CAN'T ANYBODY OUT THERE HELP ME!?
Written by Hollace White and Stephanie Garman
(You'll be able to tell that these two had a hand in "From San Francisco With Love")
This is an early draft of ANY SECOND NOW. A great read!
ACT ONE
FADE IN
INT. MOTION PICTURE STUDIO - SCORING STAGE - DAY
A black and white 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, a red-haired
young woman whose horn-rimmed glasses only partially obscure
her very pretty face. The Conductor cues Jenny's piano
solo. She begins it and almost immediately the Conductor
brings down his baton. Everyone stops playing.
CONDUCTOR
I want to try that again.
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)
This time I'd like the violins
to come in on bar three instead
of bar four.
(to someone else)
And I think you gave me a B-flat
in the eighth bar. It should be
a natural.
The various Musicians respond by nodding. The Conductor
looks over at the MIXER.
CONDUCTOR
Let's take it again.
MIXER
Okay. Let's go on a take.
The picture starts rolling again, coming up to the cue.
EDITOR'S VOICE
M-24. Take 3.
The click track starts again as:
CONDUCTOR
And one...and two...
INT. MUSIC DEPARTMENT - RECEPTION AREA - DAY
A RECEPTIONIST sits at a desk, talking on the phone.
Visible beyond her is the door to the scoring stage, red
light on.
RECEPTIONIST
(into phone)
I'm sorry. They're still
recording. May I take a message
for her?
The Receptionist listens for a beat and then starts writing.
INT. SCORING STAGE - DAY
The picture is rolling and Jenny is in the middle of her
solo, playing exceptionally well. The cue ends, the last
note fades away. As the picture slows to a stop and is
reset:
CONDUCTOR
Was that it?
VOICE FROM BOOTH
That's the one.
CONDUCTOR
Good. Let's hear it back for
everybody.
After a beat, the picture rolls again and we hear the
PLAYBACK. When it concludes:
CONDUCTOR
Perfect. Thanks a lot, everyone.
Let's wrap.
The Musicians start packing away their instruments and the
Conductor goes over to Jenny.
CONDUCTOR
Beautiful, Jenny. As usual.
JENNY
(big smile)
I was going to give you free
tickets to the concert anyway.
CONDUCTOR
And I was going to give you the
compliment anyway.
JENNY
Good.
(picks up her
purse)
See you tomorrow.
INT. RECEPTION AREA - DAY
Musicians are coming out through the scoring stage door,
ADLIBBING goodnights to each other and the Receptionist.
As Jenny comes out, the Receptionist hails her.
RECEPTIONIST
Jenny. I've got a phone message
for you.
Jenny goes to her and takes the piece of paper.
JENNY
Thanks.
As she scans the paper. Jenny's smile evaporates. It takes
a moment for the message to sink in...and when it does, we
can only imagine it's the worst news she's ever heard.
Jenny looks as if she's going to collapse.
INT. SQUAD ROOM - DAY
HUNTER and MCCALL are making their way across to Captain
Devane's office as they talk.
HUNTER
I don't know what you're so
worried about.
MCCALL
I'm not worried. I just wouldn't
mind a day or two to catch up
around here before we get a new
case.
HUNTER
(mock disappointed)
You're going soft, McCall. I
remember when you used to complain
about not having enough to do.
MCCALL
(disregards it)
I was just thinking how nice it
would be to get a couple of good
nights' sleep for a change, I am
not going soft.
HUNTER
Yes, you are. And frankly, it
interests me strangely.
She gives him a wry look as they reach their destination.
INT. CAPTAIN DEVANE'S OFFICE - CONTINUOUS
DEVANE is at his desk as they enter. He's heard the end
of Hunter's last comment.
DEVANE
You talking about her dress? I
like it too.
MCCALL
He wasn't talking about my dress,
Captain.
McCall smiles at Devane and then at Hunter, who says
nothing.
DEVANE
I just got a call from Deputy
Chief Wyler. He likes the way
you two wrapped up that Potter
case.
HUNTER
The Porter case, Charlie -- and
it was all in a day's work.
DEVANE
A long day's work. And a lot of
them. I'm going to give you a
bonus:
(beat)
The choicest assignment that's
come down the pike in a long time.
Hunter and McCall wait skeptically.
DEVANE
The Academy's looking for some
hot homicide cops to handle a few
classes in practical application.
I put you up for it.
He waits for a reaction, gets absolutely nothing from them.
He shrugs.
DEVANE
And you got it. You start
tomorrow.
Hunter and McCall couldn't be less thrilled.
MCCALL
You mean we're going to be
teaching classes?
DEVANE
(nods)
Field situations for recruits,
an elementary course for would-be
detectives.
HUNTER
(he doesn't mean
it)
Nice change of pace, huh, McCall?
McCall looks at him briefly, then back at Devane.
MCCALL
We've got a lot of work to clear
up here, Captain.
DEVANE
So? You'll be at the Academy four
hours a day, I'll expect you here
the rest of the time.
MCCALL
(forced smile)
Oh.
DEVANE
Do me proud, you two.
Devane goes back to something on his desk, dismissing them.
Hunter and McCall leave his office.
INT. SQUAD ROOM - CONTINUOUS
As they cone out of Devane's office:
HUNTER
See? You're going to get your
sleep after all.
MCCALL
No, I'm not.
(off his look)
If I'd wanted to be a teacher,
I'd've gone into teaching!
HUNTER
You're a natural-born teacher,
McCall.
MCCALL
Yeah?
(beat)
Just thinking about it makes me
want to throw up. Toss my
cookies. Barf.
HUNTER
So why didn't you tell Devane?
MCCALL
I couldn't think of a classy way
to put it.
HUNTER
You still haven't.
He gives her a little smile and starts to exit the squad
room as McCall heads to her desk.
ANGLE ON DOORWAY
as Hunter, leaving, crosses Jenny as she enters. Jenny goes
to a UNIFORM, asks a question we can't hear, and is pointed
to McCall. She heads in McCall's direction.
BACK TO SCENE
As Jenny approaches McCall.
JENNY
Sergeant McCall?
MCCALL
Yes.
JENNY
I'm Jennifer Hartman, do you have
Some time to spare? - to talk
to me?
McCall surveys the towering mound of paperwork on her desk,
sighs.
MCCALL
Sure...sit down.
Jenny takes a deep breath. She wants to be calm, but this
isn't easy to talk about.
JENNY
(sits)
It's about a man who wants to kill
me.
MCCALL
Yeah? A friend, I presume?
JENNY
No. And he's already attacked
me once.
That changes McCall's mood instantly. This woman is no
crank; she has a genuine problem.
MCCALL
Who's handling your case, Ms. ...
Hartman?
JENNY
Yes. Jenny Hartman, and there is
no case.
McCall has to wonder briefly what she's getting herself into
here, but Jenny looks so sincere that McCall is drawn in.
JENNY
I mean, he was caught, and tried,
and sent to prison.
MCCALL
He's not in prison now?...
JENNY
He's being released at five
o'clock today. And he's going
to come after me again.
