BIG MAN...SMALL TOWN

(Later renamed THE BIGGEST MAN IN TOWN)

Written by Stephen Katz

ACT ONE

FADE IN

INT. CHECKERS - DAY - ON RAYMOND BELLAMY

Checkers is a restaurant. As Bellamy is led through the
steak and seafood house by a HOSTESS. Bellamy, distinquish-
ed looking sixtyish, dressed in a conservative business
suit, carries a plain leather briefcase and wears horn-
rimmed tinted glasses.

ANGLE - HOSTESS

as she leads Bellamy over to a secluded table in back near a
rear exit. A darkish-looking man in his forties, a "MR.
SMITH", nervous, smoking, sits there waiting. The hostess
shoots him a smile.

HOSTESS
Your lunch guest has arrived,
Mister Smith.

She puts down a menu on the Cable for Bellamy.

HOSTESS
Your waiter will be right with
you.

Bellamy smiles at the girl as he sits down.

BELLAMY
Thank you.

The girl walks off. Bellamy looks at Smith.

BELLAMY

Let's get this over with fast, Charlie.
I have a two o'clock appointment.

SMITH
Did you bring it?

He crushes out his cigarette.

BELLAMY
That's why we're here, isn't it?

He hands his briefcase over to Smith. Although there are no
diners nearby Smith glances around to make sure no one is
taking any particular interest, then opens it. He glances
at the packets of bills inside.

BELLAMY
(amused)
Don't worry, it's all there. Real
sharp that "Mr. Smith", gotta hand it
to you, Charlie.

Smith puts Bellamy's briefcase down on the floor beside him,
picks up another briefcase next to it, identical to the
first, and hands it to Bellamy. Bellamy puts it down.

BELLAMY
You won today, Charlie, you got your
money. But if you ever try'n tap
into me again...if I should even
happen to see you again...you'll be
The loser you've always been...and
it'll be downright terminal. Do I
make myself clear?

SMITH

You won't see me again, Mister
Bellamy. I've got all I want, all
I need.

BELLAMY
(hard smile)
Good.

ANGLE - WAITER
as he walks over.

WAITER
(French accent)
Are the gentlemen ready to order?

SMITH
Nothing for me.

Bellamy-glances at the menu.

I'm starving. I think I'll have
the prime rib....

INT. CAR - DAY - ON KYLE JOHNSON

Hardlooking, six-four, two-twenty, most of it muscle. He
glances at the radio transmitter lying on the seat next to
him as he hears:

BELLAMY'S VOICE
(filtered)
...with a tossed green salad, no
dressing. And bring me a pot of
coffee.

INT. RESTAURANT - DAY - ON BELLAMY

He waits for the waiter to get out of earshot, then glances
at the exit sign over the door behind their table.

BELLAMY
What were you planning to do,
Charlie? Make a quick getaway
through that rear exit...

INT. CAR - DAY - ON JOHNSON
As he hears...

BELLAMY'S VOICE
(filtered)
...behind you once I gave you
the money?

Johnson turns over the ignition and slams the car in gear.

EXT. STREET - DAY - ON CAR

Parked across from the restaurant. Johnson pulls a screech-
ing U-turn.

ANGLE - CAR

as Johnson pulls into the alley running behind the restaur-
ant and parks.

INT. RESTAURANT - DAY - ON SMITH

as he picks up Bellamy's briefcase and stands. He looks at
Bellamy.

SMITH
You were always in control Mister
Bellamy. Always had the answers.
Tell me, how does it feel to have
someone else dictating the terms?

Bellamy removes the tinted glasses and stares at Smith.

BELLAMY
Good-bye, Charlie.

He puts the glasses back on. Smith turns and walks out
through the rear exit.

INT. CAR - DAY - ON JOHNSON

As he watches Smith exit the restaurant and hurry over to a
car parked in the alley. Smith gets in fast and drives
off.

ANGLE - JOHNSON'S CAR

as it pulls out of the alley and swings into the street and
follows Smith.

SERIES OF SHOTS

as Johnson follows Smith. Smith seems to be headed for the
airport as he drives through less populated areas.

EXT. ISOLATED SIDE ROAD - DAY

As Smith turns down it.

EXT. CAR - DAY - ON JOHNSON

As he sticks a police cherry light on the roof of his car,
and speeds up, gaining on Smith s car.

JOHNSON
(through bullhorn)
This is the police! Pull over to
the side of the road immediately!

INT. CAR - DAY - ON SMITH

As he glances in his rear view mirror and sees the unmarked
car behind him with its revolving cherry light.

OMIT

ANGLE - SMITH'S CAR

as it slows and pulls over to the side of the road and
stops. Johnson stops about twenty feet behind him.

JOHNSON
(through bullhorn)
Would you please get out of the
car?

ON SMITH

as he gets out of his car and starts walking Towards
Johnson's car.

SMITH
Officer, would you mind telling me
why I was stopped?

The door to Johnson's car is pushed open and Johnson gets
out. Smith reacts as he recognizes Johnson.

ANGLE - JOHNSON

as he brings up an Uzi he's holding hidden by the car door
and empties the clip into Smith.

ANGLE - SMITH

as he's flung back like a rag doll. Johnson runs past the
body and reaches into Smith's car. He pulls out the brief-
case, hurries back to his car and gets in. He pulls a
screeching U-turn and drives away as we...

CUT TO

INT. RESTAURANT - DAY - ON BELLAMY

As he wipes his lips with a napkin. The waiter clears
the table.

BELLAMY
(smiles)
That was delicious. Now you know
what would top Chat off? A nice
hot slice of apple pier

And off his smile we...

DISSOLVE TO

CLOSE ON - REVOLVING CHERRY POLICE LIGHT

as it flashes its red glare across the screen. We WIDEN to
reveal:

EXT. ROAD - DAY

We are at the scene of the shooting. Two black and whites
are there, some uniformed officers, a coroners wagon, a lot
of routine activity.

DEE DEE is checking the car. She finds a book of matches in
the ashtray. HUNTER is kneeling beside the body of Mr.
Smith, looking through his wallet.

Dee Dee enters to Hunter. She is holding the book of
matches and an airline ticket envelope.

DEE DEE
It's a rented car. Two packed
suitcases in the trunk, a ticket
on a flight to San Diego in the
glove compartment --in the name of
Charles Smith -- and one full book
of matches from the ashtray.
That's it.

HUNTER.
(wallet in hand)
Well, the Charles is right. Driver's
license -- plus the picture -- says
his name's Latimer, residence Campo
Alto, California. Age 43, single.
(looks up)
We can rule out robbery -- there's
over nine hundred dollars here.

As the routine activity goes on: pictures taken, coroner's
men doing their thing, etc. Hunter and Dee Dee walk off to
the side to talk unheard.

HUNTER
How's it look to you?

