HUNTER
“THE AVENGING ANGEL”
Written by Brian Alan Lane
ACT ONE
FADE IN
EXTREME CLOSE-UP - RICK HUNTER
in his customary coat and tie, is sweating, tugging nervously
on his shirt collar as we do a
SLOW PULL BACK
HUNTER
...and so I mirandized Dr.
Pierpont a second time when
we arrived at the station...
CONTINUE PULL BACK TO REVEAL
The wooden witness box railing and microphone in front of
Hunter.
NELL(O.S.)
A second time, Sergeant? You
mirandized the defendant twice?
Isn't that a little unusual?
HUNTER
Yes well, you see -
CONTINUE PULL BACK TO REVEAL
Hunter sitting in the witness box, the empty jury box to his left
(screen right), the gentlemanly JUDGE at the bench to Hunter's
right (screen left)... and Hunter's eyes are fixed straight
ahead on the unseen Nell...
NELL(O.S.)
You mirandized the defendant for
the second time because he was
unconscious the first time, isn't
that right?
HUNTER
I wouldn't say that "unconscious"
is exactly the way I'd describe
him...
CONTINUE PULL BACK TO REVEAL
The bored COURT REPORTER typing away at her steno machine in
front of and to the right of the Judge; and the peevish COURT
CLERK fumbling around efficiently at his desk and over-stocked
shelves to the right of the Judge's bench...
NELL(O.S.)
And just how would you describe a
man you'd hurled through a plate
glass window and down two flights
of stairs?
D.A.(O.S.)
Your honor, I must object to the
last question as wholly irrelevant.
If counsel is trying to intimidate
this witness, she's -
HUNTER
The defendant came at me with a
tooth drill, all right? What was
I supposed to do, stand there and
let him fix my overbite?
The Judge chuckles, and the unseen gallery has a laugh, too.
REVERSE ANGLE - CLOSE-UP - NELL ARMSTRONG
an elegant, well-tailored, blonde woman of about twenty-nine.
She smiles:
NELL
Your honor, if Sergeant Hunter
will promise to brush after every
meal and floss before bedtime,
then I'll withdraw the question.
PULL BACK TO INCLUDE
Hunter in the foreground, and, in the background, behind Nell,
the counsel tables and well-filled gallery. At the tables,
respectively, is the young, blue, pin-striped D.A., and DOCTOR
ANTHONY PIERPONT, 46, the nicely-dressed defendant, a bandage
on his forehead, one arm in a sling. In the front row of the
gallery is ARNOLD MORTON, 48, a pudgy, nondescript, stoop-
shouldered, balding fellow wearing wire-rimmed eyeglasses, a
worn tweed sportcoat (leather patches on the sleeves) and tie,
and tan cord trousers and black leather sneakers - Arnold
carries a cane, and he has it standing straight up on the
floor in front of him now, so that he can rest his head on
his hands on top of it and quietly watch over the gallery
railing to the proceedings. In Arnold's ear is the flesh-
colored plug of a hearing aid. Across the aisle from
Arnold is WILLIE WAKEFIELD, 23, a ferret-faced guy with
slicked-down hair and rings around his eyes that make him
look nervous. At this moment, DEE DEE McCALL, obviously
late and harried, a striking leather attache case in her
hand, comes into the courtroom through the door behind the
gallery, and tiptoes into a seat a few seats away from
Arnold -- her entrance does not escape Hunter's notice.
Hunter now responds to Nell's query:
HUNTER
I promise, counselor.
NELL
Only one more question then - you
would never have had cause to
investigate this case were it not
for an anonymous phone tip received
at your police station, isn't that
so?
HUNTER
That's correct.
NELL
Thank you, Sergeant.
The Judge indicates for Hunter to leave the witness box as
Nell goes back and sits down next to Pierpont. Now the D.A.
stands and calls his next witness as Hunter makes his way
toward the gallery.
D.A.
The State calls William Wakefield.
Willie twitches, stands, passes Hunter as they each go
through the gallery gate in opposite directions. Hunter
sits down next to Dee Dee - she has the attache case
tucked under her seat, her skirt intentionally camouflag-
ing it -- he notices but does not comment.
HUNTER
Nice of you to show, McCall.
Forget to set your alarm?
DEE DEE
This was your bust, Hunter -
I'm just here as an observer.
But from what I heard as I came
in the door, I can't say I'm
sorry I missed your performance.
HUNTER
It's that defense lawyer, Nell
Armstrong -- she's like an octopus,
she twists everything around.
Dee Dee smiles, notices Nell looking around and smiling at
Hunter as Willie is sworn in and now approached by the D.A.,
At the same moment Hunter, looking across Dee Dee, notices
Arnold looking toward him and smiling, then looking back
to the proceedings and adjusting his ear piece.
D.A.
Mr. Wakefield, would you tell
us please about the conversation
you overheard in Martelli's
Restaurant on the night of
November sixteenth, this year.
WILLIE
(nervous)
Which conversation you referring
to?
D.A.
The conversation between the
defendant and Ken "The Rat"
Weintraub.
WILLIE
Look, Mr. D.A., I know how when I
was in your office, I told you
all about how Dr. Pierpont was
trying to hire "The Rat" to kill
the Doc's wife, but now that I'm
here, under oath and all, I gotta
tell you the truth that it was
real dark in Martelli's, and real
noisy too, and I'm just not sure
what I heard or who was doing the
talking... I'm real sorry.
(eyes Judge)
Can I go now?
D.A.
Your honor, this witness gave me
a statement that -
NELL
(cutting in)
Your honor, it's obvious that
the State's case is nothing more
than blind, unfounded faith in
an anonymous tip - and I must
move for dismissal of all charges,
with prejudice.
JUDGE
Will both counsel please approach
the bench.
The D.A. and Nell head toward the bench, on the side away from
the witness box. Meanwhile Hunter stares furiously across at
Willie who is eyeing a smiling Pierpont.
HUNTER
(to Dee Dee)
They got to Willie, dammit.
DEE DEE
One way or another, Armstrong
always seems to come out on the
winning end, doesn't she?
Once again. Hunter notices Arnold looking his way - now Dee Dee
follows Hunter's gaze and Arnold smiles at them, then turns back
to watch the proceedings - the lawyers are huddled with the
Judge, whispering so as not to be overheard.
ARNOLD
adjusts his ear piece, lifts his cane ever so slightly so that
its knob is just above the railing and aimed toward the
conference at the bench, and as he reaches into his pocket to
spin up the volume on his hearing aid, we can HEAR what he
hears, and now we know that his cane contains a powerful
microphone...
D.A.
(filtered)
Give us a recess, your honor,
so I can have a little chat
with Mr. Wakefield.
NELL
(filtered)
You mean so you can intimidate
him into changing his tune.
D.A.
(filtered)
How dare you! I resent the
implication that -
JUDGE
(filtered)
Look, Mr. Wakefield has no more
credibility with this court, so
let's just forget about him.
However, since this is only a
preliminary hearing, and since
Sergeant Hunter has convinced
me that the State does have the
makings of a case, I am going
to dismiss without prejudice.
If the State wishes to continue
its investigation and bring these
charges again when the case is
stronger, then this court will
not stand in the way. That's
how I'm going to rule.
D.A.
(filtered)
Thank you, your honor.
NELL
(filtered)
Thank you, your honor.
Arnold drums his fingers thoughtfully on the gallery railing
as the lawyers head back to counsel tables.
OMITTED
OUTSIDE THE COURTHOUSE
Various LAWYERS and CLIENTS are about as an angry Hunter
stalks down the steps, followed by Dee Dee (attache case in
hand), and, ultimately, others from the courthouse, including
Arnold who strolls past.
DEE DEE
(to Hunter)
Look, it wasn't your fault, it
was a righteous bust.
The D.A. sidles past, shrugs at Hunter. Now Nell and
Pierpont come out of the courthouse.
DEE DEE
That creep tried to take out a
contract on his wife, then he
decided it'd be neater if he
killed her himself, so he jammed
her full of insulin.
HUNTER
And now she' s in a coma.
Nell has overheard - she smiles coolly.
NELL
All you gotta do is prove your
Case, Hunter, is that too much
to ask?
HUNTER
All I want is for the rules to
be equal, counselor.
DEE DEE
You buy off a witness, we get to
buy one for our side -- you know,
like that.
Dee Dee now notices a handsome, well-dressed lawyer, TED
CRAFT, 37, coming up the steps, some loose case files
(but no attache case) in hand. She scoots off to rendez-
vous with Ted as Nell and Hunter continue their talk:
NELL
(sternly)
I don't buy off witnesses.
HUNTER
Then what happened? I had an
open and shut case here.
NELL
Believe it or not the case
isn't closed once you decide
who's guilty. Not unless you're
planning on being judge, jury
and executioner as well as cop.
Nell takes Pierpont by the elbow and leads him off. Hunter
turns to see Dee Dee receiving an intimate hug and kiss
from Ted who is now carrying the attache case. Ted turns
and goes back the way he came. Dee Dee comes over to Hunter.
Dee Dee and Hunter head for the exit.
HUNTER
So, you gonna tell me about it?
DEE DEE
No.
Hunter shrugs and heads off down the steps. Dee Dee smiles,
shakes her head and follows him.