MCCALL
(soothing)
I can understand how you feel,
but -
JENNY
(interrupts)
Sergeant. He came up for parole
three tines and never got it -
because he said each time that
he still intended to kill me.
That gets McCall's full and sympathetic attention.
JENNY (CONT'D)
I came to you because...well...I
read about you last year, when
you were raped, and I felt that
you'd know what it's like to be
attacked...
From the look on McCall's face, we know that she does.
MCCALL
When did this happen to you?
JENNY
Seven years ago. I'm a pianist,
and this man...Ralph Flager...
followed me out of a concert hall
in Portland, Oregon one night and
told me I was the most talented
woman who ever lived.
(beat)
I thought he was a fan. I
remember thanking him and telling
him that no one was that good.
(beat)
And he stood there shaking his
head and saying I was too good
and too pure to live in this
world. That God had instructed
him to kill me.
MCCALL
That's when he attacked you?
JENNY
No. I ran and he just stood
there.
(beat)
But a week later I was playing
in Los Angeles, and in the parking
lot after the concert, he...
She closes her eyes against the memory. Recognition crosses
McCall's face.
MCCALL
He attacked you with an ice
pick...
(off Jenny's nod)
He stabbed you...how many times?
JENNY
Twelve. I was in the hospital
for seven months.
(beat)
And all these years, every time
he's come up for parole, he's said
the same thing:
(beat)
That he still intends to kill me
because God has willed it.
McCall understands Jenny's pain. And she knows that what
she has to say isn't going to ease it.
MCCALL
It makes me sick to tell you this,
but a threat like that isn't
prosecutable. The First Amendment
guarantees everyone the right to
say anything they want to. You
can't jail anyone for verbal
threats, even when they very
obviously mean it.
JENNY
Even lunatics?
MCCALL
(nods)
Once he's served his time there's
nothing we can do about him until
he does something... something
illegal...
JENNY
You mean, until he attacks me
again. Maybe this time he'll get
it right.
McCall gives her an anguished look.
JENNY
I petitioned to have him
institutionalized. I just found
out today that my petition was
denied. It's hard for me to
believe...but it's true...
MCCALL
Could you leave the city? Move
somewhere else?
JENNY
You mean hide? I make my living
as a studio musician and doing
concerts. If I hide it means
giving up not only what I live
for, but my means of living.
MCCALL
I don't know what to say. I know
it sounds crazy, but it's true
-- we can't protect you.
JENNY
(nods)
My lawyer already told me that.
I didn't believe him. I always
believed that, when he was
actually released...if I came to
the police and told them the
situation...
Her voice trails off.
MCCALL
That we'd help you...
JENNY
Yes. I can't believe it's
possible...that I can't get
protection...
She trails off again. McCall is thinking hard. A few
beats.
MCCALL
The police can't officially
protect you from Ralph Flager.
(beat)
But I can't run from what I do
any more than you can run from
what you do.
JENNY
You can arrest him? Keep him away
from me?
MCCALL
Not till he does something, but
I'm going to help you -- the only
way I can.
Jenny doesn't know what this is leading to. McCall fishes
in her purse, comes up with her house keys.
MCCALL
Take these. There's still time
for you to go home and pack before
Flager gets to L.A.
McCall writes her address on a piece of paper and hands it
to Jenny.
MCCALL
Here's my address -- I'll meet
you there when I get off.
JENNY
I can't do that. Just move in
with you?
MCCALL
I want you there. I'm doing it
for me as much as you. Please?
INT. DEVANE'S OFFICE - DAY
Devane, Hunter and McCall are in the midst of a heated
discussion.
DEVANE
McCall, you've gotta get off this!
Policy is policy! Not to mention
budgets and priorities!
MCCALL
I just can't believe we can't make
an exception to the policy in a
case like this! She isn't asking
for permanent protection!
HUNTER
The guy's crazy. He'll probably
take his shot as soon as he finds
her. If we've got somebody
standing by, that's it - he's
back in the slam.
DEVANE
Hey, I don't have to tell you
about policy. If we make
personnel available to one
civilian who thinks somebody might
kill 'cm, we gotta do it for all
of them.
(looks at both of
them)
I don't like this situation any
better than you guys - but I can
not make personnel available for
protection purposes. It's against
policy, always has been, and
probably always will be. That's
it. And it applies to both of
you.
INT. MCCALL'S HOUSE - NIGHT
Jenny is letting Hunter and McCall in the front door.
McCall is carrying several thick police files. Jenny is
ill at ease.
MCCALL
Thanks. Jenny, this is my
partner, Sergeant Hunter, Rick.
JENNY
(nervous)
Hi.
HUNTER
(warm)
Hi.
MCCALL
You find everything okay?
JENNY
(nods)
Yes. And you?
MCCALL
You were right. He got out today.
McCall walks to the coffee table and drops the paperwork
files on it. She flips open the top file and we see
INSERT
Mug shots of Ralph Flager (pronounced Flay-jer). He's
almost eerie looking. In his early forties. Tall, gaunt,
pale, hair a little long. Light blue eyes that haven't a
trace of humanity.
MCCALL'S VOICE
I called San Quentin. The cab
that picked him up took him
straight to the airport.
BACK TO SCENE
JENNY
He's coming to Los Angeles, isn't
he?
HUNTER
He's already here. He got a
rental car and the first thing
he did was drive by your
apartment. Can you believe that?
He already had your address!
JENNY
You followed him?
HUNTER
Some friends of ours did.
JENNY
They're helping on their own time?
HUNTER
Yes.
MCCALL
Hey, anybody hungry?
McCall starts for the kitchen. Jenny and Hunter follow.
INT. KITCHEN - NIGHT
McCall peers into the freezer, lifts out a few slim boxes.
MCCALL
(to Jenny)
Turkey tettrazini or zucchini
lasagne?
JENNY
They both sound great.
MCCALL
And for you, partner, I think I've
got some artichoke hearts and
brussel sprouts.
She starts rummaging, pulls out a box of frozen brussel
sprouts.
HUNTER
Fresh is better for you.
MCCALL
So is living in the country.
(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.
HUNTER
You're working at a movie studio,
right?
(off Jenny'B nod)
See if they can come up with a
wig that matches your hair. A
pair of similar glasses, too.
JENNY
(to McCall;
understanding)
I can't let you do that! It's
too dangerous!
MCCALL
(doesn't
acknowledge her)
Since he already had your address,
we figure he knows where you're
working too. We've asked studio
security to be on the alert for
the creep.
JENNY
I'm pretty safe on the recording
stage -- I think.
(suddenly very
frightened)
But what if he follows me back
here?
HUNTER
McCall will leave the studio ahead
of you, in your car. According
to that file he's very smart, so
we figure he'll be gone --
following McCall -- before you
leave.
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 BOOTH
Sounded good.
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, who points Jenny out to her. McCall heads
over and as she sees her. Jenny smiles with relief.
MCCALL
Hi. Having a good day?
JENNY
I've had better.
MCCALL
I know the feeling.
(indicates tote)
Is that for me?
JENNY
Yes. I think it's a pretty good
match.
(beat)
Please...be careful?
