JUDGE
(disgusted)
I have no choice but to suggest
the District Attorney refile this
case when the State's witness is
returned to custody.
(beat)
I hereby order that the defendant,
Ralph Flager, be released.
(to Bailiff)
Next case.
ON FLAGER
He turns and looks directly at Jenny out of mindless, blank
eyes.
REVERSE ANGLE
Jenny stares at Flager. This can't be happening, but Jenny
doesn't look frightened, she looks fighting mad.
THE SCENE
The bailiff approaches Flager to escort him from the
courtroom. But before he reaches him, Flager starts moving
toward Jenny. Hunter jumps up and moves to Flager, stopping
him cold.
HUNTER
Don't go near her. Don't even
think about it.
FLAGER
You can't stop me. Nobody can
stop me.
Flager looks at Jenny again. She is on her feet now.
FLAGER
There's nothing anyone can
do...What will be will be.
The bailiff, with Hunter's firm assistance, hustles Flager
out of the room as we
CUT TO:
47 INT. COURTHOUSE - CORRIDOR - DAY
The hallway has several people milling around waiting for
court appearances, etc. Jenny walks fast and Hunter and
McCall trot alongside her.
JENNY
You heard him! He's totally
insane and all I can do is sit
and wait till he finds me again!
Jenny is angry and frustrated. McCall puts an arm around
her.
HUNTER
He's not gonna get near you again,
Jenny. We're gonna get him.
MCCALL
Go back to my place. It'll take
a while to do the paperwork
before they release him.
JENNY
I can't stay with you forever.
MCCALL
I'll be home for dinner. Chinese
okay?
Jenny attempts a smile.
JENNY
Fine. Thanks. I'll see you
later.
Hunter and McCall watch Jenny make her way down the hallway.
MCCALL
(bitter)
We've got to stop him, Hunter,
no matter what it takes! We
can't--
She is interrupted by:
AHLBERG
(approaching them)
Where's Miss Hartman?
HUNTER
In a safe place, we hope.
AHLBERG
I'm sorry about the way this
turned out.
HUNTER
You mean the way the system seems
to work better for criminals than
it does for their victims?
AHLBERG
Yeah, I guess that's one way to
put it.
Hunter and McCall walk away leaving Ahlberg standing there.
48 INT. MCCALL'S HOUSE - NIGHT
McCall and Jenny are at the coffee table. The table is
filled with Chinese take-out cartons. While their plates
are piled high, neither is doing more than picking at the
food.
JENNY
The worst thing was I didn't
Have anybody to talk to after
Flager tried to kill me. My
parents were determined not to
talk about it at all. They talked
about cheerful things until I
thought I'd scream...
MCCALL
Just put it out of your mind and
get on with your life...ever get
that one?
JENNY
About a thousand times. The
problem is it's not in your
mind...it's deeper than that.
MCCALL
Hunter was my best friend...he
slept on the couch, he was always
there and he let me talk...he let
me be depressed... I really
appreciated that...the only thing
was he kept trying to
understand...and he couldn't.
JENNY
It's difficult for a man to
understand... it isn't just being
hurt...it's being helpless...and
violated...and God knows what
more...
MCCALL
I don't think I ever really
thanked him as much as
I should have, as much as I wanted
to.
The two women fall silent for a few moments.
JENNY
Dee Dee?
MCCALL
Yeah?
JENNY
Do you have rituals? Do things
you didn't do before?
McCall looks at Jenny for a moment.
MCCALL
(nods)
But I never admitted it to
anybody.
JENNY
Me neither...when I have to go
down a long, dark hall, I wait
for somebody else to walk
with...sometimes I wait for five
or ten minutes...I pretend I'm
looking for something in my purse
so people won't think I'm weird.
MCCALL
For two months after I was raped
I took three baths a day.
JENNY
For years I couldn't use a sharp
knife. I had to cut steak with
a butter knife.
Jenny laughs.
JENNY
(continuing)
On one of my concert trips I punched
out a guy on the street...He came up
behind me and touched my shoulder
and I let go with a left hook. There's
a little man in Pittsburgh who'll
always remember me.
McCall and Jenny laugh.
JENNY
He was trying to find a
restroom.
MCCALL
I'll tell you something worse...I
shot a coat.
McCall and Jenny are laughing hard now.
JENNY
A coat?
MCCALL
In the dark I thought it was a
man in my apartment. That coat'll
never try anything again...
Jenny and McCall are laughing harder now.
JENNY
It's a little less awful when
you're suffering with a pal, huh?
MCCALL
Yeah, nothing heals like a good
laugh. I have a theory. It's
your sense of humor that gets you
through.
JENNY
My personal weapon. At first I
was depressed...then I got madder
than hell...then I started
laughing a lot...it feels better.
MCCALL
Anger eats you up.
JENNY
So the bad guy wins again.
MCCALL
Down with the bad guys!
McCall takes her coke, holds it up in a toast. Jenny does
the same.
JENNY
Up with the tough gals!
MCCALL
I'll drink to that.
On their looks,
CUT TO:
49 INT. SCORING STAGE - DAY
The musicians are starting to come in for the day's work.