DEE DEE
(catching up with
Hunter)
His name is Ted Craft.
HUNTER
The forgetful U.S. Attorney?
They have reached the sidewalk - and they continue on
across the street, jaywalking toward where Hunter's car is
parked by the opposite curb in front of a nondescript
powder blue panel truck (van). There are no windows on
the sides and back of the van. Dee Dee's car is parked a
few spots behind the van.
DEE DEE
Forgetful? What do you mean?
HUNTER
He forgot about his briefcase
and left it over at your place
last night, right?
They are near the side of the van and they stop walking.
HUNTER
You're not too lovesick or any-
thing to help me try to nail
Pierpont, are you?
At that moment, they see Willie down the block, waiting
with other people at a bus stop.
DEE DEE
What do you need me for?
INSIDE THE BACK OF THE VAN
Arnold is sitting at a console of electronic surveillance
equipment that would rival a "Star Wars" flight deck -
tape reels are spinning, TV monitors are flashing, digital
counters are cycling and, with headset on, Arnold watches
the MONITOR that shows Hunter and Dee Dee just outside the
van.
HUNTER
(filtered)
When I spoke to him last week,
"The Rat" denied everything.
DEE DEE
(filtered)
And you think I'11 have better
luck? Feminine wiles triumphing
over brute force?
HUNTER
(filtered)
I was thinking more like you
take the back door and I'll take
the front in case he tries to
make a run for it.
DEE DEE
(filtered)
Alright, I'm in - I just hope
The Rat is as obliging.
Down the block, a bus has pulled up, and Willie climbs
aboard.
HUNTER
(filtered)
He better be, or it's dead-end
time... Then all I can do is
hope the whole bunch of' em get
run over by a bus, starting with
that lying slime, Willie Wakefield.
Just then, the bus cruises past, going up the street, and
nervous Willie stares out a side window at Hunter and
Dee Dee. Hunter smiles menacingly and waves - Willie
ducks down. Arnold jots a note on a little pad.
OMITTED
SMASH.CUT TO
EXT. MARTELLI'S DELIVERY ENTRANCE - DAY
A metal fire door labeled "MARTELLI'S RESTAURANT -
DELIVERIES ONLY". Lots of cartons and garbage stacked
to one side. SOFT JAZZ MUSIC seeps out of the door, and
now the door flies open and a panicked KEN "THE RAT"
WEINTRAUB, 32, a long, hard, mean, lean fellow leaps out,
his beady eyes surveying the alley as he swings a big
silver pistol to and fro, the door closing behind him.
DEE DEE(O.S.)
Drop it right there, Ratman.
And Dee Dee steps out from the shadows of the delivery
loading area - her gun is trained on The Rat who ducks and
FIRES, diving and vanishing into the stacks of cartons as
Dee Dee throws herself to the side and RETURNS FIRE... and the
metal door flies open again and Hunter is there, gun in hand,
seeing the boxes and garbage flying as The Rat scrambles
through it all and zigzags along the side of the building,
then abruptly cuts away and disappears around the far end of
a fence... Hunter and Dee Dee give chase, race to the end of
the fence, cautiously peer around it to see
A LUMBER YARD
There is no sign of The Rat or anyone else amongst the high
stacks of wood planks. Hunter eyes Dee Dee - she nods, and
they split up. Dee Dee heading to the left around a stack of
wood as
HUNTER
moves to the right, carefully, steadily, gun at the ready, and
as he pokes his head around the corner of the stack, a SHOT
rings out, and the wood splinters next to his head and
DEE DEE
hears the shot, peeks around a corner to see The Rat scaling
a stack of wood, drawing a bead on Hunter - she takes aim, and
FIRES just as The Rat jumps out of range, and her shot splinters
the wood near him, sending some planks down off the stack as he
RETURNS THE FIRE and vanishes around a corner and
HUNTER
hears the shots and scoots around to find the fallen planks,
but he sees no one... Now he skulks along, turns a corner and
is startled to come face to face with Dee Dee. They each catch
their breaths, and then they split up again. Dee Dee using a
boost from Hunter so she can scale a stack of wood as Hunter
creeps along the perimeter, turns a corner to see a row of a
dozen DOORS in frames (like stage prop doors), all facing each
other and spaced so that if one door were to be opened it would
strike the next, and so on... Now suddenly there is the ROAR
of a nearby engine, and Hunter spins to see The Rat driving a
forklift straight for him! Hunter FIRES ONCE, TWICE, but the
bullets bounce harmlessly off the steel prongs and driver's
cage and
DEE DEE
on top of the stack, rushes towards the SOUND of the forklift,
sees it bearing down on Hunter, and she FIRES TWICE, and The
Rat looks back at her and FIRES his gun... Dee Dee dives down
flat onto the stack, then rolls off, jumps to the ground as
THE RAT
leaps from the forklift and ducks behind the stack of wood, and
the forklift charges toward
HUNTER
who rolls up against a stack of wood, the forklift crashing into
the stack, its prongs jamming into the wood just above Hunter's
head, the tires stopping just short of Hunter... He starts to
crawl out from under the prongs as
DEE DEE
on the far side of the stack, creeps along, whirling when she
HEARS a CREAK of wood... but she sees no one, and she continues
toward the end of the stack as
HUNTER
scoots across from the forklift to protection behind the first
door in the row of doors. And now he calls:
HUNTER
Allright, Weintraub, you've had
your fun - time to give it up
before I get mad.
The reply is a GUNSHOT which splinters wood on the edge of the
nearby door frame. Hunter ducks back, peeks around the frame
but doesn't see anyone... until he looks across to the mirror
on the side of the forklift and, in the mirror, he sees The Rat
crouching down behind the last of the doors. Hunter smiles:
HUNTER
Guess what, now I'm mad.
Hunter watches the mirror to see The Rat edge up to that last
door, prepared to peek around it and fire... and Hunter reaches
up for the door near him and softly takes hold of the knob, then
abruptly thrusts the door open so it whacks the next door
which bursts open and whacks the next door, and like
dominoes in turn, the doors whack each other one by one...
and Hunter watches in the mirror as finally, the last
door flies open, its knob bashing The Rat square in the
forehead as
DEE DEE
turns the corner at the end of the stack and The Rat drops
unconscious right in front of her. Now Hunter steps up,
smiles, holsters his gun. Dee Dee eyes him, puzzlement
on her face.
DEE DEE
What happened?
HUNTER
He decided to cooperate.
Hunter bends to handcuff The Rat...
EXT. THE STREET BY MARTELLI'S LOADING AREA
Dee Dee and Hunter are handing over a handcuffed and groggy
Ken "The Rat" Weintraub to a black and white unit just
as the POLICE RADIO from Hunter's car is BLARING:
OPERATOR (O.S.)
(filtered)
L-fifty-six, this is dispatch,
over...
Hunter tosses The Rat to the uniformed officer as Dee Dee
reaches to the front of Hunter's car for the radio mike:
DEE DEE
(into mike)
This is L-fifty-six, over...
OPERATOR (O.S.)
(filtered)
Just got word of a T.A. you
and Hunter might be interested in,
McCall - it's a hit and run -
a seventy-five green Oldsmobile
Cutlass took out a pedestrian...
The deceased is I.D.'d as one
William Wakefield.
Dee Dee and Hunter eye one another...
EXT. SUBURBAN AREA (SCENE OF THE T.A.) - DAY
A corner with a vacant lot at the fringe of a tract of old,
small houses. A phone booth stands at the far end of the lot,
behind a mini-shopping center which consists of a fast food
joint, a cleaners, another fast food joint, a quick-photo place
and a twenty-four hour mini-market. Willie's body, sheet-
covered, is in the street near the curb, by the corner. A
couple of black and whites and POUR UNIFORMED OFFICERS are
there, keeping away the ONLOOKERS and taking statements as
Hunter's car drives up and Hunter and Dee Dee hand The Rat
over to an Officer before Hunter and Dee Dee wander over to
the corpse. Now Hunter stoops, lifts the top of the sheet to
see Willie's face.
DEE DEE
When you wish upon a star...
Hunter lets go of the sheet, stands, gestures:
HUNTER
He got it right by the curb -
hardly a normal traffic lane.
DEE DEE
Hardly an accident.
Just then, Nell drives up in her Mercedes, parks and comes over.
She does not look pleased.
HUNTER
Afternoon, counselor. Just
happen to be in the
neighborhood?
NELL
For reasons known only to me and
my psychiatrist, I listen to the
police band - what happened?
DEE DEE
Just an experiment to see which
was tougher, the human body or
a seventy-five green Olds
Cutlass. I'd say it's a pretty
convincing victory for the Olds
- what about you?
NELL
For the record, I don't like
winning cases this way.
Just then the blue van turns the corner and cruises
slowly past - there is a slight change in the van since
we last saw it, however, for the sides are no longer
blank... indeed, the sides of the van now have signs
attached which proclaim "SUPERIOR PEST CONTROL - 555-3456".