DEE DEE
Weird. The way he was killed looks
like an execution, gangland style.
The rest of it -- "Smith?"-- looks
like some poor duff cheating on his
wife.
(looks at book
of matches)
These could've been left in the
ashtray by the last renter.

Hunter takes the matches, looks at car: "Checkers Restaur-
ant, Fine Food."

HUNTER
But since it's all we got --

CUT TO

EXT. RESTAURANT - DAY

To establish. We can see a sign out front that reads:

"CHECKERS".

INT. RESTAURANT - DAY - ON HOSTESS

As she looks at the picture on Latimer's driver's license,
She looks at Hunter and Dee Dee.

HOSTESS
(handing Hunter
license)
Yes, he was here. The reservations
were under the name "Smith." I wanted
to seat him by the bar but he insisted
on sitting in the back.

DEE DEE
Was he with anyone?

HOSTESS
(thinks)
An older man...maybe sixty, grey
hair, distinguished-looking. You
know, looked like a lawyer or some-
thing. Carried a briefcase.

HUNTER
Did he leave with it?

HOSTESS
(shrugs)
I didn't see him leave. Pierre
might know. He was their waiter.

She looks around the restaurant and spots Bellamy's waiter
walking out of the kitchen.

HOSTESS
(calling)
Pierre.

The waiter walks over.

PIERRE
Yes, Cherie?

HOSTESS
Pierre, these people are police
officers. They want to know
about the two gentlemen that sat
at table eleven during lunch.

Pierre looks off at the table by the rear exit then looks at
Hunter and dee Dee.

PIERRE
(drops phony accent)
Table eleven, right.
(explains)
The name's really Chuck. I'm
between acting jobs.
(re: table)
Yeah, those two at table eleven.
Only one ordered lunch, the older
guy. The other one left before I
got back with the food.

HUNTER
Did the older guy leave with a
briefcase?

PIERRE
Briefcase?
(thinks)
Yeah, he had a briefcase with
him.

DEE DEE
Did he pay with a credit card?

The waiter shakes his head, no.

PIERRE
Cash all the way.

Dee Dee and Hunter exchange a glance. They're reaching a
dead end and they aren't happy with it.

INT. CAPTAIN'S OFFICE - DAY
Close on Captain.

CAPTAIN
Undercover? Why?
(looks from McCall
to Hunter)
You both need new wardrobes or
something?

His BUZZER sounds and he picks up the phone.

CAPTAIN
Yes?
(listens 3 seconds)
Send him in.
(back Co Hunter
and McCall)
Well? Why undercover?

A uniformed officer enters, moving fast, and puts a memo in
front of the Captain for his signature.

DEE DEE
Latimer lived in Campo Alto all
his life. No criminal record --
not even traffic citations. He left
there suddenly, very suddenly about
ten days ago and registered here
under a false name. And today he
gets blown away like a New York gang
chief and left with a wallet full of
money.

The Captain has been reading the memo, obviously, because he
signs it and the officer leaves.

CAPTAIN
You didn't answer my question. Why
undercover?

HUNTER
We checked with intelligence on
Campo Alto. They advised us to
go in undercover.

CAPTAIN
Why?

The BUZZER sounds again.

CAPTAIN
Yes?
(listens 4 seconds)
Tell him I'll see him in five
minutes.
(hangs up)
Well?

DEE DEE
Intelligence says the law there
is very in-bred, uptight. They
say we'll do better if we
don't flash any badges.

The door opens and a uniformed officer leans in.

OFFICER #2
Excuse me, sir, Billings is here,
shall I send him up to I.A.?

CAPTAIN
No. I wanta talk to him first.

OFFICER #2
Yes sir.

He closes the door.

CAPTAIN
How much?

HUNTER
A hundred dollars a day and the
rental of a Jaguar.

CAPTAIN
(heavy sarcasm)
A Jaguar. Not a Chevy. And of
course, a Chrysler or a Ford won't
do at all, right?

DEE DEE
We checked, and there's no garage
in town that can handle a Jaguar.
Hunter's is gonna break down just
outside of town. It'll need a part
that'll take a week to get.

CAPTAIN
And what'll you be driving, McCall?
A Mercedes?

DEE DEE
No sir, I'll go in on a bus.

That brings the Captain up short and he is saved the need
for comment when his BUZZER sounds again and ends the
scene.

EXT. CAMPO ALTO - DAY

To establish. The best of Palm Springs and Carmel. A mil-
lionaire's resort area. The kind of place Bob Hope would
retire to if you could ever convince him an eighty-year-old.
should retire.

OMIT.

EXT. GARAGE - DAY - ON HUNTER

Casually dressed in jeans, T-shirt and expensive linen
jacket. The sign over the garage reads, "Campo Alto Auto
Repair." Hunter watches FREDDY, the mechanic, back
Hunter's Jaguar off a flatbed truck then get out.

HUNTER
Nice little town you got here.
Kinda looks like a picture post-
card.

FREDDY
We like it.

Freddy rests.

FREDDY
I'm gonna have to send for a new
water pump. Could take up to a week
to get you another one.

ANGLE - HUNTER

as he unlocks the Jaguar's trunk and pulls out a suitcase
along with a wet suit and an aqualung air tank.

HUNTER
That long, huh?

Freddy disconnects the tow bar from the front of the Jag.

FREDDY
If you're lucky. I see you do
some divin'. Too bad. We got
everything in Campo Alto but deep
water.

HUNTER
I'm an oceanographer -- headed
for Corpus Cristi.
(re: air tank)
You think I can leave this thing
here?

FREDDY
Sure. No bother. I'll keep it
locked up in the office. You need
a place to stay, try the Royal Arms
Motel. I'll give you a call there
when I know where we stand.

HUNTER
Thanks.

Hunter walks away and as Freddy reaches in the Jag and snaps
open the hood we...

CUT TO

INT. SQUAD ROOM - DAY - ON DEE DEE

At her desk. The phone RINGS and she picks it up.

DEE DEE
Sergeant McCall.

OMIT

INTERCUT - EXT. MOTEL POOL - DAY - ON HUNTER
Using a phone by the pool.

HUNTER
It's me, McCall. When we nailed
that sleaze, Molinas, last January,
You had to sing in some club. I
didn't get a chance to hear you.
Were you any good?

DEE DEE
Good? I had them standing in the
Aisles, Hunter. You don't know
what you missed. Why?

HUNTER
The band in the Campo Alto Country
Club is lookin' for a singer.
The one they got is pregnant.
Think you could handle it?

DEE DEE
Handle it? - They'll be offerin' me
a long-term contract.

HUNTER
One week'll do. I'm stayin' here at
the Royal Arms Motel. Check in
and get a room.

DEE DEE
I'll catch a bus and be there
tomorrow. Anything to report?

ANGLE - HUNTER

as he lowers his sunglasses to eye a sexy young thing in a
bikini as she climbs out of the pool.