We HEAR a few INSTRUMENTS TUNING UP. Jenny is at the
doorway talking to a MAN and a WOMAN, each of whom is
carrying an instrument case.
MAN
I'm sorry, Jen. Tough break.
WOMAN
If there's anything I can do to
help...
JENNY
Thanks. I'm okay.
All drift into the room as a black man, BRAD WAGNER, comes
in. He is wearing a warm-up suit. He spots Jenny and goes
over to her.
BRAD
Miss Hartman?
JENNY
(on her guard)
Yes?
BRAD
I'm Brad Wagner from Metro
homicide.
Jenny is extremely nervous...doesn't believe this for a
minute.
JENNY
Yes?
BRAD
I'm off duty today...so I thought
I'd just hang out here and escort
you home this evening.
JENNY
(gently)
How do I know you're who you say
you are?
Brad reaches in his pocket and produces his badge. He shows
it to Jenny.
JENNY
(wary)
I've got police protection now?
BRAD
No, they haven't thrown out
directive 348 yet. I'm here
compliments of Hunter and McCall.
Jenny is still hesitant.
BRAD
(continuing)
Listen...Why don't you call
Sergeant McCall at the station?
Her number's -
JENNY
That's okay. I'm sorry. It's
just that my nerves are shot.
BRAD
I understand. We're glad you're
on guard. I'll be right
outside if you need me...
JENNY
No, stay. Enjoy the music.
BRAD
Yeah? Could I?
JENNY
Sure...have a seat...save my life.
Delighted, Brad sits down, grinning, as Jenny goes to the
piano and sits down.
50 INT. DEVANE'S OFFICE - DAY
McCall and Hunter. Devane is behind his desk.
DEVANE
I admire what you're doing, but
you're half asleep, right?
MCCALL
No, sir.
HUNTER
Wide awake, Charlie.
DEVANE
You're going to have to find some
way to do whatever it is you're
doing without coining in here
dragging your butts. This
department is paying you to do
a job. Correction. The citizens
of this city are paying you to
do a job. And I expect it to get
done. Understood?
HUNTER/MCCALL
Understood. Absolutely.
51 INT. SQUAD ROOM - DAY
Hunter and McCall come out of Devane's office, dragging.
HUNTER
Go home. You look like hell.
MCCALL
You don't look like a spring
morning yourself.
HUNTER
How's Jenny holding up?
MCCALL
Like a trooper. Better than me...
HUNTER
Let's find Kenny Dunstan so he
can help us put Flager away, then
we can all get some sleep.
52 EXT. SUPERMARKET PARKING LOT - NIGHT
McCall is loading the front seat of her car with grocery
sacks.
53 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
Jenny sits, reading a magazine. She has all the lights
on and she's nervous.
54 EXT. MCCALL'S STREET - NIGHT
Ralph Flager is sitting in a nondescript car, lights out,
eyes on McCall's place.
55 EXT. STREET - NIGHT
Traffic moves along and we pick up McCall's car.
56 INT. MCCALL'S CAR - NIGHT
She is HUMMING along with the radio. She suddenly stops
short for traffic.
57 ANGLE ON PASSENGER SEAT
Where her grocery bags have fallen over. She straightens
them.
58 BACK TO SCENE
MCCALL
Damn.
59 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
Jenny sees a car light pass over the window. She goes to
the window, looking out. It's not McCall. She looks around
her and begins checking locks on doors and windows.
60 EXT. MCCALL'S STREET - NIGHT
Ralph Flager, dressed all in dark clothes quietly gets out
of his car and hurries across the street toward McCall's
house as we
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN:
61 EXT. STREET - NIGHT
Ralph Flager is prowling around. He goes to the rear door
and carefully tries it. It's locked.
62 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
Jenny has heard a sound. She walks to the front door,
terrified.
JENNY
Dee Dee?
Jenny looks carefully out of the window, but no one is
there.
63 EXT. MCCALL'S HOUSE - BACK BEDROOM - NIGHT
Flager stealthily walks along the side of the house. He
gets to the bedroom window and stops. He takes a glass
cutter from his pocket and starts to use it on the window
near the lock. (NOTE: Flager wears black leather gloves.)
64 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
Jenny walks quietly into the room, coming from the front
door. She stops, stands stalk still, listens intently.
65 INT. MCCALL'S HOUSE - BACK BEDROOM - NIGHT
Flager has cut a circle in the window pane with his glass
cutter. He uses his fist and lightly raps the circle with
his knuckles. The glass circle pops out and lands with a
MUFFLED THUMP to the carpeted room inside.
66 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
Jenny cannot be sure if she's heard something or not. For
a moment she is about to pass off the sound as nothing until
she hears another UNIDENTIFIABLE NOISE. She looks around
the room for a weapon and spots a twelve inch brass
candlestick holder on a side table. She goes over, picks
it up, removes the candle, and takes the holder in hand
feeling the heft of it. It makes a perfect and potentially
lethal club. Another MUTED NOISE from the bedroom. Jenny
crosses to the hallway.
67 EXT. RESIDENTIAL STREET - MCCALL'S NEIGHBORHOOD - NIGHT
McCall's car drives by.