INSIDE THE FRONT OF THE VAN
Arnold, his hair greased down and tucked into a set of
black-rimmed Ray-Bans, is wearing an over-sized "sharkskin"-
material sportscoat with thin black tie, black jeans, white
socks and black loafers as he drives - he has a walkman
headset over his ears and a fast food malt in one hand, and
he SUCKS NOISILY on the straw - empty fast food containers
litter the seat and floor... The dash has a small console
and a lone TV MONITOR which stays focused on Hunter and
Dee Dee as Arnold adjusts a switch. (Behind him, a panel
is open, revealing a shotgun mike and camera on a motorized
mount, automatically swiveling to hold on Hunter and Dee Dee,
sighted (apparently) through screening material or one-way
glass in the side of the van.) In the monitor. Hunter and
Dee Dee are by Hunter's car, looking back at Nell moving
to speak to the Officers and The Rat. Now Hunter's and
Dee Dee's VOICES are heard via the headset:
HUNTER'S VOICE
(filtered)
For the record, you haven't won
this one yet.
And Hunter turns from watching Nell, climbs into his car.
Arnold SLURPS his drink, smiles as he drives on.
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. A TRACT HOUSE - DAY
Hunter's car pulls up in front of this frayed little place with
its weed-filled front lawn.
INT. WILLIE'S HOUSE
The BUZZER sounds... and there is no reply until the front door
is kicked open by Hunter and he enters, Dee Dee at his heels.
The place is best described as "unremarkable". There is little
furniture, and what there is is cheap. Everything is neat, and
the main features are a big color TV and a telephone answering
machine. Hunter and Dee Dee prowl around the living room.
DEE DEE
What are we looking for, Hunter?
HUNTER
Money -- the kind you pay a guy
to get him to lie in court.
There are only two books on the bookshelf - Dee Dee takes the
books, holds them upside-down by their spines and fans the pages,
but nothing falls out. Now Dee Dee crosses through the open
portal into the kitchen as Hunter steps over to the answering
machine, notices the blinking red message light and REWINDS the
tape - the BACKWARDS, SPEEDED-UP VOICES play out loudly for a
few seconds, and then the tape CLICKS to a stop... and Hunter
turns the switch to PLAY - there is a BEEP and then THE RAT'S
VOICE, with SOFT JAZZ in the b.g.:
THE RAT(O.S.)
(on tape)
It's nine a.m., and do you know
where your witnesses are?
(laughter)
IN THE KITCHEN
Dee Dee is looking around - the place is spartan, alomst empty.
She opens the refrigerator - there is a single carton of milk,
an egg carton, a loaf of bread and a tub of butter. She opens
the butter, the eggs, pokes the bread, finds nothing but butter,
eggs, and bread, respectively. Then she takes the milk carton,
opens it, sniffs it and smells sour milk... now she goes over to
the sink, pours out the milk and peeks into the empty carton,
finds nothing. All the while, the tape is playing in the b.g.:
THE RAT(O.S.)(CONT.)
(on tape)
Hey, Willie, it's The Rat, and
I just wanted to remind you to
rise and shine and have a good
time in court this morning...
I'll talk to ya later. Bye.
There is a CLICK and then DIAL TONE. Meanwhile, Dee Dee is
eyeing the sink area, notices the new cake of soap in the soap
dish and a half dozen packaged soap bars on the counter.
Curious, she picks up the soap from the soap dish. The tape
BEEPS again, and it's THE RAT again, with SOFT JAZZ behind him:
THE RAT(O.S.)
(on tape)
Heard you put on quite a show,
Willie-boy - we're all real
pleased... It's about eleven
a.m., and I'll catch ya later
- you lie low. Bye.
There is a CLICK and then DIAL TONE. Meanwhile, Dee Dee is
toying with the cake of soap - she rubs it, twists it, finally
grabs each end and bends it and it snaps in half, revealing a
hollowed-out middle with a roll of money stuffed inside. She
smiles, goes to the kitchen doorway.
IN THE LIVING ROOM
Hunter is standing over the phone machine as Dee Dee appears
Behind him in the kitchen doorway. The tape now BEEPS again,
and it's THE RAT, but with NO JAZZ or music of any kind in the
b.g.:
THE RAT(O.S.)
(on tape)
Willie, it's me, about eleven-
thirty a.m.... Listen, meet
me right away at the corner of
Eastbrook and Delano, there's
an empty lot there. You'll
be real pleased. Bye.
CLICK, followed by DIAL TONE.
DEE DEE
Hunter, look what I found.
Happily, Dee Dee holds up the money and the soap. But
Hunter is perplexed by the tape - he stops it from
running, pulls the cassette out and fingers it thought-
fully.
HUNTER
I don't get it, how could The
Rat have called Willie at eleven-
thirty? We were shooting it out
in the lumber yard at the time.
DEE DEE
Maybe his watch is off.
HUNTER
How come there's no music in the
background on the last call?
DEE DEE
Hunter - we've got the bribe
money and a tape of the call
which lured Willie to his death.
That should be more than enough
to convince The Rat that he ought
to give up Doctor Pierpont.
We'll tie up the loose ends later.
HUNTER
Let's go bring the Doc in...
DEE DEE
You can bring him in, I have to
go food shopping.
HUNTER
McCall, we're on a case!
DEE DEE
You're on a case, I just lent a
hand. Tonight, I promised Ted
veal marsala.
(winks at Hunter)
It's his favorite.
And she heads out the door. Hold on Hunter as he pockets
the cassette tape and shrugs:
HUNTER
(resigned)
Hey...it's his favorite.
He goes out the door.
EXT. PIERPONT'S OFFICE BUILDING - DAY
A modern, high-rise medical building with a parking lot at
its base. There is a ticket-spitter at the parking lot
entrance and a toll kiosk and wooden gate-arm at the exit.
Hunter drives up, parks it, goes inside the building.
INT. UPPER FLOOR ELEVATOR AREA/CORRIDOR
Elevator doors open and Hunter steps out - heads to a
glass-paned partition and a broken door which was once
glass but is now raggedy plywood in a bruised metal frame
-- the door leads into a corridor. Hunter opens the door
and moves down the corridor past office doors to a door
on which are the gold letters "ANTHONY PIERPONT, D.D.S."'
Just past Pierpont's door is a smaller door, open to re-
veal telephone company relay boards -- and working away
wiring switches and relays is the backside of a pudgy man
in phone company overalls and toolbelt. Hunter opens
Pierpont's door, and as he steps inside, the phone man
turns and smiles, and we see that he is Arnold, wearing
yellow-tinted work goggles, thick, fuzzy beard and a
baseball cap.
PIERPONT'S DENTAL SUITE
There is a little reception area, and behind it a couple
of cubicles with dental chairs. Past the cubicles is the
Doctor's private office. The decor indicates that Pierpont
is an avid fisherman - there are stuffed fish hanging
here and there, maybe a rod and reel standing in a brass
cannister, photos of the Doctor aboard ship, showing off
his latest whopper. A MALE PATIENT waits in the reception
are, and Hunter steps up to the huge, tough, white-cloaked,
female RECEPTIONIST. She eyes Hunter;
RECEPTIONIST
Oh, no, not you -- we just
finished cleaning up the broken
glass from your last visit.
CONTINUED
Hunter ignores her as Pierpont enters the reception room.
HUNTER
Sorry to bother you. Doc, but
you're under arrest.
The waiting patient reacts.
PIERPONT
Weren't you listening to the
judge this morning. Hunter?
He dropped the charges. Mister
Strickheart --
The patient starts to rise but Hunter pushes him back into
his seat.
HUNTER
Not this one - you're under
arrest for the murder of Willie
Wakefield.
The Patient tries to get up, but Pierpont takes his arm.
PIERPONT
Nell just called me to tell me
about Willie's unfortunate
demise, but I assure you I had
nothing to do with it - he was
on my side, remember?
HUNTER
(eases the patient
aside)
Which reminds me that we found
the money you paid him so he'd
lie for you... Let's go.
And Hunter spins Pierpont around, handcuffs him.
HUNTER
(to patient)
I'm sure we can re-schedule you
for another appointment.
(to Pierpont)
In about twenty years.
And Hunter and Pierpont exit.
EXT. POLICE STATION - DAY
Establishing.
CLOSE-UP - AN OSCILLOSCOPE
with a straight green horizontal line humming across it.
YEAGER(O.S.)
You were right, Hunter, there
is something odd about that
last phone message from The Rat.
PULL BACK TO REVEAL
the S.I.D. lab, more particularly a workbench containing various
electronic odds and ends and a cassette recorder, reel-to-reel
recorder, and the oscilloscope. Hunter and the lab
tech, YEAGER, 56, an intense but likeable fellow consumed by his
work, wearing a white lab coat, are watching the oscilloscope.
Unnoticed by them, but visible through the nearby window which
looks down on the street below, is the parked blue van with its
"THE MONGREL HORDE - MOBILE PET GROOMING" signs.
YEAGER(CONT.)
(indicates oscilloscope)
Here, first watch how the "lie
low" message plays out.
Yeager presses the PLAY button on the recorder, and there comes
a BEEP, followed by THE RAT'S VOICE (JAZZ in the b.g.), the
oscilloscope line suddenly spiking in synch with the words:
THE RAT(O.S.)
(on tape)
Heard you put on quite a show,
Willie-boy - we're all real
pleased...
Yeager presses PAUSE, holds it down as he points at the
oscilloscope:
YEAGER
Did you see how you got your
highest spikes on the words
you'd give the most stress -
the first word in a sentence,
the important words, the punch
line...