HUNTER
(gaze following
girl)
Yeah...the view's great.

He hangs up and we...

CUT TO

EXT. STREET - DAY - ON HUNTER

He is walking along the street, appearing to be going for
a stroll, looking the town over. In fact, he is following:

AN OLD MAN (CHARLES LATIMER'S FATHER)

He walks slowly, using a cane, but he isn't strolling, he
has a destination.

OMIT

EXT. NEWSSTAND - DAY - ON LATIMER

As he stops by the stand. The guy running the stand
smiles at the old man and hands him his usual newspaper as
Hunter stops to browse through a magazine rack.

NEWSTAND VENDOR
(handing Latimer
paper)
Nothin' ever good in the news
is there, Mister Latimer? All it
does it get you depressed.

The old man takes the paper and pays for it. Hunter looks
at him.

HUNTER
Excuse me. I couldn't help hearin'
your name. My mother's maiden name
was Latimer. You're not from Kansas
City are you?

LATIMER
No, my family came here by way'a
Minnesota. You're a stranger here,
huh?

HUNTER
Yeah. I'm waitin' for my car to
be fixed. Nice little community
you have here.

Latimer smiles at Hunter and nods in recognition of the
compliment. Hunter smiles back and we know they're going
to get along just fine.

DISSOLVE TO

EXT. PARK - DAY - ON HUNTER AND OLD MAN

The two of them are walking together now like a pair of
good buddies, through the park.

MOVING SHOT

LATIMER
No, my boy wasn't married. He had
a fiancee though. Real nice girl,
good breeding, good education --
assistant librarian here. Took my
boy's death pretty hard.
(glances at Hunter)
How 'bout you, Mr. Stoner? You
a married man?

HUNTER
No, but I'm thinkin' about it...

CUT TO

CLOSE ON - LIBRARY DUE DATE CARD

with a due date and the words, "Campo Alto Library" printed
across it. A hand slips it in the envelope sleeve pasted to
the inside cover of a book. We WIDEN to reveal we're...

INT. LIBRARY - DAY - ON AMY LAURTON

An attractive woman with a nice smile in her early thirties
sitting behind her desk. A nameplate on the desk reads,
"Miss Laurton." Amy finishes checking out a teenage girl's
books and Hunter steps to the desk and smiles at Amy. He
hands her two books.

HUNTER
Hi. I'd like to check these books
out but I'm afraid I don't have a
library card. I'm here in town
waitin' for my car to get fixed.

Amy takes the books.

AMY
(smile)
Well, I don't see why we can't
issue you a temporary card as long
as you have a Campo Alto address.

She inserts a blank card in her typewriter.

AMY
I'll just need your name and
where you're staying.

HUNTER
Rick Stoner. I'm at the Royal
Arms.

Amy types out the information on the card then checks the
two books out. She hands Hunter the card and the books.

AMY
Just have them back by Friday,
Mister Stoner.

HUNTER
Friday, right.

He starts walking away from her desk then stops and turns

HUNTER
Maybe you can help me. I don't
know anybody in town. I don't even
know where to go for a good dinner.

AMY
Well, the nicest place is the
Country Club. You don't have to
be a member to dine and the food's
great.

Hunter looks at her.

HUNTER
What I really need is someone to
share the dinner with me.
(off girl's
hesitation)
But with my luck, you're married
and have three kids.

AMY
No, I'm not married.

HUNTER
(grins)
Any kids7

AMY
(laughs, blushes
a bit)
Certainly not!

HUNTER
Sorry, bad joke. Engaged?

AMY
(beat)
No...not anymore.

HUNTER
I'm sorry, I didn't mean to get
personal. It's just that to be
honest with you, I'm kinda tired
of havin' myself for company.

She suddenly smiles at Hunter.

AMY
I'd love to have dinner with you,
Mister Stoner.

HUNTER
(returns smile)
Rick.

And off his smile, we...

EXT. ROYAL ARMS MOTEL - DAY

To establish.

48 INT. MOTEL ROOM - DAY - ON HUNTER

We hear the door being unlocked. The door opens and Hunter
steps in. As he closes the door, he freezes. He has heard a
sound in the bathroom. He reaches around to the back of his
pants belt where he is carrying a snub-nosed revolver. He
brings it out and points it at the bathroom door as he walks
quietly toward it and gets set to kick the door open.

FADE OUT

END OF ACT ONE

************************************************************

ACT TWO

FADE IN

INT. HUNTER'S MOTEL ROOM - DAY

At bathroom door. Hunter kicks it open with a violent
shock of sound, revealing:

McCall. In the bathtub, pointing a gun at Hunter,
who is pointing his gun at her. After a beat;

HUNTER
I think we've been here before,
haven't we, McCall?

DEE DEE
(lowers gun)
And once was enough, Hunter.

HUNTER
Haven't you got a bathroom of
your own?

DEE DEE
Would you throw me a towel? -
and I don't mean a wash cloth.

Hunter throws her a bathtowel and walks back into the
living room.

DEE DEE'S VOICE
I decided it'd be dangerous to be
seen with you or even call you, so
I picked your lock and here I am.

Dee Dee appears wrapped in a towel.

DEE DEE
So say hello, Hunter.

HUNTER
Hello, McCall. When'd you get to
town?

DEE DEE
This very hot morning.
(pouring herself and
Hunter two soft drinks
with ice)
I took a cab to the Country Club,
found Izzy O'Day -- he's the band-
leader -- and tried out.

She stops talking but goes on putting together the cold
drinks. Finally:

HUNTER
That's it?

DEE DEE
(a big grin)
They liked me. They're gonna
let me try out tonight.
(with gesture)
Ta-daa! In fact they want me
out there in two hours for
rehearsals and I needed a bath --
that bus was large...but intimate.

HUNTER
Did they ask how you heard about
the job?

DEE DEE
I told 'em Woody Zoller put me
onto it -- Woody owes me -- he's
ready if they call him.

She hands the soft drink to Hunter and lifts hers in a
toast. Hunter grins, happy with his partner, with the good
way she works. They lift glasses and drink. Then:

DEE DEE
And y'know what? If they hire me,
they're gonna let me sing one of
my own songs.

HUNTER
(playing straight
man)
One of your own songs.

DEE DEE
Yeah. Y'know, when we aren't
puttin' our bodies and souls on
the line for the good old Metro-
politan P.D. I do have a sort of
part-time private life.

HUNTER
(still very
straight)
During which you write songs.

DEE DEE
(firmly)
Yeah. I also bake cakes.

HUNTER
You got any other secrets you're
keeping from me, McCall?

DEE DEE
Yeah. And you know what makes 'em
secrets? -- I don't tell anyone about 'em.

Both smile and finish their drinks. Hunter spills a bit
on his hand. He shakes his wet hand and:

HUNTER
Can I borrow your towel?