68 INT. MCCALL'S CAR - NIGHT
McCall is at the wheel, RADIO on, less than a block from
her house.
69 INT. MCCALL'S HOUSE - HALLWAY - NIGHT
Jenny moves silently into the hallway, the brass
candleholder raised. She goes to the bedroom doorway,
pokes her head around the corner, looks into the darkened
room. She reaches across the doorway, feels for the light
switch, flicks it on. A nightstand lamp illuminates the
room. Jenny looks inside.
70 JENNY'S POV - THE BEDROOM
PANNING the room from Jenny's position in the hallway. From
this angle we can only SEE part of the room. There's no
sign of an intruder until CAMERA stops on the open bedroom
window.
71 BACK TO JENNY
who has spotted the open window and quickly reacts by
recoiling back from the bedroom. Simultaneously we SEE:
72 FLAGER
as he springs into the bedroom doorway, knife raised. Jenny
sidesteps just as Flager lunges, his knife barely missing
her. Jenny wallops Flager with the brass candleholder,
catching him across a raised forearm. The blow has no
effect on him whatsoever. He grabs for her and Jenny dodges
away, running into the bedroom.
73 THE BEDROOM
Jenny swings the brass candleholder like a broadsword,
keeping Flager at bay, fighting like a tigress. Although
Jenny does everything she can to fight off her attacker,
Flager relentlessly moves in on her. Jenny takes a swipe
at Flager with the candleholder, hits his knife hand,
knocking the weapon to the floor. Jenny kicks the knife
under the bed and out of Flager's immediate reach. Jenny
backs up as Flager moves in on her, forcing her further into
the room. She knocks into a bedstand, tipping the only
light on in the room. The lamp crashes to the floor,
plunging the room into semi-darkness.
74 EXT. MCCALL'S HOUSE - DRIVEWAY - NIGHT
McCall's car comes to a halt and the headlights blink off.
She opens the door, picks up her purse and the bag of
groceries, and steps out. McCall hears a CRASHING SOUND
coning from her house. She instantly drops the groceries,
runs to her front door.
75 INT. MCCALL'S HOUSE - BEDDROOM - NIGHT
Jenny is backed into a corner, fighting for her life. She
swings the brass candleholder at Flager, hits him on the
shoulder. Flager grabs her arm, twists the candleholder
from her hand, raises it and strikes Jenny on the head.
76 EXT. MCCALL'S HOUSE - FRONT DOOR - NIGHT
McCall has the key in the lock and is twisting it. The lock
opens, McCall pulls her gun from her purse. She throws the
door open.
77 INT. MCCALL'S HOUSE - FRONT DOOR - CONTINUOUS
The door BANGS open and McCall rushes in, gun up, ready for
action. She throws her purse aside, quickly looks around.
78 INT. MCCALL'S HOUSE - BEDROOM - NIGHT
Flager is reaching under the bed, trying to find the knife.
He reacts to the sound of the door, knowing somebody else
has entered the house. Flager darts to the window, bumping
into a chair and knocking it over.
79 INT. MCCALL'S HOUSE - LIVING ROOM - NIGHT
McCall responds to the sound of Flager escaping. She
hurries to the hallway, gun in front of her, headed for the
bedroom.
80 EXT. MCCALL'S HOUSE - BEDROOM WINDOW - NIGHT
Flager jumps out of the window and runs off toward the back
of the house. McCall appears in the bedroom window, raises
her gun to fire at the fleeing attacker.
81 MCCALL'S POV - FLAGER
as he runs off and disappears into the dark. From this
angle and from the fleeting glance we get of him, it is
impossible to identify the man as Flager.
82 ON MCCALL
lowering her gun, her target now hidden by the night. She
has the choice, to go after Flager, who has vanished, or
help Jenny. McCall ducks back into her house.
83 INT. MCCALL'S HOUSE - BEDROOM - NIGHT
McCall moves to the dresser, turns on a lamp, looks around
the room, and reacts to the sight of Jenny lying unconscious
on the floor. McCall rushes over to her.
84 ANGLE - MCCALL
checks Jenny's pulse. There's nothing McCall can do. She
reaches for a telephone on a nearby nightstand, punches in
"911".
MCCALL
(into phone)
This is a police emergency! I
need an ambulance at 18534 Mesden
Drive.
85 INT. HOSPITAL ROOM - DAY
CLOSE ON DR. JENSEN, a strong-looking woman in her fifties.
DR. SPINELL
She has a severe cranial fracture.
If she regains consciousness at
all it won't be for at least
forty-eight to seventy-two hours.
PULL BACK to see Hunter and McCall standing over Jenny,
lying in bed. She is not conscious. McCall bends down to
Jenny's ear as Hunter confers with Jensen.
MCCALL
(whispering)
Fight, Jenny. Keep fighting...
McCall stands upright as a UNIFORMED OFFICER comes in. He
sits down in a corner as the others leave the room.
HUNTER
Take care of her.
86 INT. HOSPITAL CORRIDOR - DAY
As Hunter and McCall walk toward the exit.
HUNTER
Want to stop for some coffee?