Now Yeager RELEASES PAUSE and the tape continues, and sure
enough, the important words spike up high near the top of the
screen, but the remaining words are little low flutters as:
THE RAT(O.S.)(CONT.)
(on tape)
It's about eleven a.m., and
I'll catch ya later - you
lie low. Bye.
There comes a CLICK and then DIAL TONE.
YEAGER
Now watch the very last message.
There comes a BEEP, then THE RAT'S VOICE (NO JAZZ):
THE RAT(O.S.)
(on tape)
Willie, it's me, about eleven-
thirty a..m.... Listen, meet
me right away at the corner of
Eastbrook and Delano, there's
an empty lot there. You'll be
real pleased. Bye.
This time almost all the words spike near the top of the screen.
Yeager STOPS the cassette recorder.
YEAGER
Almost all the words spike high.
HUNTER
You're saying the last message
isn't really The Rat's voice?
It's an impostor's?
YEAGER
No, it's The Rat's voice all right
- but he never said those words
in that order.
Yeager CLICKS on the reel-to-reel and the last message is
REPEATED, only this time there is a little CLICK at the top
of each word, and in the background is faint, sporadic,
distorted, disjointed JAZZ MUSIC.
THE RAT(o.s.)
(on tape)
Willie, it's me, about eleven-
thirty a.m.... Listen, meet
me right away at the corner of
Eastbrook and Delano, there's
an empty lot there. You'11 be
real pleased. Bye.
YEAGER
Hear those clicks? I re-recorded
the message and pushed up the
volume - those clicks are what
edits sound like... Seems like
someone who'd been taping The
Rat decided to take his words
out of context and edit them into
a new message, which was then
played over the phone and into
Willie's answering machine. That
would account for both the
excessive stress on so many words
and for the disjointed background
music.
HUNTER
Mind of I borrow this stuff?
YEAGER
Hunter, your reputation with
breakable objects is hardly
exemplary.
HUNTER
I just want to listen to it a
few times. See if I can hear
anything that'll tell me who
did the original recording and
editing.
Yeager is less than sanguine about the prospect of giving
Hunter such delicate equipment...
DETECTIVES' BULLPEN
Hunter has the cassette recorder and oscilloscope on his
desk and he is attaching them to his phone with a rubber
suction cup which turns into a wire that connects to one
of the recorder's input jacks. Now as he crawls under his
desk, stretching to make the AC connection, two high-heeled
feet step up to Hunter's face, and he looks up to find Nell
standing over him. He smiles, climbs out from under his desk.
She does not smile in return -- instead, she shoves a stapled sheaf
of legal papers at him.
NELL
Rick Hunter?
Hunter takes the document.
NELL
Consider yourself served.
As Hunter examines the document.
NELL
Malicious prosecution, false
imprisonment, intentional in-
fliction of emotional distress,
violation of civil rights...
HUNTER
(looks up)
Sure you didn't leave anything
out?
NELL
I can always amend later. But
right now I've got to go pick
up the good Doctor -- he made
bail. He's really becoming a
career with you, isn't he?
HUNTER
I may be able to lean back and
put my feet up on the Doc's
case -- someone else wants him
as badly or worse than I do.
Someone did kill Willie...some-
one did plant that money and
phone messages that would lead
to the arrest of Pierpont.
Someone is trying to make sure
he gets nailed...legally or
otherwise. It might be safer
if he stays in custody --
NELL
(chuckles)
I'm sure he'll be fine - he's
planning on going fishing. Oh...
and I'll be representing Ken
Weintraub, too.
HUNTER
How do you sleep at night?
NELL
On balance, I believe in the
system - and on those not-
too-rare occasions when the
system breaks down, then I
take sleeping pills. But what
about you - are you really as
cocksure as you act, or do you
just disapprove of anyone's
right to doubt you?
HUNTER
When you're staring down some
shotgun-toting jerk who just
killed his best friend for two
lines of coke, there's no room
for doubt.
NELL
And under those circumstances,
anything you do is right. The
only wrong is inaction?
(off Hunter's look)
I don't envy you your job.
HUNTER
I wouldn't want yours neither.
NELL
(smiles)
I guess we have something in
common after all then, huh?
And with that, Nell exits. Dee Dee approaches, a grocery bag
in hand -- She bends, begins emptying the groceries into a
little refrigerator near Hunter's desk. (the fridge AC cord
is plugged into the socket under Hunter's desk.)
DEE DEE
See, I told you she likes you...
HUNTER
(peeks in fridge)
That market didn't run out of
veal, I hope. I'd hate for Ted
to have to settle for something
that wasn't his favorite.
His PHONE RINGS. He lifts the receiver, CLICKS on the
oscilloscope which takes a few seconds to heat up then
responds with the familiar lines and spikes as the conver-
sation plays out.
HUNTER
(into phone)
Hunter.
ARNOLD'S VOICE, a little squeaky, a little drawly, responds:
ARNOLD(O.S.)
(filtered)
It's me, Hunter.
HUNTER
(into phone)
Who's that?
ARNOLD(O.S.)
(filtered)
Just think of me as your
avenging angel...
Hunter hits the RECORD button on the cassette recorder.
ARNOLD(O.S.)(CONT.)
(filtered)
I'm the guy who's been taking
over for you when your hands
were tied by our silly legal
system... I'm the guy who made
sure that that "lying slime"
Willie Wakefield won't tell
any more lies... I'm only
sorry I didn't get to run
him over with a bus like you
wanted, but I guess the result
is the same, right?
HUNTER
(into phone)
Hey, who is this? Is this
some kind of joke, because if
it is -
ARNOLD(O.S.)
(filtered)
I never joke, Hunter, I really
don't even think I know how to.
But I do know how to take care
of my friends... so don't you
worry about that silly lawsuit,
because you can't have a lawsuit
if you don't have a plaintiff.
Good-bye now, it was good to
finally have this talk.
The line CLICKS and then turns to DIAL TONE. Hunter shuts
off the cassette recorder, starts to unscrew the mouthpiece
of the phone.
DEE DEE
What is it? What are you doing?
Hunter does not find a bug in the mouthpiece - now he drops
the phone handle onto the desk and he tries to tear off the
body of the phone, but it will not yield.
HUNTER
Somebody's been listening in on
me. I've been bugged through
the whole Pierpont case.
Getting furious now, Hunter pounds the phone body against
the edge of his desk until the phone's plastic breaks, and
he looks into the guts of the phone, but once again fails
to find the bug. Now, Hunter starts tearing his desk apart.
Hunter yanks out drawers, checking beneath them, in pencil
holders, inside the typewriter, etc. -- and, in the process
the fridge AC cord gets in his way and he pulls it out of
the socket. (The oscilloscope cord remains plugged, however).
CLOSE - A CASSETTE
that fell out of his drawer during the search.
HUNTER
snatches it up, starts grabbing up the tape recorder from
Yeager.
HUNTER
I've heard that voice before,
McCall...
(rams tape into
recorder)
And I remember from where.
DEE DEE
What voice?
CAPTAIN
(enters scene)
Yeah, what voice? What's going
on here? Wasn't there just a
guy in here fixing that phone
yesterday...?
HUNTER
(reacts)
This is the tape of the anonymous
tip we received on the Pierpont
case...
Hunter presses PLAY and the OPERATOR'S VOICE comes from the
tape:
OPERATOR(0.S.)
(on tape)
Police crime tips - please
leave any length message after
the beep tone, and do not leave
your name or phone number unless
you wish to be contacted by us.
Now a BEEP and then ARNOLD'S VOICE:
ARNOLD(o.s.)
(on tape)
Doctor Anthony Pierpont's wife
is in the hospital...she's pro-
bably going to die...this isn't
any accident...he's been trying
to find a way to kill her for
quite a while, and now he's
finally gone and done it.
CLICK and then DIAL TONE. Hunter shuts OFF the recorder.
HUNTER
My "avenging angel"...and he
just told me he's going after
Pierpont.
CAPTAIN
What are you talking about?!
Hunter is off and Dee Dee is behind him.
CAPTAIN
Hunter! McCall! I demand to
know what the.....
But Dee Dee and Hunter are gone. He looks at Hunter's
torn up desk.
OMITTED
EXT. PIERPONT'S OFFICE BUILDING
A late model Mercedes (Nell's car) pulls into the parking
lot and Pierpont climbs out of the passenger's seat waves
thanks to Nell and she drives off. Now Pierpont makes his
way to the building entrance just as Arnold comes out and
politely holds the building door open for him. Pierpont
smiles, goes inside as Arnold goes to the parking lot and
a seventy-five green Olds Cutlass.
INT. HUNTER'S CAR
is zooming up the block toward Pierpont's office building.
Dee Dee eyes Hunter as he accelerates even faster.
IN THE CUTLASS
sits Arnold, watching the parking lot and building. A fast
food malt and some french fries sit on the dash. Arnold
smiles, sips the malt, downs a couple of fries, and he
opens his briefcase on the seat, pulls out the inside top
panel to reveal a set of compact binoculars, and he lifts
the binoculars to his eyes...
POV THROUGH THE BINOCULARS
The windows of the building... tilting up, up to the window
which looks into Pierpont's private office.
HUNTER'S CAR
pulls up and stops. Hunter and Dee Dee diving out and
rushing into the building.