MCCALL
Always am. And you, too.
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.
EXT. MOTION PICTURE STUDIO - DAY
McCall, wearing wig and glasses, drives out of the studio
gate in Jenny's car. A rental car is parked on the street
nearby, a man at the wheel.
EXT. STREET - DAY
As McCall drives by, the rental car waits a beat and then
falls in behind her.
INT. RENTAL CAR - CONTINUOUS
RALPH FLAGER is at the wheel. And he believes he's got his
prey. Flager is pale, his blue eyes soulless, almost
glazed, his mouth half-open. He is thin, but large and
big-boned.
INT. JENNY'S CAR - DAY
CLOSE ON
rearview mirror which reflects Flager's car following
McCall.
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.
EXT. JENNY'S APARTMENT BUILDING - DAY
McCall pulls up to the garage, inserts a key in the
automatic door opener, and as it works, she drives into the
garage. Flager's car glides to a stop on the street.
INT. JENNY'S APARTMENT - DAY
Hunter is in the living room watching television as the door
opens and McCall comes in.
MCCALL
He followed me.
HUNTER
Of course he did -- he's getting
his orders straight from his
private God.
EXT. JENNY'S APARTMENT BUILDING - NIGHT
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.
INT. JENNY'S BEDROOM - NIGHT
McCall and Hunter are seated in the dark, 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.
Both hold cups and are drinking coffee as they talk. McCall
is not wearing the wig or the glasses, which lie (probably
unseen) on a dresser.
MCCALL
(whispering)
We've got to keep talking. Hunter,
I'm getting sleepy.
HUNTER
You wanta try the bed?
MCCALL
If I lie down on that bed I'll
be asleep in ten minutes.
HUNTER
You must be a lot of fun on a
date.
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 key, and uses it. He
opens the door and quickly steps inside the stairwell.
INT. JENNY'S BEDROOM - NIGHT
Both seated as before, coffee cups set aside.
HUNTER
(whispers)
You know, you looked pretty good
as a redhead.
MCCALL
(whispers)
Jenny's a natural redhead.
HUNTER
(muses)
My first girlfriend was a redhead.
Cynthia McWhirt. Third grade.
(beat)
Then she grew up and bleached it
blonde. Broke my heart.
INT. STAIRWELL - NIGHT
The shadowy figure is standing on a landing. Selecting
another passkey from his ring. He opens the locked door,
looks down the hallway in both directions, and starts down
the hall.
INT. JENNY'S BEDROOM - NIGHT
Hunter and McCall talk very softly.
HUNTER
Who was your first boyfriend?
MCCALL
Paul McCartney.
INT. HALLWAY - OUTSIDE JENNY'S DOOR - NIGHT
We're CLOSE on a pair of hands working the lock.
INT. JENNY'S BEDROOM - NIGHT
MCCALL
Did you hear that?
HUNTER
Yes...
INT. JENNY'S LIVING ROOM - NIGHT
The door opens, a pinpoint flashlight beam searches the
room. The shadowy figure enters as we
FADE OUT
END OF ACT ONE
************************************************************
FADE IN:
INT. JENNY'S BEDROOM - NIGHT
Hunter and McCall are both standing now, 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 turns on the light.
HUNTER AND MCCALL
in shooting stance and looking damn formidable. And
surprised.
DOORWAY
Where a very shocked JERRY DONAHUE stands stock still, mouth
gaping. He's a tall, wormy looking guy, no gun in evidence.
THE SCENE
HUNTER
Who the hell are you?
DONAHUE
I been had! I been set up!
MCCALL
What are you doing here?
Donahue puts his arms in the air as Hunter shows him his
badge.
DONAHUE
This is entrapment! I know the
law! And I don't have anything
on me!
McCall keeps him covered while Hunter pats him down and
finds no wallet, no I.D.
HUNTER
No one's try in' to entrap you,
friend. Who are you and what're
you doing here?
DONAHUE
This place was supposed to be
empty.
HUNTER
(handcuffing him)
Who told you that?
DONAHUE
The guy who hired me. A guy named
Henshaw. Prob'ly a lousy cop!
HUNTER
Creepy looking guy with dead eyes?
About your height? Longish hair?
DONAHUE
That's him.
Hunter and McCall share a knowing look. Hunter pushes
Donahue down onto one of the chairs.
HUNTER
Henshaw is a man named Ralph
Flager. Who are you?
DONAHUE
I'm Jerry Donahue. You've heard
of me, right?
HUNTER
What did Flager hire you to do?
DONAHUE
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? Jerry
Donahue? I'm a legend.
Hunter and McCall are not impressed.
MCCALL
Do you know who lives here?
DONAHUE
Don't know and don't want to know.
HUNTER
We're gonna tell you anyway.
(beat)
A very pretty young lady lives
here. A young lady Ralph Flager
has been keeping his eye on. And
he had every reason to expect that
she was at home.
DONAHUE
I don't get it.
MCCALL
You weren't supposed to. Flager
knew she was here. But he had
to find out if she was being
guarded. He didn't want a
picture. He just wanted
information.
DONAHUE
Which he's sure as hell not going
to get now.
HUNTER
Yes, Jerry, he is.
DONAHUE
You want me to meet him and 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.
DONAHUE
Or...?
HUNTER
Or we jerk your parole. You are
on parole, aren't you?
The two men look at each other. Donahue is on parole all
right, and a deal has been struck.
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 Jerry Donahue drives into
the lot and pulls up next to Flager's car. Donahue gets
out of his car and slams the door angrily. He starts for
Flager's car.
DONAHUE
(yells)
What the hell did you set me up
for?
Flager gets out of his car, a tall and dangerous-looking
man.
FLAGER
(he even sounds
crazy)
Something went wrong?
DONAHUE
You bet your ass it did. You told
me the place'd be empty.
FLAGER
But it wasn't...?
DONAHUE
(vehement)
Sure it was.
(beat)
Except for this pretty little
redhead fast asleep in bed!
(yells)
I nearly had a heart attack! I
don't need this kind of crap!
FLAGER
I was positive she was out of
town.
(beat)
Did you wake her up?
DONAHUE
Hell no, but I didn't snatch no
picture, I just got out, fast.
FLAGER
Did she hear you?
DONAHUE
I don't make noise, it's not my
style.
(nasty)
And you still owe me.
FIAGER
That's good. It's good. I'll
pay you.
DONAHUE
Now, right?
Flager reaches for his wallet, starts counting out bills.
FLAGER
And you will forget we ever met.
Do you understand?
DONAHUE
Mr. Henshaw, that'll be the only
pleasure I get out of this.
Flager hands over the money.
FLAGER
Here.
As Donahue takes the money and counts it. Hunter and McCall
step out of the shadows with guns drawn.
HUNTER
(to Flager)
You're under arrest, Mr. Flager.
Donahue starts to walk toward his car.
MCCALL
Stay where you are, Jerry, we're
not through with you yet.
As Hunter steps over to Flager:
FLAGER
A mad look in his wild eyes, he puts down his head and
rushes at 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.