McCall shakes her head.
HUNTER
You know, it wasn't your fault.
MCCALL
I know.
HUNTER
You sure of that?
MCCALL
(weary)
Yeah. But I still feel guilty.
HUNTER
I know.
87 INT. DEVANE'S OFFICE - DAY
Devane and Hunter are listening to McCall. The knife Flager
tried to use on Jenny is in a plastic evidence bag. Devane
looks it over.
MCCALL
If I'd gotten there one minute
later, he would've butchered her
with that thing.
DEVANE
I understand how you feel. But
unless you can positively I.D.
Flager for us... or get some
prints...
HUNTER
(Short)
There aren't any prints,
MCCALL
Captain, it's the same M.O., the
same kind of weapon, the same
victim!
DEVANE
McCall, you can buy this kind of
knife in any sporting goods store.
Now, did you see his face or
didn't you?
MCCALL
I... I didn't...
Devane shrugs; no I.D., no case.
MCCALL
(frustrated)
So that's it?
DEVANE
Unless you tell me now that you
can I.D. Ralph Flager at the
scene, that's it.
McCall looks at Devane and then at Hunter. There is a
moment when it appears that she is going to lie, and that
the two men wouldn't mind if she did.
MCCALL
(quietly)
I can't do that.
CUT TO:
88 INT. SQUAD ROOM - DAY
Hunter and McCall sit at their desks deep in thought. Both
are troubled, subdued. After a while:
HUNTER
You thinking what I'm thinking?
MCCALL
Probably.
HUNTER
We both had a shot at him and we
didn't take it.
MCCALL
When did you have a shot at him?
HUNTER
The night Kenny Dunstan led us
to him. When Flager resisted
arrest I could have shot him.
MCCALL
(nods)
But Rick Hunter's a well-trained
cop, so he didn't.
HUNTER
And you wouldn't I.D. Flager
because you didn't actually see
him.
(shakes his head)
You figure we've joined the
system?
MCCALL
(glumly)
Hunter, we are the system.
She looks up to see one of the UNIFORMED OFFICERS
approaching her. He has a large envelope in his hand.
OFFICER
McCall... delivery for you... came
in a little while ago...
89 ON MCCALL
As she looks at the envelope with her name on it. With an
air of faint curiosity she opens it. There is nothing but
a plain card.
90 THE CARD
Inside, it says in crude red lettering:
"You Are Next."
91 BACK TO SCENE
As soon as McCall sees the card, she drops it on her desk.
MCCALL
Come here. Take a look at this.
CUT TO:
91A INT. DIVISION - DAY
FOLLOW as Hunter, McCall, and Devane hurriedly walk down a
flight of stairs and continue moving down a corridor at a
brisk pace. The hallway is bustling with division
personnel, prisoners in custody, victims of various crimes,
criminal lawyers and representatives from the D.A.'s Office.
In Devane's hand is the card McCall received. The card and
envelope are in a plastic evidence bag.
DEVANE
The guy may be crazy but he isn't
stupid - prints all over the card
and the envelope, but none of them
Flager's.
(to Hunter)
Any developments on Kenny Dunstan?
HUNTER
Every department in this division
is looking for him.
DEVANE
You check with your friend Sporty
James?
MCCALL
(to Hunter)
Am I hearing this? Did he ask
if we've checked with Sporty?
DEVANE
The guy's after you now, McCall,
I'm willing to try anything. If
we can collar Dunstan we can put
Flager away for three-to-five on
the breaking and entering
conspiracy, and that's better than
nothing, isn't it?
HUNTER
I'll talk to Sporty.
DEVANE
Meanwhile, don't let McCall out
of your sight.
(to McCall)
I know how much you want Flager,
but don't take chances and don't
get out of line, understand?
MCCALL
I'm not going to forget I'm a cop,
if that's what you mean...
HUNTER
I'm staying at McCall's
place...till this is over.
MCCALL
Oh yeah?
HUNTER
Yeah.
DEVANE
McCall, didn't anyone ever tell
you not to look a gift horse in
the mouth?
CUT TO:
93 INT. MCCALL'S LIVING ROOM - NIGHT
Hunter and McCall are unpacking two large parachute bags.
McCall boggles as Hunter pulls out wheat germ, bottled
water, granola, fruit, etc.
MCCALL
You sure you brought everything
you need?
HUNTER
I'm only expecting a short stay.
McCall gives Hunter a look and flops down on the couch,
exhausted. She puts her feet up, relaxes.
MCCALL
I have food here, you know...
HUNTER
What you have here is not food.
MCCALL
I feel an attack of deja vu coming
on.
HUNTER
Roll with it.
MCCALL
Those times you slept over last
year... after Mariano raped me...
HUNTER
You didn't have any food then,
either.
MCCALL
Did I ever tell you how much it
meant? You being here?
HUNTER
Probably.
MCCALL
Well... I'm saying it
again...Thanks, partner.
(laid back on that
couch)
I'm so tired... it'll be good to
sleep.
McCall is settling in, getting sleepy. Hunter pulls out
a few more things from his bag.