OMITTED
INT. CORRIDOR - PIERPONT'S DENTAL SUITE DOOR
The elevator doors open, and Pierpont gets out, comes up
the corridor, puts his key in the lock of his office door
and goes inside.
ARNOLD
the binoculars to his eyes...
POV THROUGH THE BINOCULARS
Pierpont's private office window comes into focus, and inside
the office the lights go on...
ARNOLD
smiles, tries to keep one eye on the binoculars, another on the
mobile phone as he dials a number...
INT. CORRIDOR - PIERPONT'S DENTAL SUITE DOOR
The elevator doors open and Hunter and Dee Dee rush out, look
up and down the corridor, then realize where Pierpont's office
must be, and they charge up the corridor, reaching the open
office door just as the PHONE RINGS...
ARNOLD
watching through the binoculars, munching a fry, holding the
phone to his ear... there comes a RING...
PIERPONT'S SUITE
Hunter and Dee Dee are in the reception area - they spot
Pierpont in the lighted private office at the far end of the
suite - they start toward him and the PHONE RINGS AGAIN and
Pierpont reaches to answer the phone on his desk...
HUNTER
Pierpont!
Pierpont turns, sees Hunter and Dee Dee in the same motion that
he is reaching for the phone.
PIERPONT
Hunter - not you again?!
The PHONE RINGS AGAIN and Pierpont lifts the receiver and the
PHONE EXPLODES, sending fire and smoke everywhere, knocking
Hunter and Dee Dee down...
ARNOLD
watching, the reflection of the flames playing across his
binocular lenses...
INSIDE THE SUITE
Hunter and Dee Dee are surrounded by fire as oxygen tanks and
other flammable materials go up - Hunter crawls toward Dee Dee.
The body of Pierpont is visible in the flames by the private
office - he is clearly dead. Hunter eyes Dee Dee.
HUNTER
You all right?
DEE DEE
(indicates Pierpont)
Better than he is.
Now a FIRE ALARM SOUNDS, the overhead sprinklers WHIRRR to life
- Hunter and Dee Dee make their way out of the office...
OUTSIDE THE BUILDING
The Cutlass, its turn signal blinking, is waiting at the parking
lot exit kiosk, stuck behind an old lady who is counting out
change... and Hunter and Dee Dee come out of the building.
Hunter immediately sees the Cutlass.
DEE DEE
A seventy-five green Olds Cut-
lass.
Hunter and Dee Dee pull their guns, approach the Cutlass,
Hunter calls:
HUNTER
Hold it right there - police!
And Arnold, still in his fuzzy beard and baseball cap, sticks
his head out the window and smiles just as the old lady drives
off and now Arnold floors it, PEELING RUBBER and blowing smoke
and blasting through the wooden gate-arm as he flies out of
the lot - Hunter FIRES his gun fruitlessly a couple of times
and then dashes with Dee Dee to Hunter's car...
INT. HUNTER'S CAR
Hunter and Dee Dee jump in - Hunter FIRES UP the engine, and
gives chase to the fleeing Cutlass... Hunter's car charges out
of the parking lot, screams up this residential block as the
Cutlass is already about to reach the next corner...
FROM OVERHEAD
The Cutlass hangs a hard left at the corner, Hunter's car
a good half a block back...
INT. HUNTER'S CAR
The Cutlass vanishes from view as it rounds the corner...
now Hunter reaches the corner and SQUEALS around it,
spotting the Cutlass again, dead ahead...
THE CHASE
The Cutlass is zooming straight on a road which runs
along the top edge of the L.A. River channel.
INT. HUNTER'S CAR
Hunter floors it, coming up alongside the driver's side of
the Cutlass...
OMITTED
7 EXT. HUNTER'S CAR 57
the Cutlass careening over the side of the channel and into
the air until it drops gracefully, nose-first, and lands
with a horrible CRUNCH on the river bed, turning the Cutlass
into an accordian as Hunter swerves his car and comes to
rest looking over the lip of the channel.
3&59 OMITTED
EXT. HUNTER'S CAR
the Cutlass careening over the side of the channel and into
the air until it drops gracefully, nose-first, and lands
with a horrible CRUNCH on the river bed, turning the Cutlass
into an accordion as Hunter swerves his car and comes to
rest looking over the lip of the channel.
OMITTED
EXT. HUNTER'S CAR
Hunter and Dee Dee climb down to the pile of junk that the
Cutlass has become. There is no one in the car. In the
b.g., traffic is stopping and PEOPLE are rushing over.
Hunter is transfixed by the sight of the dead Cutlass.
HUNTER
You know something, McCall, this
doesn't work for me.
ARNOLD
just a face among the throng, beardless now, wearing dark
aviator sunglasses, a driving cap, a leather jacket and
white shirt with no tie, smiles.
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
EXT. POLICE STATION - DAY
Re-establishing.
INT. S.I.D. LAB
Hunter and Dee Dee are standing with Yeager at his work bench.
Various little torn bits of wire and metal and plastic are laid
out there. Unnoticed, but visible through the nearby window,
is the parked blue van with its sign - "PARTY PLATTERS - MUSIC
FOR ALL PERSUASIONS". Yeager is just finishing a discourse:
YEAGER
...and so he must have popped
on the cruise control and jumped
from the Cutlass when you lost
sight of him on the turn - it's
the only logical explanation.
DEE DEE
I'm not sure logic applies to
this "avenging angel" guy.
YEAGER
Sure it does - the guy admires
Hunter so much he's trying to
define himself by the qualities
he sees in Hunter, and so, like
a kid seeking his father's
approval, he's trying to follow
in what he thinks are Hunter's
footsteps.
HUNTER
So he's committing murder for me.
YEAGER
And he's probably damn confused
that you're not grateful. Which
explains why he phoned you, why
he felt the need to explain
himself.
HUNTER
We're talking nutcase here, right?
Insanity plea?
Just then, the door bursts open and an angry Captain enters,
waves a file folder.
CAPTAIN
Yeager, you actually wrote this
drivel?!
(eyes file contents)
Hunter, a father figure?!
Don't you think this "angel"
could have picked someone a
little more well-rounded, like
maybe Genghis Khan?
HUNTER
Captain, we know two things for
sure about this guy -- he's
a surveillance expert, and that
he overheard Pierpoint planning
to kill his wife. So he phoned
in that anonymous tip.
DEE DEE
Which means that there's a good
chance that Hunter's "avenging
angel" was doing a legitimate
tap on Pierpoint just about the
time the good Doctor was trying
to snuff his old lady.
CAPTAIN
(sarcastic)
Wonderful, then let's just ring
up the FBI, the Treasury Department,
the CIA -- no reason why they
shouldn't jeopardize all their
undercover operations by giving
us a list of their wire tap
experts.
HUNTER
One of those guys is a homicidal
Maniac, Captain.
Yeager indicates the torn bits of wire, metal and plastic:
YEAGER
Look, maybe I can help...See,
Captain these are the fragments
we recovered from the bomb in
Pierpont's phone, and...
Yeager reaches into his smock pocket and pulls out a module
which looks uncannily like the one Arnold put in Pierpont's
phone. The Captain takes the module and examines it closely
as Yeager continues:
YEAGER
...this is as near as I'm able
to reconstruct it, with new
materials of course. Now maybe
we can identify the bomber by -
CAPTAIN
(cutting in)
You wanna know why we got a mad
bomber here, Hunter? I'll tell
you - we got a mad bomber here
because whenever the system lets
you down, you find a way to cut
a corner or else you moan and
groan and demand divine inter-
vention. As far as I'm concerned,
you're the one who gave this
"avenging angel" all his bright
ideas.
And the Captain slams the module down on the workbench and
he exits.
HUNTER
Yeager, can you do me a favor.
Wire up my phone so all my in-
coming calls will be taped?
YEAGER
Still have all that stuff I
gave you?
On Hunter's nod:
DETECTIVES' BULLPEN
Hunter wanders unhappily to his desk - his phone has been
rather shakily put back together -- and Dee Dee goes to her
desk and gathers up her purse and coat, then pats Hunter on
the shoulder.
DEE DEE
It's late -- I'm taking off.
She opens the fridge to get her groceries, smells something
funny, checks the veal and realizes the stuff is spoiled...
Now she holds up the unplugged AC cord.
DEE DEE
Hunter...
HUNTER
Sorry, McCall, guess Ted's gonna
go to bed hungry, huh?
She slams the veal back in the fridge and closes the door.
Dee Dee looks back, smiles:
DEE DEE
I'll just have to find a way to
make it up to him.
Now she goes out the exit. Hunter sighs, heads out him-
self.
EXT. HUNTER'S APARTMENT - NIGHT 65.
Nell is sitting on the porch steps, waiting as Hunter drives
up and gets out of his car. Her Mercedes is parked at the
curb. Now Nell stands, dusts off her skirt.
HUNTER
What brings you to the low-
rent district, counselor?
NELL
I called the station... they
said you'd just left, you were
on your way home...
Hunter steps up to his door, puts the key in the lock.
HUNTER
Well, thanks for seeing me to
my door.
NELL
For the record, Pierpont told
me he was innocent, and, at the
time, I believed him.
HUNTER
Aren't you violating some sort
of attorney's code by telling
me that?