MCCALL
has been kept busy by Donahue, who has decided to take off
when Flager rushes Hunter, but McCall trips him up and he
lands on his face.
THE SCENE
After Hunter has Flager cuffed and subdued, McCall pulls
Donahue to his feet and handcuffs him.
DONAHUE
Hey! We made a deal!
MCCALL
We need you as a witness. We're
taking you in and booking you.
(beat)
You'll make bail, and 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 an ice pick.
FLAGER
Testify? He is no witness! He
is a witness to nothing!
MCCALL
You hired him to break into Jenny
Hartman's apartment, and we're
gonna nail you as an accomplice,
before and after.
DONAHUE
(to Flager; shrugs)
She wasn't there. They were.
Flager gives Donahue a lethal look, then stares off into
space.
FLAGER
I had no right to seek help from
others. Next time I will do it
alone, with only God's help.
HUNTER
What you did was conspire with
others -- so there won't be a next
time for quite a few years.
MCCALL
You're going away again, creep,
and after you do your time on this
charge...we're going to put you
back in again. You creepheads
aren't the only ones who can beat
the system.
McCall looks at Flager in deadly earnest. He stares back
at her, unblinking.
CUT TO:
EXT. STREET - DAY
A DEAD BODY lies on the sidewalk. TWO UNIFORMS are taking
information from SEVERAL WITNESSES who are gesticulating
wildly.
WITNESS #1
I heard three shots and then the
guy went running off that way.
Witness #1 points off to the left. Witness #2 shakes his
head.
WITNESS #2
No, man. There were four shots.
WITNESS #3
I saw it all. The guy ran off
that way.
Witness #3 points off to the right. The uniforms look at
each other.
THIRD UNIFORM
is trying to keep an unruly crowd of ONLOOKERS at bay.
FOURTH UNIFORM
is talking to the STORE OWNER
UNIFORM
I'm sorry, sir. We cannot remove
the body until the police
photographer has taken pictures
of the area and the coroner has
arrived.
STORE OWNER
(irate)
You mean he's going to lie out
here all day?
UNIFORM
No, sir. If the coroner hasn't
arrived in twenty minutes, we will
reassess the situation.
STORE OWNER
What am I supposed to do in the
meantime? Pretend he's a cigar
store Indian?
The uniform is at a loss for words. McCall walks up to him.
MCCALL
(to uniform)
Sergeant McCall, Homicide. My
partner and I will assume control
now, officer. Thank you.
UNIFORM
And, oh ma'am, thank you!
McCall walks over to the "body".
MCCALL
I think you'll live.
The "body" gets up. This is a training session. All of
the recruits applaud.
HUNTER
(to all)
Pretty good. After lunch we'll
do a critique and then have
questions and answers.
As the recruits move off, McCall yawns.
HUNTER
Can't keep up the pace, huh?
MCCALL
Hunter, I had two hours sleep last
night. Jenny was having
nightmares.
HUNTER
I thought she moved back to her
place.
MCCALL
She did. I called to see how she
was and wound up going over to
sit with her.
HUNTER
Flager's in custody. What's she
worried about?
MCCALL
That he's going to get off.
CUT TO:
INT. COURTROOM - DAY
Hunter and McCall are seated with ALLEN GREENE, the District
Attorney, at the prosecution table. They've got their heads
together in animated conversation. Flager is seated with
his ATTORNEY at the defense table. Jenny is sitting in the
gallery, amidst a scattering of other people. The usual
court employees are in attendance.
PROSECUTION TABLE
MCCALL
(agitated)
I don't understand how it
happened!
D. A. GREENE
I don't either. I just heard
about it.
ON JENNY
An anxious expression on her face as she watches, but can't
hear what's going on.
THE SCENE
As the JUDGE enters the courtroom and all rise on;
BAILIFF
All please rise.
(they do)
Division 53 of the Superior Court
of the State of California, County
of Los Angeles is now open. The
Honorable Norman Gross presiding.
The judge sits.
BAILIFF
(continuing)
Everyone please be seated.
Everyone sits.
JUDGE
Calling the first case. People
versus Flager.
D. A. GREENE
Your Honor, we were ready to
present at this time, but we have
just been notified that our key
witness has left this
jurisdiction. As he is necessary
to the completion of our case,
we request that it be set aside
until such time as he is once
again in custody.
ON JENNY
Confusion and fear on her face.
THE SCENE
JUDGE
Do you have any idea where this
witness is at this time?
ATTORNEY
No, your Honor, we don't. We were
unable to negotiate an acceptable
plea bargain with the Parole
Division of the Department of
Corrections, and the witness
forfeited his bond and fled.
JUDGE
(disgusted)
I have no choice but to declare
that there are no grounds to hold
the defendant in custody. I
suggest the District Attorney
refile this case at such time as
the State's witness is returned
to custody.
(beat)
I hereby order that the defendant
Mr. Flager be released.
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.
THE SCENE
The bailiff approaches Flager to escort him from the
courtroom. But before he reaches him, Flager rises and
starts moving toward Jenny. Hunter jumps up and moves to
Flager, stopping him cold.
HUNTER
Don't go near her, creep! You
ever go near her again I'll rip
your face apart!
FLAGER
You can't stop me! Nobody can
stop me!
The Bailiff has Flager and is forcefully removing him from
the room with the assistance of another Uniformed Officer.
FLAGER
(shouts at Jenny)
You have been chosen! And I am
the instrument! No man can deny
his God!
FADE OUT
END OF ACT TWO
***********************************************************
FADE IN:
INT. COURTHOUSE - CORRIDOR - DAY
The hallway has several people milling around waiting for
court appearances, etc. We FIND a very shaken Jenny talking
with Hunter and McCall. They are trying to calm her down.
JENNY
You heard him. He's absolutely
insane and all I can do is sit
and wait till he finds me again.
Jenny breaks, and tears start to flow. McCall puts an arm
around her.
HUNTER
He's not gonna get near you again,
Jenny. We're going to get him.
MCCALL
Go back to my apartment. It'll
take them a while to do the
paperwork before they release him.
And then he'll lay low before he
tries anything again.
JENNY
How can you be so sure?
McCall and Hunter trade looks.
HUNTER
Because unfortunately he's not
the first nut we've ever come up
against.
(beat)
You okay to drive?
Jenny nods.
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)
I'd like to strangle that zombie
with my bare hands.
HUNTER
You'll have to stand in line.
As they head off, D.A. Greene rounds a corner. He comes
up to them.
D. A. GREENE
Where's Miss Hartman?
MCCALL
In a safe place, we hope.
D. A. GREENE
I'm sorry about the way this
turned out.
MCCALL
You mean, the way the system's
become a haven for the criminals
and not the victims?
D. A. GREENE
It sometimes looks that way,
doesn't it? And believe me, I
don't like it any better than you.
(beat)
Sometimes when I get home at night
I just stand under a hot shower
and try to wash the stench away.
I could stand there forever on
days like this and it wouldn't
help.
The three share a look and Greene continues on down the
hall.
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
I haven't really had a day of
peace since the attack. I kept
ticking off the days, dreading
the day he'd get out.