HUNTER
Fruit, juices, wheat toast...
sound okay for breakfast? McCall?
Hunter looks over and sees that McCall is asleep. He picks
up an afghan and lays it over her.
HUNTER
Life of the party...
CUT TO:
94
thru OMITTED
95
96 EXT. SPORTY JAMES' GRANDFATHER'S HOUSE - FRONT PORCH - DAY
Sporty sits in a chair reading a newspaper article to his
GRANDFATHER who sits in a rocking chair, slowly moving back
and forth. Sporty's grandfather is 90 years old - an
alert, distinguished man - who happens to be nearly blind
from cataracts. We HEAR ROCK MUSIC PLAYING somewhere in
the FAR DISTANCE.
SPORTY
(reading newspaper)
...the City Council will vote on
the parking ordinance after
meeting with local citizen's
groups.
(finishes article;
thumbs through
paper)
That's it for news of the
neighborhood... now time for the
entertainment section.
GRANDFATHER
(laughing)
Arnold, I swear - you sound just
like those guys on T.V.
SPORTY
That's right, Grandpa, film at
eleven.
Grandfather chuckles.
96A EXT. STREET IN FRONT OF GRANDFATHER'S HOUSE - DAY
Because there's a number of cars parked in front of
Sporty's grandfather's house, Hunter's car pulls up a short
distance away. Hunter gets out from behind the wheel and
McCall emerges from her side of the car. They walk toward
grandfather's place.
MCCALL
Okay, it was a pretty good
breakfast...
HUNTER
You know anything about nutrition,
McCall? Anything at all?
MCCALL
Of course I know about nutrition.
HUNTER
Okay. What're the four basic food
groups?
MCCALL
Take-out, order-in, frozen and
canned.
96B EXT. SPORTY'S GRANDFATHER'S HOUSE - DAY
Sporty sees Hunter and McCall walking toward the house. He
folds up the newspaper and stands.
SPORTY
'Scuse me for a minute. I see
a couple friends... little
business. I'll be back to do the
weather...
97 ANGLE - THE SIDEWALK
as Hunter and McCall arrive in front of grandfather's house
and Sporty James comes down the walkway to meet them.
Hunter looks at the porch where Sporty's grandfather still
sits, rocking away.
HUNTER
Who's your friend, Sporty?
SPORTY
(with dignity)
He's no friend, that gentleman
happens to be my grandfather.
MCCALL
(surprised)
Your grandfather?
SPORTY
(looks to porch)
The proud patriarch of an upwardly
mobile, achievement-oriented
family. He raised me.
(to Hunter and
McCall)
Now what can I do for you fine
people? This is my family hour.
HUNTER
We're looking for a guy named
Kenny Dunstan. Know him?
SPORTY
Sure I know him... dude's a
legend.
MCCALL
He mentioned that. This one's
Important, Sporty, and we're
coming up empty.
SPORTY
Dunstan pull off something I ain't
heard about?
HUNTER
He can help us put away a guy
named Ralph Flager - they
conspired to break and enter.
SPORTY
That's important?
HUNTER
This man Flager is important.
Hunter pulls out a picture of Flager and shows it to Sporty,
who studies it.
HUNTER
He kills people, and McCall's on
his hit list.
SPORTY
And you need Dunstan to put this
dude away?
HUNTER
That's it. We can't put him away
for attempted homicide. No
witness
SPORTY
Okay, I'll see what I can do about
Dunstan ... in return for a little
favor.
Hunter and McCall exchange looks.
MCCALL
What's her name and what'd she
get arrested for doing?
SPORTY
I am talkin' about a family matter
of some concern.
(nods O.S.)
See that liquor store down on the
corner?
Hunter and McCall turn to look.
98 HUNTER'S AND MCCALL'S POV - LIQUOR STORE
A dingy place with several LOW-LIFES killing time, leaning
against the wall, GHETTO BLASTERS BLARING.
SPORTY (O.S.)
What we have is a neighborhood
nuisance -
99 BACK TO SCENE
SPORTY
New owners took it over and made
it a sort of commodity exchange
- the commodity bein' ten dollar
haggles of rock. Folks in the
neighborhood're feelin' jumpy.
My granddaddy don't feel safe
sittin' on his front porch any
more.
HUNTER
(eyeing the corner)
We'll have a patrol unit sit on
the place till they get the
message.
Sporty smiles, satisfied with Hunter's offer.
SPORTY
Sergeant Hunter, I applaud and
commend your sense of civic
responsibility and attention to
duty. And I will put my friends
to work instantly on Mr. Dunstan.
100 INT. SQUAD ROOM - DAY
McCall is on the phone. Hunter does paperwork.
MCCALL
...get those photos of Flager
circulated to every hotel, motel,
and flophouse in the area. He's
not leaving town.
Hunter's phone RINGS; he picks it up.
HUNTER
Homicide. Hunter.
100A INTERCUT WITH:
101 OMITTED
102 EXT. PHONE BOOTH - DAY
Sporty James talks into the receiver.
SPORTY
You did a nice job, Hunter. My
granddaddy thanks you, the
neighborhood thanks you and I
thank you.
HUNTER
Sporty... you got Dunstan.