On Dee Dee's laugh we CUT TO:

EXT. COUNTRY CLUB - NIGHT

To establish. Picture perfect. Subdued colored floodlights
highlight the club with its impressive flowing fountain out
front.

INT. COUNTRY CLUB - NIGHT - ON FIVE PIECE BAND

They play soft mood music in the b.g. The CAMERA PANS with
them, showing us the room, taking in the tables of diners,
several couples dancing, food being served, etc. It's
elegant and the smell of money hangs heavy in the air. The
Maitre D' seats them. Hunter is casually dressed in sports
jacket and slacks and AMY looks terrific in a subdued yet
sexy dress. Hunter glances around the room.

HUNTER
Nice.

Amy smiles and motions around the room.

AMY
It should be. The board of
directors reads like a page out of
'Millionaire's Quarterly'.
(motions to table)
The men at that table could probably
help balance the national debt.

Hunter looks at the table Amy motions to.

ANGLE - RAYMOND BELLAMY, TWO OTHER MEN, TWO WOMEN.

having a good time together in a booth near the orchestra.

The b.g. music fades and we hear:

M.C.'S VOICE
Thank you friends. And now some-
thing unexpected -- a delightful
surprise named Dee Dee Bennett!

ANGLE - M.C.

a smiling man in a well-tailored tux.

M.C.
I'd like to introduce, for the
first time in Compo Alto --

He gestures to Dee Dee as she appears on stage looking
fabulous in a sexy black dress.

M.C.
(clapping)
Miss Dee Dee Bennett!

Dee Dee gets a nice round of applause as she picks up the
microphone.

DEE DEE
Thank you.

She nods to the orchestra and they go into the intro of
(song to be selected). Dee Dee lets the music play over
her then starts belting out a hot, up tempo version of the
song.

ANGLE - HUNTER AND AMY

as they watch Dee Dee on stage. Hunter looks around to see
how others are responding.

ANGLE - BELLAMY

at his table as he watches Dee Dee belt out the number. He
taps his fingers on the table to the beat of the song and
shoots Dee Dee a smile. A waiter passes and Bellamy
motions him over and says something to him. The waiter
nods and walks off.

ANGLE- HUNTER

as he looks at Amy.

HUNTER
When I asked if you were engaged,
you kinda hesitated then said 'no
...not anymore.' Want to talk about
it? I'm a good listener.

AMY
I'm sure you are...But, I...
(looks at him)
My fiance was killed...murdered.

HUNTER
Hey, I'm sorry...Would it help you
to talk about it?

Amy pulls out a tissue from her purse and dabs her eyes.
She manages a smile.

AMY
He was shot. In Los Angeles,
with the kind of gun gangsters
use, but he was an accountant,
right here in Campo Alto, and
never did anything illegal in
his life.

HUNTER
Do the police know who did it?

Amy shakes her head no and tries to compose herself.

HUNTER
Anything unusual happen before he
was killed?

AMY
Well, he asked me to marry him.
He said he planned to quit his
job and move to Mexico and just
fish and lie in the sun.
(a faint smile)
I said yes, of course, and he quit
his job at Bellamy Enterprises
the next day and went to Los
Angeles to arrange for our trip.

HUNTER
Did you tell the police about
that?

AMY
(nods)
I told Sheriff Johnson.
(beat)
The day Charles was killed was the
day I was supposed to hear from
him. He was going to call and
tell me what flight to take. He
was going to meet me at the air-
port in San Diego.
(tries to maintain
her composure)
...but he never called.

Hunter reaches across the table and squeezes Amy's hand. He
looks up at the stage as Dee Dee finishes her number. Dee
Dee steps off the stage and Hunter watches as the waiter
Bellamy spoke to goes over and says something to her.

The waiter leads Dee Dee over yo Bellamy's table. Bellamy
stands and introduces himself and the others at the table to
Dee Dee. He pulls out a chair for her and Dee sits down. Off
Hunter's look we...

CUT TO

EXT. ROYAL ARMS MOTEL - NIGHT (STOCK)

To establish.

INT. HUNTER'S MOTEL ROOM - NIGHT - ON HUNTER

Lying on the bed, his hands behind his head. There's a soft
KNOCK on the door. Hunter rolls off the bed and goes over to
the door.

HUNTER
Yeah?

DEE DEE'S VOICE
Hunter, it's me.

Hunter unlocks the door and pulls it open. Dee Dee slips
inside and Hunter closes the door. He glances at his watch.

HUNTER
I was beginnin' to think this
was going to turn into an all-
nighter.

Dee Dee shoots him a smile.

DEE DEE
Can I help it if the biggest man
in town thinks I'm wonderful?

HUNTER
(describing Bellamy)
The heavyweight with the white
sideburns?

DEE DEE
That's him, Raymond Bellamy of
Bellamy Enterprises. Did you
notice something interesting
about him?

HUNTER
(grins)
Yeah. The waiter at Checkers,
his description of the man Latimer
had lunch with fits your Mr.
Bellamy like a silk glove, and
there's more, McCall -- Bellamy
was Latimer's employer.

DEE DEE
Bingo! Shall we get the waiter
down here, see if he can I.D.
the man?

HUNTER
That -- or we just get some
pictures. That way we don't tip
Bellamy -- not to mention getting
pictures is quicker and cheaper.

DEE DEE
(she knows)
Who gets these pictures?

HUNTER
Who else? He thinks you're
wonderful, right?

DEE DEE
Yeah. Well, he did invite me to
see his horse ranch tomorrow.
(grins)
We got enough money in the budget
for a camera?

HUNTER
We got more'n that, McCall, a
possible motive -- I think Latimer
was blackmailing someone.

DEE DEE
Bellamy?

HUNTER
(walks to door)
We'll know when you get the
pictures, won't we?
(at door)
By the way, McCall...your singing
was okay.

He unlocks the door.

DEE DEE
Okay? It was terrific. You
gotta take the wax out of your
ears, Hunter.

She slips out of the room and as we HOLD on Hunter's look
we...

CUT TO

OMITTED

EXT. BELLAMY'S RANCH - DAY - ON BELLAMY

standing outside the main house. He watches as the Police
Chief's car pulls up. The door opens and we see Latimer's
killer. Police Chief Kyle Johnson get out. Bellamy looks
at him.

JOHNSON
Mister Bellamy.

BELLAMY
That girl Latimer was engaged to?
-- everybody talks about how hard
she's takin' his death.
(eyes Chief,
gets his full
attention)
Well, last night she sashays into the
club on the arm of some tall guy
I never saw before, and if she's
nursin' a broken heart, I'm Ann
Landers. Find out who the guy is
and how he got together with her.

FADE OUT

END OF ACT TWO

***********************************************************

ACT THREE

FADE IN

OMITTED

EXT. MOTEL POOL - DAY - ON HUNTER

Dressed casually as he sits at one of the tables near the
pool finishing up breakfast.