(beat)
He was a prisoner for seven years.
He's made me one for life.
MCCALL
(talking about
herself, really)
I remember how it changes
everything: the way you look at
everything. You're suddenly aware
of people in a totally different
way...You don't want to make eye
contact with anyone...and you
wonder how you could've been so
innocent for so long...
McCall pushes herself away from the table and looks off in
the distance.
MCCALL
(continuing;
softly)
This sure isn't the world I
thought I was going to grow up
into.
JENNY
(small smile)
"Father Knows Best" and "Leave
it to Beaver"?
McCall turns back, and after a beat returns the smile.
MCCALL
Yeah. That Wally sure was cute.
JENNY
I wanted him bad. Of course at
that age I'm not sure I would have
known what to do with him.
MCCALL
(kidding)
But you would now.
JENNY
(big)
Oh, yeah.
INT. SCORING STAGE - DAY
The musicians are starting to cone 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.
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
Hi. I'm Brad Wagner. Officer
Wagner.
Jenny is extremely nervous...doesn't believe this for a
minute.
JENNY
Yes?
BRAD
Well, I'm off duty today, so if
you don't mind, I'll just hang
out here and then escort you home
this evening.
JENNY
How do I know you're telling me
the truth?
Brad reaches in his pocket and produces his badge. He shows
it to Jenny.
JENNY
(wary)
I didn't know I had police
protection.
BRAD
Well, officially you don't. But
I'm here compliments of Hunter
and McCall. We all want to do
whatever we can.
Jenny is still hesitant.
BRAD
(continuing)
Listen...I'm glad you're not sure
of me. Why don't you call Sgt.
McCall at the station?
Here...I'11 give you the change...
Brad reaches in his pocket. Jenny stops him.
JENNY
That's okay. I'm sorry. It's
just that...I want to be
careful...and...
BRAD
I understand. We'd all rather
have you on your guard than not.
I'll be right outside if you need
me.
JENNY
Thank you.
Brad smiles at her and exits. Jenny looks after him, and
then takes her place at the piano.
INT. SQUAD ROOM - DAY
McCall is at her desk, moving in slow notion if at all.
She opens a file, closes it. Picks up the phone receiver,
puts it down. Puts her head down on her arms. Hunter
enters. She HEARS his FOOTSTEPS, and without looking up:
MCCALL
You're late.
HUNTER
You're right.
He settles himself at the desk. She sits up.
MCCALL
If I don't get some sleep I'm
gonna die. I didn't get to bed
last night until —
HUNTER
(interrupts)
Three forty-five.
MCCALL
How did you know?
HUNTER
That's the time the light went
out in your bedroom.
MCCALL
(amazed)
You were outside?
Hunter nods.
MCCALL
(continuing)
All night?
HUNTER
Until the sun popped up — at six
twenty-eight.
MCCALL
(touched)
Hunter...
(beat)
Why didn't you come inside? I
could have given you some coffee
or something.
HUNTER
(grins)
Thanks, but I've had your coffee.
(beat)
Actually, I thought you two might
be having some girl talk.
MCCALL
Yeah, we did.
(beat)
We were up all night talking about
murder, mayhem and Wally Cleaver.
HUNTER
Works for me.
Hunter puts his feet up on the desk, and his head back,
closing his eyes.
HUNTER
Wake me if you need me. I gotta
catch some zee's.
MCCALL
That's one of the things I've
always admired about you. Hunter.
(beat)
Your ability to sleep anywhere
in the midst of anything.
HUNTER
(eyes still closed)
Too bad my last girlfriend didn't
share your attitude.
(beat)
What are you doing?
MCCALL
Status report. Then we have to
get over to the Academy.
McCall works for a few beats, then has a humongous yawn,
followed by her gently putting her head down. As we are
ON THEM
DEVANE'S VOICE
What the hell do you two think
you're doing?
INT. DEVANE'S OFFICE - DAY
McCall and Hunter. Both are now wide awake. Devane is
behind his desk.
DEVANE
You're moonlighting. Both of you.
That's why you can't keep your
damn eyes open, right?
MCCALL
Well, technically, yes. But we're
really just trying to protect...
DEVANE
(interrupting)
I know what you're doing.
Protecting Jenny Hartman. And
you've got half the division
helping out.
Hunter and McCall look at each other guiltily. Devane takes
a breath. Then
DEVANE
Listen, I'm sympathetic to what
you're trying to do. I am. And
I wish I could authorize it so
you wouldn't have to do it on your
own time. But I can't.
(beat)
So you're going to have to find
some way to take care of it
without coming in here dragging
your asses. Because 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.
INT. SQUAD ROOM - EVENING
Hunter and McCall are wrapping it up for the night. Their
desks are a little more orderly than they were earlier.
HUNTER
Well, they sure got their hourly
wage out of us today. I don't
want to type another last name
first as long as I live.
MCCALL
Yeah, well your two-finger method
does put you at a distinct
disadvantage.
HUNTER
I had better things to do in
school than take typing.
MCCALL
Like throwing a pigskin around?
At least I took something I could
make a living with if I had to.
HUNTER
Yeah? What was that?
And they head on out.
EXT. SUPERMARKET PARKING LOT - NIGHT
McCall is loading the front seat of her car up with grocery
sacks.
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
Jenny is washing her hair in the sink. On the counter next
to her are shampoo and conditioner. She is wearing a terry
cloth robe.
EXT. MCCALL'S STREET - NIGHT
Ralph Flager is sitting in a nondescript car, lights out,
eyes on McCall's place.
EXT. STREET - NIGHT
Traffic moves along and we pick up McCall's car.
INT. MCCALL'S CAR - NIGHT
She is HUMMING along with the radio. She suddenly stops
short and
ANGLE ON PASSENGER SEAT
Where her grocery bags have fallen over.
BACK TO SCENE
MCCALL
Damn.
EXT. STREET – NIGHT
As McCall's car pulls over to the side.
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
Jenny is rinsing the lather off her hair. Her hand reaches
out and grabs the bottle of conditioner. She holds it close
to her face and reads
JENNY
(reading)
For maximum benefit, leave on
clean hair for one to two
minutes.
She starts to unscrew the bottle top.
EXT. MCCALL'S STREET - NIGHT
Ralph Flager, dressed all in black, quietly gets out of his
car.
EXT. STREET – NIGHT
McCall's car pulls away from the sidewalk.
EXT. MCCALL'S HOUSE - NIGHT
Ralph Flager is prowling around. He goes to the front door
and carefully tries it. It's locked.
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
Jenny reaches out on the counter and finds her watch. She
holds it close to her face, her head still hanging over the
sink.
JENNY
Another two minutes. Why take
any chances.
She puts the watch down.
EXT. MCCALL'S HOUSE - BACK BEDROOM
Flager is using a glass cutter near the lock on the window.
EXT. MCCALL'S HOUSE - STREET – NIGHT
McCall is just pulling up.
INT. MCCALL'S HOUSE - BACK BEDROOM - NIGHT
We SEE Flager'e hand reach in and unlock the window. He
starts to ease himself through the window.