SPORTY
Sorry, man. That little rat's
buried deep... What's that other
dude's name? The one in the
picture?
HUNTER
(sudden interest)
Flager?
SPORTY
Yeah... I ran up on some
information about him. Will that
help?
103 EXT. MRS. KARNOVSKY'S ROOMING HOUSE - DAY
SMASH TO:
A seedy looking place in an equally seedy neighborhood.
There's a sign on the front reading ROOMS FOR RENT.
MRS. KARNOVSKY'S VOICE
That's not Ralph Flager, I told
the man, his name is Richard
Farnon.
104 INT. MRS. KARNOVSKY'S ROOMING HOUSE - FRONT ROOM
Small, meticulously kept. Hunter and McCall are seated near
MRS. KARNOVSKY, a frail, elderly lady, the building owner.
There is a walker by her chair. She's looking at a picture
of Ralph Flager.
HUNTER
Did he have any visitors? Get
friendly with any other tenants?
MRS. KARNOVSKY
Oh, no, not Mr. Farnon. He kept
very much to himself. He wasn't
here very long.
MCCALL
Did he leave a forwarding address?
MRS. KARNOVSKY
No. I didn't even see him when
he moved out. He left me a lovely
note and a bouquet of flowers.
He was a polite, quiet man.
Hunter and McCall rise. McCall takes a card out of her bag
and hands it to the old lady.
MCCALL
If you think of anything, Mrs.
Karnovsky... anything at all...
please call us.
105 INT. JENNY'S HOSPITAL ROOM - NIGHT
A uniformed officer standing outside in the hall opens the
door and McCall enters. The officer closes the door leaving
her alone with Jenny. McCall crosses to the bed, takes
Jenny's hand, and studies her unconscious face with concern.
CUT TO:
106 INT. MCCALL'S HOUSE - NIGHT
McCall is huddled in a corner of the couch wrapped in a
bathrobe. Hunter sits nearby.
MCCALL
I hate being helpless... just
waiting. I wish he'd make his
move.
HUNTER
He will.
(looks at watch)
It's almost two o'clock. We gotta
give the citizens their money's
worth in the not too distant A.M.
(stands)
Let's get some sleep.
Hunter starts to turn out some lights when the PHONE RINGS.
He looks at McCall, then goes to the phone, picks up the
receiver.
HUNTER
Hello?
(beat)
Hello.
He holds the phone another beat, then puts it down. He
looks to McCall.
HUNTER
Whoever it was hung up.
McCall reacts silently knowing who made the call.
CUT TO:
107 EXT. DOWNTOWN "RESIDENTIAL" STREET - DAY
Hunter pulls his car up to the curb and gets out. He reads
the numbers on a piece of paper then checks the address of
a dilapidated residential hotel. He enters the building.
108 INT. RESIDENTIAL HOTEL - SEEDY HALLWAY - DAY
Hunter stands outside an apartment door. He listens, HEARS
A TV ON. He knocks.
HUNTER
(calls)
Dunstan... open up.
(beat)
Dunstan...
He hears some NOISE from inside, pulls out his gun and kicks
in the door.
109 HUNTER'S POV
Run-down room, TV ON, window open.
110 THE SCENE
as Hunter tears through the room and out the open window.
111 EXT. RESIDENTIAL HOTEL - DAY - CONTINUOUS
Hunter jumps out the window, charges down the fire escape.
We SEE Dunstan running like hell down an alley. Hunter
gives chase. To be choreographed. Your basic trash cans,
winos, chain-link fences, ending in Hunter throwing Dunstan
against the wall and cuffing him.
112 EXT. ALLEY - DAY - CONTINUOUS
As Hunter puts the cuffs on Dunstan and pushes him down the
alley.
CUT TO:
113 INT. SQUAD ROOM - DAY
McCall is at her desk. The PHONE RINGS, she picks it up.
MCCALL
Homicide. McCall.
INTERCUT WITH:
114 INT. MRS. KARNOVSKY'S ROOMING HOUSE
TIGHT SHOT. Mrs. Karnovsky is on the phone.
MRS. KARNOVSKY
(into phone)
Sergeant McCall... this is Mrs.
Karnovsky... You remember, we had
a talk about Mr. Farnon?
MCCALL
Yes...?
MRS. KARNOVSKY
Well, I just found a bag that he
left when he moved out. Do you
want me to open it?
MCCALL
No. Don't open it. I'll be right
there. And thanks for calling.
END INTERCUTTING
As McCall slams down the phone, grabs her purse, turns to
another officer, DOUG.
MCCALL
Get a message through to Hunter.
Tell him to get over to Mrs.
Karnovsky's!
115 INT. MRS. KARNOVSKY'S ROOMING HOUSE
The CAMERA PULLS BACK to REVEAL Flager next to her, a knife
in his hand. Flager takes the phone receiver from Mrs.
Karnovsky and holds up the knife. For a moment we think
he might stab the elderly woman. Suddenly in one swift,
machine-like movement, he loops the phone cord and slices
through it with the razor sharp weapon in his hand.
FADE OUT:
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
116 EXT. CITY STREET - DAY
McCall's car whips through traffic at a fast clip.