ANGLE - CHIEF JOHNSON

as he walks over and sits down across from Hunter.

JOHNSON
(calls to waitress)
Honey, bring me a cup'a coffee,
would you?
(he looks at
Hunter)
I'm Chief Kyle Johnson and I understand
you're Rick Stoner.
You're waitin' for a part for
your car.

HUNTER
That's right. It's supposed to
be here in a coupla days.

JOHNSON
Must be tough bein' stranded in a
strange town just waitin' around
till they can fix your car. Me,
I'd go crazy.

HUNTER
You got a nice town here, Chief,
that helps.

Johnson shoots Hunter a smile.

JOHNSON
(nods)
Freddy - the youngster workin' on
your car? He tells me you're an
oceanographer. Interestin' job.
How long you been at it?

HUNTER
Ever since I graduated from the
University of San Diego - twelve
years ago.

Just then the waitress walks over and serves Johnson his
cup of coffee.

JOHNSON
Thank you, honey.

He pours about five ounces of sugar into his coffee.

JOHNSON
Mind if I ask you a personal
question, Mr. Stoner?

HUNTER
You can always ask.

JOHNSON
(doesn't like that
answer)
We had a murder, outside my
jurisdiction but it concerns
this town. A long-time resident
was killed. His name was Charles
Latimer and he was engaged to a
young lady named Amy Laurton. I
hear she was real shook up by
what happened. And now I got
this report she showed up at
the country club last night with
a man no one seems to know. I'd
like to know how that happened?

HUNTER
Be happy to tell you, Chief,
but I can't help wonderin' if
that's any of your business?

JOHNSON
I think I can help you there:
it's my business cause I'm makin'
it my business. This citizen
was murdered in Los Angeles.
You from Los Angeles?

HUNTER
No, as a matter of fact I'm from
San Diego.

JOHNSON
(hard)
I don't know how it is in San
Diego but here in Campo Alto when
I ask someone a question, I don't
expect to be told it's 'none'a
my business', you get my meaning?

HUNTER
Loud and clear. I had nothin'
to do and went to the library
lookin' for some books. Amy
and I got to talkin' and I
asked her to have dinner with
me.

JOHNSON
And that's it?

HUNTER
That's it.

Johnson drains his cup and puts it down. They exchange a
look.

JOHNSON
I think they'll have your car
fixed real soon, Mister Stoner.

He drops some coins on the table and walks away. And as we
HOLD on Hunter's look we...

CUT TO

OMITTED

INT. POLICE CHIEF'S OFFICE - DAY - ON JOHNSON

on the phone.

JOHNSON
Let me talk to Mister Bellamy.

EXT. BELLAMY'S RANCH - DAY - ON DEE DEE

As she smiles and snaps off pictures of horses in a corral
as Bellamy stands nearby.

DEE DEE
(clicking off shots)
Horses are a passion with me --
riding 'em and taking pictures of 'em.
(laughs)
I even paint 'em in my spare time.

BELLAMY
(laughs)
I bet you do.

Dee Dee turns so Bellamy is in foreground and snaps off
several quick shots of the horses behind and/or beside him.
Bellamy smiles for her, too gone on her to be suspicious.

ANGLE - GAINES

one of Bellamy's ranch hands as he walks over to Bellamy.

GAINES
There's a call for you, Mister
Bellamy. It's important.

BELLAMY
I'll take it by the corral.
(to Dee Dee)
Be right back.

He walks off.

ANGLE - BELLAMY

as he picks up a phone by the corral.

BELLAMY
Yes?

OMITTED

INTERCUT - INT. POLICE CHIEF'S OFFICE - DAY - ON JOHNSON

JOHNSON
I talked to him. Name's Rick
Stoner and he's waitin' for his
car to be fixed. Claims he's an
oceanographer. I'm checkin'
on him, somethin' about the guy
worries me.

BELLAMY
If you're worried, Kyle, so am I.
Handle it.

He hangs up and walks back over to Dee Dee and we...

CUT TO

INT. AMY LAURTON'S HOUSE - DAY

We are on the FRONT DOOR and HEAR it being unlocked. The
door opens and Amy steps in, reacting in shock when she
sees: Hunter sitting in an easy chair waiting for her.

THE SCENE:

AMY
How...how did you get in here?

HUNTER.
(stands)
I'm sorry, I didn't mean to fright-
en you but I didn't want to be seen
so I came through the back door.

AMY
But why?

Hunter shows her his police I.D.

HUNTER
Sergeant Rick Hunter, Los Angeles,
homicide. I'm trying to find out who
killed your fiance. Your Chief of
Police took a lot of interest in us
havin' dinner together -- I was hopin'
someone would.

Amy looks at him.

AMY
I don't understand any of this.

HUNTER
I don't like to say it but I think
Charles Latimer was blackmailing
someone. I think he was paid off
the day he was killed, it's the
only explanation for what happened
that day.

Amy sits down in a chair and stares at Hunter.

AMY
You're wrong. It can't be. The
Charles I knew wouldn't even cheat
on his income tax.

HUNTER
You got any idea how he planned to
retire to Mexico to fish and lie
in the sun?

AMY
Charles lived very simply
and he had investments. That's
what we were going to live on.

HUNTER
What can you tell me about Raymond
Bellamy?

AMY
(shrugs)
Mister Bellamy and Charles were
together since Mister Bellamy
started his business. It was
Bellamy Insurance Company then.

HUNTER
From the size of his building,
Bellamy musta sold a lotta
insurance.

AMY
Oh, he went into other things...
ranching, oil. He's popular
and respected and his record is
probably every bit as clean as
Charles'.

HUNTER
It is. I checked it, but Amy, you
don't get killed the way Charles
Latimer was unless you're a deadly
threat to someone.

AMY
(can't believe it)
There has to be another explanation.
Maybe Charles was mistaken for
someone else!

HUNTER
(gently)
Do you really believe that?

Amy stares at him and doesn't say anything.

HUNTER
What's the relationship between
the Chief of Police and Bellamy?

AMY
(shrugs)
You don't run for public office in
Campo Alto unless Mister Bellamy
supports you.

There's a KNOCK on the door. Amy looks at Hunter, walks
over to the door.

AMY
Who is it?

JOHNSON'S VOICE
It's Chief Johnson. I'd like
to talk to you.

Amy, frightened, looks at Hunter. Hunter nods then ducks
into the next room. Amy unlocks the door.

AMY
Chief.

JOHNSON
Can I come in?

Amy nods and holds the door open for Johnson, who steps
inside. She closes the door behind him.

AMY
Would you like to sit down?

JOHNSON
No, I only got a minute or two.

Amy sits down, frightened. It's a strain not to glance at
the door Hunter quickly closed.

JOHNSON
Amy, even though it happened in
Los Angeles, I'm doin' all I can
to try to solve Charlie's murder.
Mister Bellamy feels the same as I do.
He's even postin' a reward
for any information leadin' to the
apprehension of the killer or
killers.