EXT. MCCALL'S STREET - NIGHT
McCall gets out of her car and goes around to the passenger
side. She starts to take the grocery bags out. But she
can't carry them all at once. She stands there a few beats
trying to juggle them... under an arm...on a hip...
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
Jenny is rinsing her hair and reaching for a towel. She
wraps her hair and picks up her head. She sees Flager's
face in the mirror. He holds an ice pick in his upraised
hand.
EXT. MCCALL'S HOUSE - NIGHT
McCall is making her way to the door, house keys in one
hand, balancing her packages, as she HEARS JENNY SCREAM.
She drops everything, reaches for her gun and frantically
rushes into her house.
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
In the mirror we see Flager's hand stabbing with his ice
pick. Suddenly his hand freezes as he HEARS McCall
MCCALL'S VOICE
(calling)
Jenny...
Flager runs out, heading for the back bedroom.
INT. MCCALL'S HOUSE - HALLWAY/BACK BEDROOM - NIGHT
Flager is making his escape as McCall tries to get him.
Fight to be choreographed on the set, however, it should
be obvious that McCall never gets a clear look at Flager's
face. Flager gets away out the window. McCall has a choice
to go after him or go back to Jenny. She runs back to
Jenny.
INT. MCCALL'S HOUSE - BATHROOM - NIGHT
As McCall rushes in. She goes to Jenny, her own body hiding
Jenny's from the camera. We HEAR JENNY MOAN softly.
INT. MCCALL'S HOUSE - LIVING ROOM – NIGHT
As McCall runs to the phone and punches in "911".
MCCALL
(into phone)
This is an emergency! I need an
ambulance..•
INT. HOSPITAL CORRIDOR - DAY
CLOSE ON Brad Wagner's face. PULL BACK and see that he is
sitting on a chair outside of a closed hospital room door
with a sign on it that says "No Visitors". A few moments
later Hunter and McCall come out of that room with DR.
JENSEN, a strong-looking woman in her fifties.
HUNTER
Thank you for letting us see her,
Doctor.
DR. JENS EN
I'll let you know if there's any
change, but I don't forsee any
in at least the next forty-eight
hours.
MCCALL
You have my number...
Dr. Jensen nods, and goes back into the room. Brad stands.
BRAD
That bad, huh?
MCCALL
(flat)
Nine stab wounds.
She looks briefly at the two men and walks away.
BRAD
(to Hunter)
McCall doesn't think it's her
fault, does she?
HUNTER
Probably.
He heads out after McCall.
EXT. FREEWAY - DAY
We FIND Hunter's car in the traffic.
HUNTER
McCall...you didn't see Ralph
Flager. I was sitting there when
you told Finn in your preliminary
report that you never got a good
look at the guy. Remember?
MCCALL
Of course I remember.
HUNTER
Then what's this all about?
MCCALL
I know it was Ralph Flager and you
know it was Ralph Flager.
HUNTER
Yeah. Even though I wasn't there.
The defense attorney's gonna ask
what if it was Jerry Donahue
again?
MCCALL
Let him ask. It was Ralph Flager.
McCall, furious, looks at Hunter and then out the window
again.
HUNTER
Okay, I'm out of it. This is your
party.
INT. D.A. GREENE'S OFFICE - DAY
Greene and Hunter are listening to McCall.
MCCALL
Just a few more minutes. A few
more minutes and I would have had
him. I could have stopped him
from getting to Jenny at all.
D. A. GREENE
I understand how you feel. But
unless you can positively ID him
for us...or get some prints...
HUNTER
(short)
There weren't any prints.
MCCALL
Somebody has got to do something.
D. A. GREENE
I'm not saying we don't have a
case. I mean it's the same m.o.,
weapon, victim...but it won't
stick. My boss probably won't
even let me take it to trial —
he doesn't like to lose.
MCCALL
(frustrated)
So that's it?
D. A. GREENE
Unless you tell me now that you
can ID him...
McCall looks at Greene 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.
She gets up and exits the room.
INT. SQUAD ROOM - DAY - LATER
Hunter and McCall come into the room and sit down at their
desks. 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
didn't take it.
MCCALL
When did you have a shot at his?
HUNTER
The night Jerry Donahue led us
to Flager. When he resisted
arrest I could have shot him.
MCCALL
(nods)
You could have, yes. But a good
cop wouldn't have, and you didn't.
HUNTER
And you wouldn't ID Flager for
the same reason.
(pauses)
You figure we've joined the
system?
MCCALL
(glumly)
Hunter, we are the system. We
have to be, there's nothing we
can do about it.
She looks up to see one of the UNIFORMED OFFICERS
approaching her. He has a large envelope in his hand.
OFFICER
McCall, a delivery boy just
dropped this off for you.
ON MCCALL
As she looks at the envelope with her name on it. With an
air of faint curiosity she opens it. It is a valentine.
The front of the card says something like "Just for You".
She opens it, curious.
THE CARD
Inside, it says in crude red lettering: "You're next".
BACK TO SCENE
As McCall drops it on the desk and her hand goes to her
mouth.
FADE OUT
END OF ACT THREE
There’s a handwritten note at the end of the last line that appears to be in Fred’s handwriting. “Hunter picks it up, looks at it, looks at McCall”.
*************************************************************
ACT FOUR
INT. DEVANE'S OFFICE - DAY – LATER
CLOSE ON Valentine on his desk.
DEVANE'S VOICE
Alright. I've got a Christmas
present for you.
PULL BACK to see Hunter and McCall standing at Devane's
desk.
HUNTER
It’s not Christmas, Captain.
DEVANE
And it's not Valentine's Day,
either.
(beat)
This Flager is all yours. You're
officially on the case, the guy's
a suspect in an attempted homicide
— and God forbid it should turn
into homicide. I've got someone
to take over for you both up at
the Academy.
MCCALL
Thank you, sir
DEVANE
McCall, excuse yourself for a
minute. I want to talk to Hunter.
MCCALL
Yes, sir.
She gives Hunter a look and exits. They watch her go.
DEVANE
I want you to keep an eye on her.
I don't want her going overboard.
I know how much she wants this
guy.
HUNTER
All right.
DEVANE
By the book. I want it all done
by the book. Do I make myself
clear?
HUNTER
Yes sir. Is that all?
DEVANE
Well, I didn't want you to stay
so I could ask you to dance.
HUNTER
Just as well. I don't dance.
As Hunter exits
INT. HUNTER'S APARTMENT - NIGHT
Hunter and McCall are just coming in, each carrying a
suitcase.
HUNTER
You sure you brought enough stuff
with you?
MCCALL
Do I detect a tinge of sarcasm
in your voice?
HUNTER
More a tad than a tinge, I think.
They put the bags down.
HUNTER
(continuing)
Buy you a drink?
MCCALL
Sure. It's been ages since I've
been to a slumber party.
Hunter goes to the bar assuming there is one, and we'll
assume there is and makes them drinks. McCall kicks her
shoes off and plops down on the couch.
MCCALL
I hope my staying here isn't going
to cramp your style too much.
HUNTER
It' s not gonna cramp it... it' s
gonna kill it.