117 INT. SQUAD ROOM - DAY
Hunter cones in, dragging a mournful Kenny Dunstan. He puts
him in a chair by the desk and rolls a piece of paper into
his typewriter. Doug walks over.
DOUG
Hunter... I've been trying to get
you. McCall wants you to meet
her at Mrs. Karnovsky's.
HUNTER
(a touch of alarm)
When did she leave?
DOUG
About ten minutes ago.
The alarm goes off in Hunter's head. He jumps up, pointing
to Dunstan.
HUNTER
Keep an eye on this guy. He's
a legend.
Hunter bolts out of the room.
118 EXT. CITY STREET - DAY
McCall's car is still moving steadily.
119 INT. MRS. KARNOVSKY'S ROOMING HOUSE - KITCHEN - DAY
Mrs. Karnovsky sits on a kitchen chair frozen with fear.
She looks at Flager who sits nearby, the knife still in his
hand.
120 EXT. CITY STREET - MRS. KARNOVSKY'S ROOMING HOUSE - DAY
As McCall's car pulls up to the curb. McCall gets out of
the car and heads toward the apartments.
121 INT. MRS. KARNOVSKY'S ROOMING HOUSE - FRONT ROOM - DAY
Her front room is empty.
122 EXT. CITY STREET - INTERSECTION - DAY
Hunter is on Code 3.
123 EXT. MRS. KARNOVSKY'S ROOMING HOUSE - DAY
McCall is at Mrs. Karnovsky's front door. She's knocking.
MCCALL
Mrs. Karnovsky? It's Sergeant
McCall.
(beat)
Mrs. Karnovsky... ?
McCall tentatively tries the front door. It opens. She
pulls out her gun and cautiously enters.
124 INT. MRS. KARNOVSKY'S ROOMING HOUSE - DAY - CONTINUOUS
125 MCCALL'S POV
Empty front room.
126 BACK TO SCENE
As McCall slowly comes in.
MCCALL
Mrs. Karnovsky?
FOLLOW as McCall slowly makes her way further into the
apartment.
MRS. KARNOVSKY (O.S.)
(faint, quivering)
Sergeant McCall... I'm in here...
McCall turns at the sound of the voice. It seems to be
coming from behind the closed door to the kitchen... McCall
moves in that direction.
MRS. KARNOVSKY (O.S.)
In here. Sergeant McCall.
126 CONTINUED
McCall, gun ready, puts her hand on the doorknob, turns the
knob, throws the door open. As soon as it slams open, a
hand holding a knife slashes out, cutting McCall on the arm,
but not seriously wounding her. McCall's gun is knocked
to the floor and Ralph Flager, knife raised, attacks.
McCall backs away swiftly into the front room. Behind
Flager, through the doorway, we SEE Mrs. Karnovsky sitting
in the kitchen, hyperventilating and scared to death.
127 FLAGER
pursues McCall, an insane look in his eyes. Nothing, short
of blowing him away, can stop Flager.
128 MCCALL
Keeping her distance from Flager and getting back to her
gun are her only chance.
129 FRONT ROOM
as Flager closes in on McCall, moving in tighter and
tighter. McCall is being pushed into a corner, the last
place she wants to be with this maniac.
Her hand reaches back and she finds a chair which she holds
in front of her. Just as Flager lunges once again, she
throws the chair in front of him and Flager almost topples
over. McCall uses the moment to scoot around him, heading
back to the kitchen doorway where her gun lies.
Flager quickly regains his balance, and just as McCall
almost reaches the kitchen, he springs toward her, blocking
the doorway. Flager moves in on McCall with a renewed
intensity.
130 SERIES OF SHOTS
as McCall tips over whatever is within her reach to block
Flager's approach. She knocks over side tables, a coffee
table, chairs, lamps, anything she can grab. She bumps
against a parson's table holding a couple of glass
figurines. McCall picks them up and in rapid order, throws
them at Flager. He bats them away like gnats. McCall tips
the parson table over, temporarily blocking Flager, then
spots something nearby.
FIREPLACE
as McCall grabs for a fireplace poker and comes up swinging.
She holds the implement like a baseball bat and takes a
couple of swipes at Flager. One of them grazes Flager on
the temple and draws blood. He remains unfazed, as if the
blow only serves to recharge him.
McCall swings the poker again, Flager dodges back. McCall
swings once more, backhanded, and Flager grabs the poker,
stopping it in midair. He uses the poker to pull McCall
toward him. Flager twists the poker out of her hand and
tosses it away like a rubber toy.
McCall comes to an open doorway which leads to a hall. She
dodges into the hall, throws the door shut, but Flager
manages to block it from closing with his hand.
THE HALLWAY
with McCall throwing her entire weight against the door.
Flager pushes back, his hand caught between the door and
the door frame. McCall pushes with every ounce of strength
she has, trapping Flager's hand, starting to crush it.
FLAGER
pushes back against the door, trying to free his hand. Even
though it's being mashed in the doorway, the pain doesn't
seem to register with him. The only thing on his mind is
McCall. He braces himself, slams into the door with his
shoulder, knocking it open far enough to free his hand.