AMY
I know you're doing all you can,
Chief.

JOHNSON
Now this fella you been seen with,
this Rick Stoner...he could be
involved. I picked up a set'a
fingerprints off his car. He's
from Chicago and he's got a crime
sheet ten yards long. I chink
he's after somethin' from you.

INT. AMY'S BEDROOM - DAY

ON HUNTER listening to all this. He stiffens, wondering
how Amy will cake that misinformation. He reaches back for
his revolver. WE WILL INTERCUT WHAT FOLLOWS WITH HUNTER.

THE SCENE:

AMY
I don't know what it could be.
I mean we just talked about
his job, my job...things we
like to do.

JOHNSON
(frowns; not
believing her)
You mean to say he didn't ask you
anything about Charlie?

Amy hesitates. She is in a terrible quandary and for a
brief second she throws a glance toward the door.

AMY
No, nothing.

JOHNSON
(moves toward her)
You holdin' somethin' back on me?

AMY
No! I'm not!

The Sheriff moves even closer and leans over her.

JOHNSON
(harsh whisper)
Who's in there?

AMY
Where?

JOHNSON
Behind that door you keep looking' at.

AMY
(with unexpected
strength)
There's nobody in there, Chief!

The Chief turns, strides to the door, gun in hand, and
throws the door open.

INT. BEDROOM - DAY

The Chief steps in.

CHIEF'S POV - THE BEDROOM

empty, no one there.

as he strides over to the one closet in the room and pulls
open the door. He steps inside and thoroughly searches
through the closet and rack of clothes hanging there.
Finished, he turns away from the closet to see...

ANGLE - AMY

standing in the doorway of the room. She watches the
Chief kneel down and check under the bed.

AMY
What would anyone with a criminal
record possibly want with me?

The Chief walks over to her.

JOHNSON
Amy, for all we know this guy
Stoner coulda killed Charlie. He's
dangerous, so don't hold back
anything from me.

AMY
I'm not holding anything back,
Chief. I told you all there is.

She steps back into the other room.

INT. LIVING ROOM - DAY - ON CHIEF

As he follows Amy out of the bedroom, closing the door
behind him.

INT. BEDROOM - DAY - AS THE DOOR CLOSES

Hunter is revealed standing behind the door holding his gun
raised.

INT. LIVING ROOM - DAY - ON JOHNSON
As he walks over to the front door.

JOHNSON
If he calls you again, or shows up,
or anything else, you call me.

Amy nods and the Sheriff leaves.

INT. BEDROOM - DAY - ON AMY

As she opens the door. Amy reacts to seeing Hunter
standing there.

AMY
Where were you?

HUNTER
(motions at door)
Right there. And thanks. I don't
know why you trusted me, but you
did the smart thing, and the right
thing.

AMY
Who are you? How do I know I
did 'THE' right thing? Maybe the
Sheriff was right.

HUNTER
Amy, Johnson may have tapped
your phone, so don't use it. But
you can use a pay phone and call
this number.

He jots down on a slip of paper and hands it to her.

HUNTER
It's a direct line into L.A.'s Metro-
politan Homicide Division. Ask them
if there's a Sergeant Rick Hunter
in the division and have them
describe him to you.

Amy looks at the slip of paper then looks at Hunter.

AMY
All right, if you are a police
officer, what do you want from me?

HUNTER
The two of us being seen together
got some people here very nervous,
especially your Chief. But you're
safe. They re not interested in you,
Amy. I'm the one they're red flaggin'.

AMY
If the answer to Charles' death is
here in CAmpo Alto I can help.
Will you let me help?

HUNTER
I sure will. How about dinner
at the country club again tonight?

And off his look we...

CUT TO

OMITTED

EXT. COUNTRY CLUB - NIGHT

To re-establish. Over this we hear the hot, driving voice
of Dee Dee as she burns up a song.

INT. COUNTRY CLUB - NIGHT - ON BELLAMY

Seated alone at a table.

BELLAMY'S POV

as he watches the maitre d' lead Hunter and Amy over to a
table and seat them.

RESUME - BELLAMY

as he turns and looks at the stage where Dee Dee is
performing. Dee Dee finishes up her number to a nice round
of applause then exits the stage and walks over to
Bellamy's table. Bellamy gets up and pulls a chair out for
her then sits back down.

DEE DEE
I'm famished. What's good?

She picks up a menu and opens it. Dee Dee catches Bellamy
glancing over at Hunter's table.

DEE DEE
Something wrong, Ray?

BELLAMY
(re: Hunter)
You see that fella over there?
(as Dee Dee looks)
The tall one sitting next to the
woman in the blue dress.

DEE DEE
(nods)
Yes.

Bellamy looks at Dee Dee.

BELLAMY
I understand you and he are
staying in the same motel.

DEE DEE
That's news to me.

BELLAMY
Well, you are. What's the con-
nection between the two of you?

Dee Dee stares at him.

DEE DEE
I've never seen him before in my
life.

BELLAMY
You both came to town around the
same time...you both registered
at the same motel.

DEE DEE
Ray, how many motels are there in
this town?

They exchange a look. Bellamy suddenly laughs

BELLAMY
You're right, there aren't that
many -- in fact, there's only one
good one and you're in it. I just
wanted to see if you'd blink.
(pats her hand)
You didn't.

ANGLE - HUNTER and AMY

at their table. Amy gives a small shudder.

HUNTER
Scared?

AMY
(nods)
You live your whole life in a nice
little town and suddenly you realize
you don't know anything about the
people around you. That can be
scary.

HUNTER
Scratch the surface of almost any
nice little town and you're gonna
come up with a handful of scary
surprises.

AMY
Chief Johnson is probably gonna
call me tonight. He's gonna ask
me what we talked about. What
do I tell him?

HUNTER
Tell him I'm not tryin' to get
any information out of you, but
I did invite you to my motel room
for the night.

AMY
(blushing)
And what did I say?

HUNTER
What would the Chief of Police expect
you to say?

AMY
He'd expect me to say NO, of course!

HUNTER
Okay, you said no.

AMY
I hope he believes me. I wonder
what he's doing right now?

And we...

SMASH CUT TO

INT. HUNTER'S MOTEL ROOM - NIGHT - ON JOHNSON

And a deputy as they search the room. Johnson opens the
closet and searches through the two or three jackets
hanging there.

ANGLE - DEPUTY

as he rummages through the drawers in the chest. Johnson
walks over.

JOHNSON
Find anything?

The deputy shows him some pamphlets.

JOHNSON
Okay -- let's have a look at that
singer's room.

He opens the door and walks out and we...

INT. COUNTRY CLUB - NIGHT

On M.C. as he takes the stage.