NELL
Yeah... Good night, Hunter.
She turns, starts to leave...
HUNTER
Look, you want a cup of coffee?
NELL
No...but I wouldn't mind a chat.
HUNTER
(pushes open door
gallantly)
Personally, I find it easier to
make coffee than conversation...
INT. HUNTER'S APARTMENT - CLOSE ON INSTANT COFFEE
being poured from jar to mugs by Hunter. Widen to reveal
Nell surveying the room as Hunter fills the tea kettle at
the kitchen tap.
NELL
It's funny, but this is the
first time since I've been a
lawyer that I felt this way.
Hunter puts the kettle on the stove and lights the burner.
HUNTER
What way?
NELL
Off-balance... I feel like too
many things are happening that
I didn't expect.
HUNTER
Amen.
NELL
I thought you had this whole
case pegged?
HUNTER
I did - until this morning.
Hunter opens the refrigerator and finds a fast food cheese-
burger (in foam container) malt and fries sitting on a
shelf. Horrified, Hunter picks up the burger container,
opens it, sees the burger...and the PHONE RINGS. Hunter
goes to the phone -- Nell notices the odd expression on
his face:
NELL
Is everything alright?
Hunter lifts the receiver:
HUNTER
(into phone)
Yeah?
Arnold's voice replies:
ARNOLD(v.o.)
(filtered)
What are you doing. Rick? Why is
she there with you?
HUNTER
We're having coffee...why don't
you come over and join us?
ARNOLD(v.o.)
She's the enemy! She's one of
them -- she doesn't understand
what we're trying to do! What
has to be done! She wants to
stop us from stopping the others.
You of all people, should see
that --
HUNTER
Hey, that's what I'm trying to
explain ---
ARNOLD(v.o.)
You can't explain to them, Rick!
Not to them. They only under-
stand one thing...
And the line clicks to DIAL TONE. Hunter stand there,
NELL
Is something the matter?
HUNTER
(suddenly)
Yeah - I'm out of milk. Come
on, we'll make a quick run to
the market - you can drive.
NELL
What?
But Hunter has her by the arm to hustle her out the front
door.
CLOSE - THE KETTLE
starts whistling. As Hunter's hand shuts the gas:
INT. NELL'S CAR
They climb into the car - Nell into the driver's seat.
Hunter points dead ahead.
HUNTER
Just head that way.
She FIRES up the engine, and he TURNS ON THE RADIO to full
volume as she pulls away from the curb. Now he looks
around, sees that no one is following, doesn't notice the
blue van with the "AU JUS GOURMENT CATERING" signs parked
in an apartment building multiple carport.
NELL
What the hell's happening here?
She turns down the radio -- he turns it back up, then
adjusts the rearview mirror to be sure they are not being *
tailed. Finally:
HUNTER
There's a guy who's been casing
me -- that's who just phoned.
NELL
He's tailing us now?
HUNTER
I don't know, I just don't know.
EXT. THE VAN
The headlights SNAP ON, the engine FIRES UP, and slowly,
easily, the van pulls out and goes up the block in the
direction taken by Hunter and Nell...
INT. NELL'S CAR
She is turning out of the quiet residential street and into
a more heavily trafficked block of neighborhood shops. The
RADIO is still BLARING. Hunter looks around, sees various
cars going in both directions -- but he can't see the van as
it reaches the intersection in the far b.g., waits to turn
and follow...
HUNTER
Look, we're going to come to a
wooded area pretty soon, where
the road bends... You keep going,
like nothing's happening, and I'm
going to jump out.
NELL
(concerned)
Just what do you intend to do?
HUNTER
Have a little chat with this
guy I think is following us -
he's got to be the one who
wasted Willie and Pierpont.
NELL
Look, Hunter...be careful...
HUNTER
It's nice to hear you care...
NELL
I meant, don't fall on this guy
like a gorilla coming out of a
tree. You have no proof, no
witnesses, nothing...you roust
him and you'll wind up right
where I had you -- squirming in
the witness chair with no net to
catch you.
HUNTER
That's not quite the way I saw
it go down but... I get your drift.
(checks rear-
view mirror)
I can still sniff this guy's
skirt. Let him know I can bite
back.
HUNTER
Lock up tight when you get home --
I'll call you.
NELL
I'm in the phone book, in Palms.
Up ahead the business district gives way to a dark tree-
lined drive, fields stretching away on both sides of the
road.
HUNTER
After I'm out, wait at that stop
sign up there for one minute...
then get going.
Hunter winks at Nell, crouches down, hand on the door latch...
and as Nell's car rounds the bend at the darkest point,
Hunter opens the door and tumbles out...
EXT. THE ROADSIDE
Hunter rolls into the tall grass and weeds between the trees
as Nell's car vanishes in the distance. Hunter flattens out,
lying there and catching his breath, hidden from the road,
watching as Nell's car pulls up to the STOP SIGN indicated by
Hunter. Hunter looks back in the direction from which they
came -- and he can make out the shape of a van, now with
headlights off, as it rolls to a halt and sits waiting. Hunter
makes his way around closer to the van using the surrounding
foliage for cover. As Hunter disappears off into a patch of
shadow, we see Nell's car start to creep through the STOP SIGN,
finally pull through the intersection and drive off.
INT. THE FRONT OF THE VAN
Arnold is here wearing a parka and knit cap. He watches
as Nell's car drives off through the intersection into the
night. He reaches to drop the gearshift into drive when
suddenly;
HUNTER
yanks open the passenger door and climbs in beside a startled
Arnold.
ARNOLD
Hey! Who are you...? What do
you want - ?
HUNTER
(pointedly)
Rick...Hunter...
(flashes his badge)
Police...
Arnold tries to get his breathing under control, eyes Hunter
warily:
ARNOLD
Police!
(licks his lips)
Have I, uh...have I done some--
thing wrong?
HUNTER
I just needed a lift.
(offers Arnold a
smile)
I think I'm being followed.
ARNOLD
Followed...? No kiddin'.
(puts the van
in gear)
HUNTER
Yeah...no kiddin'. You have any
I.D. on you?
ARNOLD
I.D. Well, yeah...
Hunter just holds out his hand. Arnold fishes around,
hands him his wallet.
ARNOLD
Something the matter?
HUNTER
(ignores the question;
smiles enigmatically)
Arnold Morton...This your current
address, Arnold.
ARNOLD
No...I'm in the process of
moving... I'm staying with a
friend... Why would someone
follow a police officer? I
thought it was usually the
other way around --
HUNTER
It usually is. I think it has
something to do with Doctor
Anthony Pierpont. You've heard
of him, haven't you, Arnold?
You watch the news?
ARNOLD
Oh, yeah...yeah...He killed his
wife.
HUNTER
He died before that could be
proven. And William Wakefield,
he died also. Hit and run.
Arnold pulls to a stop at a red light.
ARNOLD
He part of the same case? I
don't...think I've heard of him...
HUNTER
(leans in menacingly)
That's good Arnold. You don't
want to hear things that have
nothing to do with you. That's
real bad when you don't know
who's listening or watching you.
It can be scary.
Arnold licks his lips nervously:
HUNTER
You don't like looking over your
shoulder, do you? Or checking
under your bed or in your closets
before you go to sleep.
Arnold shakes his head. Hunter snaps the keys out of
Arnold's ignition.
HUNTER
I don't like being followed my-
self.
ARNOLD
Hey, I...I_ wasn't following you.
HUNTER
(deadly smile)
I'm sure you weren't.
Hunter tosses the keys off into the darkness, then climbs
out of the van and heads off. Hold on Arnold -- watching
Hunter disappear into the night. We slowly see his anxiety
build until he slams the van door closed, and on that:
CUT TO
OMITTED
EXT. DEE DEE'S FRONT DOOR
Hunter KNOCKS on the door and a moment or two later the
door opens and Dee Dee looks out, startled to see Hunter.
DEE DEE
Hunter!
HUNTER
Open up, McCall.
DEE DEE
Hunter, I -
He's already pushing through and as the door swings open we
see Dee Dee is dressed in a slinky, sequinned evening dress
(but shoeless) and Hunter steps
INSIDE
as Dee Dee shuts the door behind him. Ted's attache case
and keys (with American eagle emblem attached to the key
ring) are resting on a chair by the door.
DEE DEE
What's this all about?
Hunter grabs Dee Dee by the arm, drags her into
THE BATHROOM
He turns on all the faucets, flushes the toilet.
DEE DEE
Are you crazy! What're you doing?
HUNTER
I just met my avenging angel. I
don't know how he's doing it but
he's got me bugged and watched
every second.
TED(o.s.)
"Deeds"?
Ted, dressed in his usual three-piece suit, pokes his head
into the bathroom:
TED
Deeds, everything alright? What
the hell's going on?
DEE DEE
Fine, Ted, just give us a minute.
TED
In the bathroom...?
HUNTER
I'm Hunter. Nice to meet you.
Hunter shakes hands with a puzzled Ted.
DEE DEE
Ted, a minute, please. It really
is important. Police business.
TED
Right. Sure.
Hunter pushes the door closed.
DEE DEE
Tell me about this "angel."
Hunter flushes the toilet again.
HUNTER
I've got a name - maybe legit,
maybe an alias, who knows...?