He continues to slam into the door, slowly edging it open.
HALLWAY DOOR
McCall suddenly releases the door and it bursts open with
Flager crashing into the opposite wall. McCall runs down
the hallway, keeping her eyes on Flager all the while.
There's a small side table in the hall, which McCall knocks
over. Flager kicks it out of his way. Several doors open
off the hallway and as McCall passes she tries the
doorknobs. They're locked.
Flager quickens his pace, knowing McCall is trapped. McCall
runs, almost losing her balance, but managing to stay ahead
of Flager. McCall reaches another door, twists the door
knob and it opens.
135 BEDROOM
McCall tries to slam the door shut, but this time there's
no struggle. Before she can get a firm grip, Flager simply
kicks it open. The bedroom is small and cramped with a
single bed against the wall and a vanity table at the other
end. The room has a window and McCall's first instinct is
to use it as an escape hatch. She picks up the vanity table
stool and throws it through the window. The window
shatters, but before McCall can make any move toward it,
Flager is there blocking her path.
There's no way out of this little box. Flager edges closer
to McCall, not wasting any movement. He raises his knife.
McCall falls back against the vanity table, trying to get
her balance, looking for something to throw at Flager.
Flager raises his arm higher in preparation for the final
strike. McCall grabs a small, round, box of face powder,
tears off the lid, and heaves it at Flager. The box hits
him in the chest, but enough powder fills the air to get
into Flager's eyes and blind him for a second or two.
McCall ducks past Flager who makes an ineffective stab at
her. McCall races out the door with Flager about six or
seven feet behind and closing.
136 HALLWAY
McCall runs down the hall, heading back toward the front
room. Flager comes after her, brushing the face powder out
of his eyes with one hand. McCall hurtles through the
doorway headed into the front room.
137 FRONT ROOM
with McCall scattering some of the already overturned
furniture in Flager's path. Anything to impede his
progress. He stumbles over the furniture, but remains on
his feet.
138 KITCHEN DOORWAY
McCall runs to the kitchen doorway, grabs her gun, whirls
around, and points it at Flager. Flager recognizes McCall
has a gun, but it could just as well be a water pistol.
MCCALL
Freeze you bastard!
Flager doesn't seem to hear her, advances on McCall.
139 KITCHEN
McCall retreats into the room, holding her gun directly in
front of her. Mrs. Karnovsky SCREAMS.
Flager lunges, missing her by an inch or two as McCall
stumbles and falls back, hitting her elbow on a chair as
she falls. The gun explodes and Flager drops like a rock,
shot through the heart.
140 ON FRONT DOOR
Hunter kicks open the door, gun in hand, as McCall gets to
her feet and Mrs. Karnovsky screams again. Hunter sees that
McCall is okay and he goes to Flager and checks for a pulse.
He looks at McCall.
HUNTER
He's dead.
MCCALL
(nods)
I know.
FADE OUT.
END OF ACT FOUR
TAG
FADE IN:
141 INT. HOSPITAL CORRIDOR - DAY
The "police" chair outside of Jenny's hospital room is
empty. The "No Visitors" sign is removed.
JENNY'S VOICE
It's a good thing you got there
when you did.
142 INT. HOSPITAL ROOM - DAY
Jenny, her head bandaged, is talking with Hunter and
McCall. There are some bouquets of flowers on the
bedstand. McCall has her arm in a sling. Jenny is weak,
but her courage and fighting spirit are back in full force.
JENNY
(to McCall)
If Flager had found that knife
he would have used it.
MCCALL
Hey, you knocked the knife out
of his hand, that's why he didn't
use it.
Jenny takes McCall's hand, gives it a squeeze.
JENNY
Thanks. I owe you both my life.
McCall and Hunter exchange a look, both of them touched
by Jenny's gratitude. Before the moment becomes too heavy,
Hunter lightens things up.
HUNTER
(kidding)
Your doctor says they're kicking
you out of here in a few days.
I guess they want the bed for
someone who really needs it.
JENNY
Believe me, I'm ready to go.
You're looking at a woman with
a cause: There are thousands of
people out there with the same
problem I had and I'm gonna work
on it, see if we can get some
laws passed for victims for a
change.
She says all this with a big eager smile on her face.
MCCALL
Can I be the first recruit?
JENNY
I was hoping you'd say that.
HUNTER
(grins)
Is this organization for women only?
JENNY
(laughs)
Not anymore!
And as they laugh together, we:
CUT TO:
143 INT. HOSPITAL CORRIDOR - DAY
McCall and Hunter are walking down the corridor side by side
on their way to the elevator.
HUNTER
I gotta ask you something.
MCCALL
I know. I've been waiting.
HUNTER
You got Flager right through the
heart, right?
MCCALL
That's right.
HUNTER
Is that where you aimed?
MCCALL
I told you what happened. My arm
hit the chair.
HUNTER
That's not what I asked.
MCCALL
Yeah, I know, but that's my
answer: my elbow hit a chair.
McCall and Hunter look at each other for a long moment,
then continue on down the hall.
FREEZE FRAME
THE END
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