CUT TO

M.C.
Friends, when Dee Dee Bennett
tried out to replace our mother-
to-be Babs Long, she told us she
was a song writer.
(heavy pause)
Well, she is! And here's Dee Dee
Bennett singing a song of her own
composition!

He gestures for Dee Dee and she comes on stage to a nice
applause wearing a new outfit. The orchestra plays the
intro and Dee Dee begins her song. After a bar or two:

ON SHERIFF JOHNSON

as he walks in. He stands there and stares at Dee Dee.

REVERSE

as Dee Dee notices Johnson staring at her. She continues
with her song.

ON JOHNSON

as he walks over to Hunter's table.

JOHNSON
Amy.
(to Hunter)
I talked to Freddy. He tells me
your part came in. I know how
anxious you are to be on your way,
Mister Stoner, so I asked Freddy to
to me a favor and work late tonight.
He figures he can have your car
ready eight A.M. sharp.
(smiles)
I hope you enjoyed your stay in
our little town.

He nods to Amy and walks off as we...

CUT TO

EXT. MOTEL POOL - DAY - ON HUNTER

As he sits in a lounger in a pair of swim trunks sipping a
soft drink. A shadow falls over him and he lowers his
sunglasses to see Sheriff Johnson standing there.

HUNTER
(smiles)
Chief.

JOHNSON
Freddy tells me you never showed
to pick up your car.
(glances at watch)
And here it is twelve o'clock and
you're still in our little town.

HUNTER
I told you once already, Chief...
I like your town. I met a lady
I like and I think I'll stay a
while longer. I don't have
to be in Corpus Cristi till the
twenty-eighth of the month.
(smiles)
But you can tell Freddy I'll pick
up my car this afternoon.

He picks up his drink and takes a sip.

JOHNSON
There's no law say in' you can't
stay in town. Mister Stoner.

He glances up at the sun then looks at Hunter.

JOHNSON
But I'd be careful about that sun
if I were you. You get too much,
it could kill you.

And off his look we...

EXT. MOTEL PARKING LOT - NIGHT - ON JAGUAR

CUT TO

As it pulls up and Hunter gets out. As he turns to lock
up, three shitkickers step out of the shadows and jump him.
They start pounding the shit out of Hunter. Hunter clocks
one but the other two slam a flurry of fists into Hunter
and he drops to his knees. One of them hits Hunter behind
the ear with the butt of a pistol and he sprawls
unconscious. Two of them pick Hunter up and throw him in
the Jaguar. They jump in and kick the engine over and
screech out of the lot. The third jumps into a pickup and
barrels after them and we...

CUT TO

EXT. ROAD - NIGHT - ON JOHNSON

As he stands by his patrol car. He watches a pair of
headlights approach.

ANGLE - JAGUAR AND PICKUP

as they pull off on the shoulder of the road. Hunter,
still groggy, is dragged out of the Jag as Johnson walks
over. He grabs a handful of Hunter's shirt.

JOHNSON
You made a big mistake, Mister
Stoner. You come into our town
...and I ask you a simple, polite
question. And you tell me it isn't
any of my business. I don't like
people tellin' me my business... and
I especially don't like people like
you.

He slams a fist into Hunter's gut. Johnson motions to two
of the shitkickers.

JOHNSON
Get him in his car.

They grab Hunter and shove him behind the wheel. Johnson
looks at him.

JOHNSON
Don't even think about comin' back
and tryin' to hang an assault and
battery charge on me. What happened
tonight is gonna be our little
secret. My three buddies here
don't even live in Campo Alto and
you'd have a hellava time tryin'
to find 'em.

ANGLE - SHITKICKER

as he opens the trunk and dumps Hunter's bags and his air
tank inside. He slams the trunk closed then hands Johnson
the keys.

JOHNSON
Now your bags are in the trunk and
this road'll take you straight to
Corpus Cristi in the land of Texas.

He hands Hunter the keys.

JOHNSON
Have a safe trip now, hear?

He turns and starts for his patrol car. Hunter gets out of
the Jag and calls to Johnson.

HUNTER
Listen, Chief...! gotta ask you
one thing.

Johnson turns around as Hunter walks towards him holding
his stomach.

HUNTER
I'm real curious. I'm tryin' to
figure out why you'd go to all this
trouble to...

Hunter suddenly slams a fist into Johnson's belly, doubling
him over.

ANGLE - THREE SHITKICKERS

as they react and go for their guns.

ANGLE - HUNTER

as he pulls Johnson's gun out of its holster and points it
at the three of them. He lets go of Johnson who sinks to
the ground.

HUNTER
(to shitkickers)
I wouldn't try anything stupid if
I were you, no matter how hard that
may be for you. Drop the heat.
NOW!

The three shickickers drop their two guns and rifle and
raise their hands in the air. Johnson holds himself as he
pushes himself to his knee.

HUNTER
Thank you fellas, I was just
payin' my respects to the Chief
here. Now I'll be on my way.

He backs over to the Jag and gets in. Hunter throws the
car in gear and tears away.

ANGLE - SHITKICKERS

as they grab their guns and start for their pickup.
Johnson gets to his feet.

JOHNSON
Forget it! Let him go!

And as we HOLD on Johnson watching Hunter drive off we...

DISSOLVE TO

INT. CHIEF'S OFFICE - DAY

Three or four deputies are busy going about their business.
We recognize two of them as two of the shitkickers that
beat up on Hunter. Their mouths hang open as we see:

HUNTER

walking in. Hunter recognizes some of his friends from
last night and shoots them a hard smile.

HUNTER
And I was told you fellas couldn't
be found.

ANGLE - CHIEF JOHNSON

as he comes out of his inner-office and stares at Hunter.
He can't believe Hunter's there. Hunter steps through the
swinging wooden gate and flashes his police I.D.

HUNTER
Sergeant Rick Hunter, homicide,
Los Angeles. I'm investigating
the murder of Charles Latimer.
I'm officially letting you know
I'm in town and I expect the usual
courtesy and cooperation accorded
fellow police officers in the
State of California.

JOHNSON
What is this, some kinda joke?

HUNTER
I don't call murder a joke, Chief
...do you?

JOHNSON
Listen, friend... you' re not in
Los Angeles now, you're in my
jurisdiction.

HUNTER
I were you I'd call your district
attorney and get things straight.
I have the right to question anyone
I think mighta been involved.
That includes you, Chief. It
also includes Mister Bellamy. I
also have the right to arrest you if
I find you're interfering in my inves-
tigation.

JOHNSON
(a roar of anger)
What the hell you mean you're gonna
question Mister Bellamy?

HUNTER
You got it. I'm sure you'll wanna
call and tell him I'm on my way.

And as Johnson reacts we...

FADE OUT

END OF ACT THREE

*************************************************************

ACT FOUR

FADE IN

EXT. BELLAMY'S RANCH - DAY - ON PATROL CAR

As it pulls up in front of the main house. Bellamy stands
there waiting. He watches Hunter and Johnson get out of
the car and walk over.