He walks over and hands her a drink.
HUNTER
(continuing)
But what are pals for?
MCCALL
Well, with any luck, Flager'll
make his move before long and we
can wrap this one up.
(beat)
Listen to me, "With any luck".
She takes a sip of her drink and then makes a face.
MCCALL
(continuing)
What is this?
HUNTER
Ginger ale.
MCCALL
Hunter, I'm over twenty-one.
HUNTER
(a la Bogart)
We're on red alert, sweetheart.
Can't dull our edges.
MCCALL
Jimmy Cagney?
HUNTER
(deflated)
Humphrey Bogart.
MCCALL
Well, in that case...
(downs her drink
and holds up the
glass)
Play it again, Sam.
EXT. CITY STREET - DAY
We FOLLOW Hunter'B car in the traffic.
MCCALL (V.O.)
I couldn't find the salt this
morning. Where do you hide it?
HUNTER (V.O.)
Don't have any. It's not good
for you.
MCCALL (V.O.)
Well, we can get some on our way
home tonight. You need bread,
too.
HUNTER (V.O.)
I've got bread.
MCCALL (V.O.)
I don't know what you've got, but
it isn't bread.
HUNTER (V.O.)
You're referring to that white
stuff that tastes like cotton
batting?
MCCALL (V.O.)
That's the stuff. And cookies.
I didn't see any cookies.
HUNTER (V.O.)
You know anything about nutrition,
McCall? Anything at all?
MCCALL (V.O.)
Yeah. There are three basic food
groups. Take out, order in, and
frozen.
Hunter lets out an anguished cry.
MCCALL (V.O.)
What was that for?
HUNTER (V.O.)
Nothing.
EXT. HAMBURGER STAND - DAY
Hunter and McCall are standing at the take-out window with
SPORTY. He is ordering.
SPORTY
Make that a double burger.
(to Hunter)
You buying?
Hunter nods.
SPORTY
And double chill.
The cook behind the window nods, and turns away. Sporty
turns to Hunter and McCall.
SPORTY
(continuing)
That's all you want? Flager's
last address?
HUNTER
No. We want to find a guy named
Jerry Donahue, too. Know him?
SPORTY
Know him? The dude's a legend I
MCCALL
So he said.
(beat)
We need this fast, Sporty.
SPORTY
Sure, sure. But aren't you
forgetting something?
HUNTER/MCCALL
How much?
SPORTY
Sporty James is not a non-profit
enterprise, as you keep forcing
me to remind you.
EXT. RUN-DOWN APARTMENT HOUSE - DAY (MOS)
Hunter and McCall are standing at a door, having just
knocked. It is opened moments later by MRS. KATZ, a frail,
elderly lady, the owner of the building. They exchange
words. Hunter and McCall show their badges, and are ushered
inside.
INT. MRS. KATZ'S APARTMENT - DAY
A small, meticulously kept place. All three are seated.
There is a walker by Mrs. Katz's chair. She has a picture
of Flager in her hands.
MRS. KATZ
Well, I didn't know him as Ralph
Flager. He told me his name was
Richard Farnon.
HUNTER
Did he have any visitors? Get
friendly with any of your other
tenants?
MRS. KATZ
Not that I'm aware of. He kept
pretty much to himself. And you
know, he wasn't here very long.
MCCALL
Did he leave a forwarding address?
MRS. KATZ
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 lovely, quiet man.
HUNTER
You didn't notice anything strange
about him?
MRS. KATZ
Well...nothing I could put my
finger on. He was...maybe kind
of lacking in, uh, spontaneity,
you might say. I'm sorry I can't
be of more help.
Hunter and McCall rise.
MCCALL
Mrs. Katz...if you think of
anything...anything at
all...please give us a call.
McCall takes a card out of her bag and hands it to the old
lady. As they head for the door the SOUND OF GUNFIRE is
heard.
INT. SHOOTING RANGE - DAY
The place is crowded. The NOISE is deafening. At one end
of the range are Hunter and McCall, plastic glasses and
hearing protectors in place. We are ON MCCALL, shooting
from ten yards at two silhouettes, alternating shooting at
one and then the other, hitting dead eye center on both of
them.
HUNTER'S POV
Of McCall's determined face.
THE SCENE
As McCall pauses to reload.
HUNTER
(yells to be heard)
Let's get out of here.
McCall holds up one finger, reloads, and shoots six rounds
in rapid fire succession at one of the targets.
ON TARGET
As her bullets fly practically one on top of the other.
INT. HOSPITAL CORRIDOR - NIGHT
There is another officer outside of Jenny's room. Hunter
and McCall are talking with Dr. Jensen.
MCCALL
If we could just talk to her... for
a few minutes...
DR. JENSEN
I'm sorry. Sergeant. I simply
can't allow it. Her injuries are
extensive and we must keep her
sedated. I'm sorry you
misunderstood my message. I was
only calling to tell you that her
condition had been upgraded.
McCall nods.
MCCALL
I know. I was just hoping...
DR. JENSEN
(kindly)
She won't be able to talk, but
if you'd like to go in and sit
with her for a while...
MCCALL
Thank you.
McCall looks to Hunter.
HUNTER
That's okay. I'll wait for you
out here.
McCall goes into the room.
INT. HUNTER'S HOUSE - NIGHT
McCall is huddled in a corner of the couch wrapped in a
bathrobe. Hunter approaches, handing her a brandy snifter,
MCCALL
I can't take it anymore. I feel
like I'm going to snap any second.
HUNTER
Come on. I'll give you a
back-rub.
MCCALL
I don't want a back-rub. I want
Ralph Flager.
HUNTER
Well, you're sure as hell ready
for him.
MCCALL
I don't know how to live like
this. Just waiting for him to
try and kill me. Jenny's lying
in that hospital and I can't do
a damn thing about anything. All
I can do is sit here and wait.
HUNTER
I don't know what to tell you.
Listen...tomorrow night let's got
to the movies or something. I
can't sit around here, either.
MCCALL
What if it was all a bluff? What
if he's not going to come after
me at all?
HUNTER
I don't know.
(looks at watch)
Throw that drink down and let's
hit the sack. It's almost two
o'clock. And we gotta give the
citizens their money's worth in
the not too distant a.m.
Hunter stands and starts to turn out some lights. Just then
the PHONE RINGS. They look at each other. Hunter goes to
the phone.
HUNTER
(continuing; into
phone)
Hello?
(beat)
Hello?
He holds the phone another beat, and then puts it down.
He looks at McCall.
HUNTER
Whoever it was hung up.
(beat)
I think he knows you're here.
EXT. DOWNTOWN "RESIDENTIAL" STREET - DAY
Hunter pulls his car up to the curb, checks the address on
an awful looking building with the piece of paper in his
hand, and walks up the stairs.
INT. SEEDY HALLWAY - DAY
Hunter stands outside an apartment door. He listens, HEARS
a TV ON. He knocks.
HUNTER
(calls)
Donahue...open up. I know you're
in there.
(beat)
Donahue...
He HEARS some NOISE from inside, pulls out his gun and kicks
in the door.