And I've got a description -
sort of... And he was driving
a blue Dodge van with no license
plate light.
DEE DEE
You want me to help you run him
down.
HUNTER
I'd appreciate it, "Deeds." I
need someone to watch my back...
I don't know where this guy's
coming from next.
Dee Dee nods resignedly, leads Hunter out of the bathroom
and back into
THE FOYER
Now she vanishes into the living room as Hunter looks down,
once again notices Ted's keys.
CLOSE-UP - DEE DEE
as she returns to the foyer, trying to step into her high-
heeled shoes as she walks... and she glances back into the
living room:
DEE DEE
(to the unseen Ted)
And if you go, don't forget to
lock up.
PULL BACK TO REVEAL
Hunter waiting by the front door.
HUNTER
He's got his own key?
DEE DEE
You want help or you want
gossip?
Hunter nods, exits, and she brings up the rear.
INT. DEE DEE'S CAR - NIGHT
Driving along a downtown street - Dee Dee is driving as
Hunter is winding up a radio call;
OPERATOR (0.S.)
(filtered)
I copy, L-fifty-six -- Arnold
Morton - we'll get that APB
on the wire, pronto.
HUNTER
(into mike)
Thanks, L-fifty-six clear.
And he clicks off, hangs up the mike. Dee Dee eyes him.
DEE DEE
Where to?
HUNTER
The Federal Building.
DEE DEE
Why? Someone there going to
give you that wire tap list?
Hunter smiles, holds up Ted's keys.
HUNTER
A U.S. Attorney ought to have
a copy, don't you think?
DEE DEE
Hunter, you didn't...
HUNTER
I just did it for you, McCall --
this way he's sure to still be
at your place when you get back.
EXT. FEDERAL BUILDING - NIGHT
A stone building buttressed by gargoyles -- massive metal
and glass art deco doors front and rear. Dee Dee's car
drives up and parks, and Hunter and Dee Dee alight.
INT. TED'S OFFICE
The office is dark as the door opens - now Hunter and Dee
Dee are silhouetted in the doorway... Hunter pulls the key
from the lock and he and Dee Dee step inside. Hunter closing
the door behind them, returning the darkness until the lights
click on and we see Dee Dee at the wall switch. Hunter
strolls around, eyeballing everything - the office furnish-
ings consist of nothing more than a high-tech desk, lamp,
computer console, and a few law books in a white wire bas-
ket. Dee Dee sits down at the desk, clicks on the computer,
types a few commands.
HUNTER
Where'd you learn how to do this?
DEE DEE
(still typing)
Ted made me read up on it -- he
swears by computers.
HUNTER
You like this guy, don't you,
McCall?
DEE DEE
(still typing)
It doesn't matter. Once he
finds out about this, it'll be
all over.
Hunter looks at her. Play the moment - which is broken by
the PRINTER coming to life, BEATING out a page. Dee Dee
rips the page out of the printer, eyes it as Hunter looks
over her shoulder.
HUNTER
(eyeing page)
Bingo! There he is -- Arnold
Morton...
DEE DEE
(eyeing page)
He was an independant operator doing
a tap for the CID at Martelli's Restaurant
right about the time Pierpont was trying
to take out a contract on his wife.
Dee Dee hurriedly types in another command and the PRINTER
THUNKS out another page... Now she tears off this page, eyes
it, hands it to Hunter.
DEE DEE
Interesting address for an
angel, huh?
SMASH CUT TO
EXT. AN ABANDONED DRIVE-IN THEATRE - NIGHT
A high cyclone fence with barbed wire on top surrounds the place,
and weeds are growing up through cracks in the asphalt around
the speaker posts. The screen is torn and covered with graffiti.
The little low concession house sits crouched and ready to spring
from the center of the vast, empty parking lot. And Dee Dee's
car crunches up the long drive and stops at the gate.
INT. DEE DEE'S CAR
Hunter and Dee Dee stare out at the eerie scene, exchange glances
Now Hunter gets out of the car...
EXT. DEE DEE'S CAR
Hunter goes to the trunk, opens it, takes out a bolt cutter,
goes over to the combination padlock on the gate and chops
it off, hauls open_ the rickety gate, gets back in the car...
and Dee Dee drives in...
INT. DEE DEE'S CAR
The concession house is dark, all its windows boarded over so
that it has become nothing less than a bunker, and Dee Dee's
headlights fall across it now as she pulls up to the entry
door and parks.
EXT. THE CONCESSION HOUSE
Hunter and Dee Dee get out of the car, and Hunter carries the
bolt cutters up to the combination padlock on the door - he
slices off the lock, then POUNDS off the locked doorknob,
jams the handle of the cutters into the latch assembly and
twists it, and the door unlatches and opens... and the ALARM
BELL GOES OFF... Quickly Hunter steps onto the threshold,
reaches up inside, grabs something unseen and yanks... and
the ALARM STOPS and Hunter is holding a torn wire. Now he
and Dee Dee go
INSIDE THE CONCESSION HOUSE
and Hunter finds the beaded chain which hangs from an overhead
light fixture - he pulls the chain and an old industrial light
CLICKS ON, revealing a time warp: original fixtures, counters,
plumbing; old peeling movie posters; all the signs for the van
leaning against a wall by a shelf full of spray paint cans and
stencils; a cot with its sheets and blanket corners neatly
squared, a pair of slippers and a folded towel at the foot of
the cot; electronic parts and tubes and disassembled equipment
and a workbench buried by modern surveillance gear surrounded
by racks of carefully organized tools. And, on the workbench,
stacked neatly, are dozens of eight by ten black and white photos
of Hunter in action. A row of videocassettes rests behind the
photos. Hunter and Dee Dee survey the place, and Dee Dee spots
the photos, examines them:
DEE DEE
Hmm, I never realized you were
so photogenic.
Hunter steps over and takes up a handful of the photos.
HUNTER
Oh, man, he's been following
me for weeks. I can't believe
I never noticed him.
DEE DEE
He earns his living not being
noticed.
Hunter hands her the photos he'd been viewing - he is plainly
uncomfortable; then he grows steely-eyed with new resolve:
HUNTER
I want this guy, McCall.
Play the moment, then pulls the chain that kills the light,
and the scene goes BLACK.
EXT. POLICE STATION - DAWN
Establish.
INT. DETECTIVES' BULLPEN
Hunter and Dee Dee enter, Hunter with an open file con-
taining the photographs from Arnold's lair.
HUNTER
I'm gonna check in with Smitty,
see if we got lucky on any of
those prints at that roller rink.
DEE DEE
This Morton guy did do piece
work for the C.I.D., chances
are he could have a military
record... some kinda traceable
background.
Hunter moves off as Dee Dee crosses to her desk. The phone
rings on Hunter's desk, it has been wired up to recorder
and oscilloscope. She turns to see Hunter moving through
a door. She snatches up the phone. As she does:
CLOSE - TAPE RECORDER
hooked to Hunter's phone automatically clicks on.
ON DEE DEE
DEE DEE
Sergeant Hunter's desk...
(reacts; smiles)
Ted! Hi. Uh, listen, about
your keys...
(beat)
Sure, sounds great. I'm starved,
see you there. Explain every-
thing when I see ya...
She hangs up the phone, gathers up her purse and heads out.
ANGLE - HUNTER
as he enters the bullpen and crosses to his desk. He
looks around.
HUNTER
Hey, anyone see where McCall
went?
No one responds, Hunter sits down at his desk - then his
eyes catch:
THE TAPE RECORDER
the red light is on -- telling him something was recorded.
ON HUNTER
he REWINDS the recorder, hearing the BACKWARDS, SPEEDED-UP
VOICES...and when the recorder CLICKS to a STOP, he punches
PLAY... The oscilloscope line dances and spikes as:
DEE DEE (O.S.)
(on tape)
Sergeant Hunter's desk...
TED (O.S.)
I was looking for Dee Dee McCall.
DEE DEE (O.S.)
(on tape)
Hi, Ted. Uh, listen, about your
keys --
TED (O.S.)
(on tape)
Meet me at that coffee shop just
around the corner from here --
the "Country Cafe" -- in ten
minutes, what do you say?
DEE DEE (O.S.)
(on tape)
Sure, sounds great, I'm starved,
see you there. Explain everything
when I see ya...
Hunter sits there, staring in shock at the oscilloscope, not
sure if he really saw what he thinks he just saw...
HUNTER
Oh my God...
Quickly, he REWINDS the tape just a little, hearing the
BACKWARDS, SPEEDED-UP VOICES again, and then he hits PLAY...
and, as he hears the following, he pulls the oscilloscope to
him, stares hard at it and sees nothing but the CONSTANT HIGH
SPIKING pattern indicative of an edited message:
TED (O.S.)
(on tape)
Meet me at that coffee shop just
around the corner from here --
the "Country Cafe" -- in ten
minutes, what do you say?
Hunter STOPS the recorder:
HUNTER
All the spikes are high...the
message is a fake.
And he jumps up, leaving the blanket behind, and runs for the
door...
FADE OUT
END ACT THREE
*************************************************************
ACT FOUR
FADE IN
EXT. "COUNTRY CAFE" COFFEE SHOP - DAY
A little cottage at the corner of a block of old, neighborhood
businesses. Overhead sign reads "COUNTRY CAFE". Hunter's car
(a different motor pool wreck than the one still parked at his
apartment) races up, parks in front, and he dives out, rushes
to the front door of the cafe, but it is locked and the hand-
lettered notice thereon says "SORRY - LOST OUR LEASE". He
cups his hands against the window, sees nothing inside... and
now he notices something in the shrubs which run along the
front of the building... He bends and picks up Dee Dee's purse,
opens it to find her wallet, badge, service revolver. Cursing
to himself, he makes his way around the building to the little
rear parking lot, but it is empty. He starts back the way he
came when suddenly a nearby PHONE BEGINS TO RING. He pauses,
looks around, senses that the RINGING is coming from by the
building, and then he sees Arnold's briefcase standing calmly
in the shadows - the RINGING definitely emanates from the
briefcase. Now Hunter approaches cautiously, gets down on one
knee to gently lay the briefcase flat - again it RINGS. Hunter
swallows hard, reaches for the two latches and clicks them open
simultaneously, lifts the lid - the cellular phone stares out
at him and RINGS. Abruptly he snatches the receiver and brings
it to his ear.
HUNTER
(into phone)
Hunter.
ARNOLD'S VOICE replies:
ARNOLD(O.S.)
(filtered)
May I say you certainly do look
lovely in the morning. Rick.
HUNTER
(into phone)
Where is she, Arnold? Where's
McCall?
ARNOLD(O.S.)
(filtered)
You know, I couldn't for the
life of me figure out why you
weren't appreciative of every-
thing I'd done for you, and
then, last night, while you
were so brutally ransacking my
home, I heard you tell McCall
how much you depended on her,
and I knew, I just knew that
it was your way of telling me
that there isn't room in your
heart for the both of us...
HUNTER
(into phone)
Arnold, a person can't have too
many friends...
ARNOLD(O.S.)
(filtered)
But if you have me, why would
you possibly need anyone else?
No, there's just no place for
McCall, and I know she
understands that now. Good-bye
- or should I say "au revoir"?
HUNTER
(into phone)
Arnold, wait, you've got it
wrong, it's not McCall who's
getting in the way...
(silence on the
line)
Arnold, are you there? Did
you hear me? McCall's not
the one coming between us.
There is another beat of SILENCE, and then the line licks to
DIAL TONE. Hunter stands there, says a silent prayer, then
hangs up the phone, grabs the briefcase, runs to
HUNTER'S CAR
and jumps inside, grabbing the radio mike as he FIRES up the
engine:
HUNTER
(into mike)
Dispatch, this is L-fifty-six,
hurry and get me the home
address of a Nell Armstrong
- should be in Palms...
And he zooms away from the curb...
INT. NELL'S APARTMET - DAY
A tasteful, three-level, one-bedroom townhouse in a modern
building - lots of case files and law books, some open,
scattered around, and the plants are in dire need of watering.
The DOORBELL is at this moment RINGING, and Nell, barefoot,
wearing jeans and a loose-fitting shirt and reading glasses
as she sits at her typewriter and legal researches (and
telephone) at the dining room table, pulls off her glasses and
makes her way to the front door, peeks through the fisheye-lens
peephole and opens the door to find Hunter.
NELL
Good morning.
HUNTER
Sorry to barge in like this.
NELL
No, no, it's fine - I'm
assuming you have something
important to tell me about
what went down last night,
right?
HUNTER
Yeah... it was all a false
alarm.
NELL
You're kidding? That's what
you -came here to tell me?
HUNTER
No - I came here to do this.
And he grabs her in a warm embrace, kisses her passionately,
whispers in her ear:
HUNTER
(whispers)
Play along -- he's out there.
Her eyes go wide, she nods, returns the kiss. Finally,
they break:
NELL
Is this your way of placing me
under arrest, Sergeant?
She lets him in, closes the door behind him, stares at him
questioningly, worriedly. He pushes a shhshing finger to his
lips, gestures for her to lead him up the first flight of
stairs, past the bedroom and bathroom, and then up the
second flight to
THE LOFT
A huge picture window here looks down to the street. A
sofa, coffee table and mirrored wall sculpture are the only
furnishings. Hunter steers Nell over to the window, faces
her, his arms on her shoulders.
HUNTER
I was so worried something might
have happened to you... You're
real special, counselor.
NELL
You're not half bad yourself.
His eyes wander past her, gaze momentarily.
THROUGH THE WINDOW
to see Arnold, clean-shaven, wearing his wire-rimmed
glasses, tan cords, black sneakers and overcoat, and
carrying his cane, standing on the sidewalk, looking up
at Nell's apartment and adjusting his hearing aid ear
piece. Behind him, parked on the street, the blue van
sits quietly - its signs read "TRUTH AND JUST US - APPLE
PIES."
HUNTER
returns his gaze to Nell.
HUNTER
Yeah, we're gonna make quite a team.
She kisses him long and hard, closing her eyes... and, while
kissing, he glances back
THROUGH THE WINDOW
to see that Arnold is now gone.
HUNTER
politely pulls away from Nell.
HUNTER
I'll be right back - don't
lose that pose.
He starts down the stairs, and she calls:
NELL
First door on the left.
THE BATHROOM
Hunter enters, closes the door, turns on the FAUCET, pulls his
gun, quietly clicking off the safety and snapping back the slide
to push a round into the chamber... Now he gets down on the
floor and peeks
THROUGH THE SPACE UNDER THE BATHROOM DOOR
and after a few moments a shadow falls right in front of the
bathroom door and then two high-heeled shoes followed by two
black leather sneakers and a cane ferrule walk slowly past,
heading up the stairs toward the loft...
NELL
is standing by the mirrored wall sculpture, examining her
disjointed reflection, pushing back her hair to make herself
more presentable... and she is startled as into view comes
the image of Arnold, pushing a tape-gagged and hand-tied
Dee Dee. Now Nell spins around:
NELL
My God!
ARNOLD
We see right through you...what
you're trying to do to Rick...
but we won' t let you. . .
HUNTER(o.s.)
It's all over, Arnold.
And Hunter, gun in hand, appears on the stairs behind
Arnold.
HUNTER
Just be a good boy and back
away from McCall, that's it...
Arnold smiles mischievously, drops his cane, backs toward
the window. Dee Dee edges toward Nell as Hunter takes
another step or two up the stairs.
ARNOLD
(grins)
Whatever you say.
Hunter pulls off Dee Dee's gag, then her wrist bonds.
HUNTER
(to Dee Dee)
You alright?
DEE DEE
Just ducky, although obviously
overdressed for the occasion.
HUNTER
Assume the position, Arnold.
ARNOLD
(beams)
Of course.
Arnold raises his hands up and reveals that the man has a
bomb module (complete with LCD countdown timer) strapped to
his chest under his overcoat. The timer is at 15 seconds
and counting.
HUNTER
What the hell is this?
ARNOLD
It's eternity/ Rick, and we're
going to share it together.
HUNTER
Turn it off, Arnold, turn it
off and we'll talk.
ARNOLD
Nope, I'm through listening to
people talk. They talk and talk...
now, even you're starting to
listen...
The timer is down to 5 as Hunter eyes Dee Dee and Nell:
HUNTER
Run! Get out of here!
And as the timer clicks down to 1, Hunter picks up Arnold
by the collar and backside, and hurls him through the window
pane, and Hunter and Dee Dee and Nell dive to the floor and
cover their faces and now there comes the EXPLOSION rumbling
the building and sending smoke and debris in through the
shattered window.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. POLICE STATION - DAY
Establishing.
INT. SQUAD ROOM - HUNTER
is on the telephone, finishing up with Nell.
HUNTER
Today was yours, but I'll get
you in court tomorrow. Okay,
see you later. Bye.
He hangs up as Dee Dee approaches.
DEE DEE
Well, Nell did it to you again,
didn't she? She twisted you
inside-out on the stand.
HUNTER
Believe me, McCall, I'll take
her to dinner tonight and return
the favor. You and Ted care to
join us?
DEE DEE
I promised Ted he was going to
get that home cooked meal tonight.
But you and Nell could come over
to my place.
HUNTER
That could be all right...don't
have to get all dressed up, lay
around, kick back, put my feet
up. . .
(off her look)
I'll bring the wine.
DEE DEE
Sure. Got any money on ya?
(he nods; she holds
her hand out)
Gimme sixty bucks.
HUNTER
(reacts)
Sixty bucks!
DEE DEE
Yeah...veal is fourteen dollars
a pound. Sixty bucks will cover
the stuff that went bad and buy
us more for tonight.
HUNTER
(grumbling as he
hands over cash)
Sixty bucks. Ten people could
eat on sixty bucks.
DEE DEE
Not on veal marsala.
HUNTER
I don't even like veal.
DEE DEE
Then forget it. Don't come over.
And Dee Dee turns and walks off. Hold on Hunter -- then:
HUNTER
Wait a minute... that was all my
money!
DEE DEE
So are you coming?
HUNTER
I don't have much choice.
(grimace)
And I can't pick up any wine.
DEE DEE
(muses; then slaps
ten dollars in his
palm)
That's red wine with veal. You
owe me ten.
She turns and Hunter starts to protest, as we:
FREEZE FRAME
FADE OUT
THE END
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