HUNTER'S POV
Run-down room, TV ON, window open.
THE SCENE
As Hunter tears through the room and out the open window.
EXT. BUILDING - DAY - CONTINUOUS
As Hunter comes out the window, down the fire escape, we
see Donahue running like hell down an alley. Hunter gives
chase. To be choreographed. Your basic trash cans, winos,
chain link fences, ending in Hunter throwing Donahue against
a wall and cuffing him.
EXT. ALLEY - DAY – CONTINUOUS
As Hunter puts the cuffs on Donahue.
HUNTER
It's not nice to make me run this
early in the morning, Donahue.
Puts me in a real bad mood. Let's
get moving.
As Hunter drags him down the alley.
INT. SQUAD ROOM - DAY
McCall is at her desk. The PHONE RINGS.
MCCALL
(into phone)
McCall. Homicide.
INTERCUT WITH:
INT. MRS. KATZ'S APARTMENT
Where Mrs. Katz is on the phone. TIGHT SHOT.
MRS. KATZ
(into phone)
Sergeant McCall...this is Mrs.
Katz...Ralph Flager's landlady?
MCCALL
Yes...
MRS. KATZ
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
over. And thanks.
END INTERCUT
As McCall grabs her bag from under her desk.
INT. MRS. KATZ'S APARTMENT - CONTINUOUS
Mrs. Katz stands next to her phone. Flager stands next to
her, an ice pick in his hand.
EXT. CITY STREET - DAY
We FIND MCCALL'S CAR going along at a fast clip through
traffic.
INT. SQUAD ROOM - DAY
Hunter comes in, dragging a mournful Jerry Donahue. He puts
him in a chair by the desk and rolls a piece of paper into
his typewriter. Doug, the uniform, walks by.
HUNTER
Yo, Doug. Seen McCall?
DOUG
Yeah. She just left. Went to...I
think the name was Katz?
Hunter pauses an instant, then jumps up.
HUNTER
Do me a favor. Keep an eye on
this creep. And don't let him
out of your sight. He's a legend.
Hunter bolts out of the room.
EXT. CITY STRET – DAY
McCall's car is still moving steadily.
INT. MRS. KATZ'S APARTMENT - KITCHEN - DAY
Flager is methodically washing his ice pick in the sink.
The sink is stained with bloody water.
EXT. CITY STREET - DAY
As McCall's car pulls up to the curb. McCall gets out of
the car and heads up the path.
INT. MRS. KATZ'S APARTMENT – DAY
Her front room is empty.
EXT. CITY STREET - INTERSECTION – DAY
Hunter is on Code 3.
EOT. RUN-DOWN APARTMENT HOUSE – DAY
McCall is at Mrs. Katz's front door. She is knocking.
MCCALL
(calls)
Mrs. Katz? It's Sgt. McCall.
(beat)
Mrs. Katz... ?
McCall tentatively tries the front door. It opens. She
pulls out her gun and cautiously enters.
INT. MRS. KATZ'S APARTMENT - DAY - CONTINUOUS
MCCALL'S POV
Empty front room. The walker in a corner.
BACK TO SCENE
As McCall slowly comes in.
MCCALL
(continuing)
Mrs. Katz...?
TRACK as McCall slowly makes her way further into the
apartment. We HEAR A VOICE that sounds sort of like Mrs,
Katz's coming from the back of the apartment.
FLAGER (O.S.)
(as Mrs. Katz;
faintly)
I'm in here...
McCall turns quizzically at the sound of the voice. She's
just not sure...
INT. MRS. KATZ'S APARTMENT - BEDROOM - CONTINUOUS
Ralph Flager, close to a wall, calls out again. Looking
crazed.
FLAGER
(as Mrs. Katz)
Sgt. McCall!
INT. MRS. KATZ'S APARTMENT - HALLWAY - CONTINUOUS
McCall makes her way down the dimly lit hallway. Suddenly
Flager appears from a bedroom doorway. He has an ice pick
in his hand.
FLAGER
(creepy as hell)
You tried to stop me from doing
God’s work.
MCCALL
Put it down or I'll shoot.
Flager lunges at her. McCall deflects him and kicks him in
the stomach. He scrambles and grabs her by the ankles. She
goes down, rallies and grabs him by the legs. He goes down and
she manages to get on her feet. He reaches up and stabs her
in the thigh with his ice pick. She falters and as they go
at each other
EXT. APARTMENT HOUSE - DAY - CONTINUOUS
Hunter's car squeals up and he jumps out of his car and into
the apartment.
INT. MRS. KATZ'S APARTMENT - DAY - CONTINUOUS
McCall and Flager are racing each other to McCall's gun which
is across the room by now. McCall gets to it first. As she
grabs it. Flager is about to stab her in the back and
Hunter runs in, gun drawn
HUNTER
(yells)
Drop it!
MCCALL
(yells)
He's mine!
And as Flager comes at her, she manages to take shot and
deadly aim at him. She shoots, he falls, and after a moment's
shock, she all but swoons into Hunter's arms. He grabs her
and she falls back, bleeding from the upper thigh, and
probably from some superficial wounds on her arms. Hunter
holds her tight.
FADE OUT
END OF ACT FOUR
TAG TO FOLLOW...
Check out the notes below that appear to be in Fred’s handwriting.
TAG
FADE IN:
INT. HOSPITAL CORRIDOR - DAY
The "police" chair outside of Jenny's hospital room is
empty. The "No Visitors" sign is removed.
INT. HOSPITAL ROOM - DAY
Jenny, bandaged, but sitting up, is talking with Hunter and
McCall. There are some bouquets of flowers, and the atmosphere
is decidedly upbeat. McCall has one arm in a sling.
Me CALL
You're safe, Jenny. Finally
and forever.
JENNY
I can't believe it. After all
these years...
(beat)
I don't know how I'll ever be
able to thank you....
HUNTER
Well, we wouldn't mind some front
row tickets to your next concert
once you're out of this joint...
McCALL
Hunter...I didn't know you liked
classical music.
HUNTER
(stricken)
You play classical music?
Dr. Jensen sticks her head in the door.
DR. JENSEN
Sorry to break this up...
McCALL
Five more minutes?
DR. JENSEN
No more minutes.
McCall smiles, and a little stiffly gets up. Dr. Jensen closes
the door. Hunter goes to help McCall walk.
HUNTER
We'll be back tomorrow, okay?
JENNY
Wonderful. Thank you.
McCall goes to the bed and squeezes Jenny's hand.
MCCALL
Now you be good and do what the
nice doctor tells you, okay?
Jenny nods.
HUNTER/McCALL
‘Bye.
INT. HOSPITAL CORRIDOR - DAY - CONTINUOUS
As Hunter and McCall come out of the room, McCall is leaning
on Hunter to help her walk.
HUNTER
I gotta ask you something.
MCCALL
Go for it.
HUNTER
(hesitantly)
Do you think you had to kill Flager?
McCall thinks a beat. Her expression is very serious. Then
against whatever ambiguity there might be on her face
MCCALL
Yes.
FREEZE FRAME.
THE END