BELLAMY
Chief Johnson tells me you want
to talk to me about Charles
Latimer's death.

HUNTER
(shows Bellamy his
I.D.)
In L.A. Latimer met a man at a
restaurant called "Checkers".
You've been identified by the
hostess and waiter as that man.

BELLAMY
(he blinks)
Yes, I was there. Charlie called
and asked if I would meet him in
Los Angeles. I was flying up
there anyway and said I would.
After all, the man worked for me
for twenty years.

HUNTER
So I hear. What did you talk
about?

BELLAMY
Charlie told me he was leaving the
country. I wished him well and we
had a pleasant lunch.

HUNTER
Latimer left before you ordered.
You ate alone.

They exchange a look.

JOHNSON
You don't have to put up with
This, Mister Bellamy.

Bellamy gestures it's okay.

BELLAMY
Sergeant Hunter has asked a
question and I think he deserves
an answer.
(to Hunter)
To tell you the truth, Charlie
started complaining 'cause I
passed him over for a big
promotion. We'd already been
through that and I saw no point
in going through it again and I
told him so. Charlie got angry,
got up and left.

HUNTER
And fifteen minutes later he's
killed.

Bellamy stares at him.

BELLAMY
If you're insinuating I had some-
thing to do with his death, you
better have more than the fact
Charles and I met in a restaurant
before he was killed.

HUNTER
I have, Mr. Bellamy, I have.

Hunter starts for the patrol car. He turns and looks at
Bellamy.

HUNTER
(runs a bluff)
By the way, you and Latimer both
walked in with briefcases. Did
he take his with him?

Bellamy stares at Hunter and falls for the bluff.

BELLAMY
Yes. Why?

HUNTER
Just curious. I thought you might
have somehow wound up with it.

He turns and opens the car door. Johnson looks at Bellamy
who continues to stare at Hunter. And as we HOLD on
Bellamy's look we...

CUT TO

INT. LIBRARY - DAY - ON AMY

At her desk. She holds the receiver of the phone on her
desk and punches in a number.

AMY
(on phone)
Mister Bellamy, this is Amy Laurton.
I have something to discuss with you.

INTERCUT - EXT. RANCH - DAY - ON BELLAMY
on the other end of the line.

BELLAMY
If you'll call my office, my
secretary will be happy to make
an appointment, Miss Laurton.

AMY
You don't want me to call your
secretary. We'll be discussing
something about the insurance
business that I think you'll
want to keep very private.

Bellamy reacts. There's a pause then...

BELLAMY
Where do you want to meet?

AMY
Someplace very public. Say the
park in the center of town...
(glances at watch)
...in twenty minutes.

She hangs up.

EXT. RANCH - DAY - ON BELLAMY

As he hears a DIAL TONE on the line. He slowly hangs up
and off his look we...

CUT TO

EXT. PARK - DAY - ON AMY

Sitting on a bench in the small-grassy knoll area of the
park we saw before. Usually there's a statue of
the town founder or local war hero somewhere on the
grounds, but this is Southern California so all we have is
a fountain.

ANGLE - BELLAMY

as he walks over. Amy motions for him to sit down.

BELLAMY
(after a moment)
Would you like to tell me why
I'm here?

AMY
Let me tell you the story of the
most important man in Compo Alto.
He comes to our town over twenty
years ago, makes a lot of friends,
opens his own insurance company, and
gets the account to insure public
works in the county -- things like
bridges and aqueducts. What ever
happens to a bridge?...or an
aqueduct? So he doesn't send the
policies to the home office. He
pockets the premiums for himself
and --

BELLAMY
(cutting her off)
I see Charlie talked to you. I
didn't think he would.

AMY
(smiles)
Not only did we talk, Charles gave
me copies of the policies.

BELLAMY
And you want the money Charlie
tried to get.

AMY
I'm not as timid as Charles,
I want more. And it'd be stupid
to kill me. Sergeant Hunter
knows it was blackmail that got
Charles killed. And he's very
sure it was you, but unless he
knows why, he can't really do
much about it can he?

BELLAMY
How much did Charlie say I agreed
to pay him?

AMY
It doesn't matter...He said it was
a million; but I want two million.
I've given an envelope to a certain-
person living out-of-state whom I
I trust. If anything happens to me,
that envelope will be sent to the
the district attorney in Los Angeles.

And off her look, we...

INT. SHERIFF'S INNER OFFICE - DAY - ON JOHNSON

As he looks at Bellamy sitting there.

BELLAMY
I don't like anyone wavin' a
murder one tag over my head. She
decides to burn us, we're dead.
We gotta find out who she gave
that stuff to.

JOHNSON
I think I know who.
(off Bellamy's
look)

I checked. She hasn't left town
for the past six months and I
don't think she's going to send
that stuff off in the mail. Mail
gets lost. No, it has to be some-
one in town she gave it to.

BELLAMY
Charlie's old man?

JOHNSON
(nods)
He's crazy about her. Would do
anything she'd ask.

BELLAMY
Okay. Make it look like a break
in and robbery, bur find it.

And off his look we...

OMITTED

INT. LIBRARY - DAY - ON AMY

At her desk. A middle-aged woman, GRACE, hurries over to
the desk carrying some books. Amy smiles at her. Grace
looks at her.

GRACE
Amy, haven't you heard?

AMY
Heard what?

GRACE
Oh, God, I'm so sorry. They just
found Mister Latimer, Charlie s
father dead.

Amy goes ashen.

AMY
Dead?

GRACE
(nods)
The house was ransacked. Chief
Johnson thinks the poor man must've
walked in on someone burglarizing
his house.

AMY
When did it happen?

GRACE
Maybe forty minutes ago. You
wonder if anyone's safe anymore.

Amy grabs her purse and jumps to her feet. She hurries out
of the library.

EXT. LIBRARY - DAY - ON AMY

As she exit and hurries over to her car. She gets in and
pulls away.

ANGLE - SHERIFF'S CAR

as it pulls into frame and follows Amy and we...

CUT TO

INT. MOTEL ROOM - DAY - ON HUNTER

Shirt and shoes off, pants on, he crosses to the phone as
it RINGS.

HUNTER
Hello?

INTERCUT - CLOSE ON AMY

looking frightened as she clutches the phone receiver.

AMY
Rick, it's Amy. I think I found
copies of what Charlie was using
to blackmail Mister Bellamy with.
It's all here... every thing.

We WIDEN to reveal we're...

EXT. ROADSIDE PHONE BOOTH - DAY - ON JOHNSON

As he holds Amy's arm and listens in on the conversation.

HUNTER
I'll meet you here at the motel.

AMY
I think it's safer if we meet
somewhere out of town so we're
not seen together. There's a
turn-off about three miles south
of town off Old San Rosa Road.

HUNTER
Okay, I'll meet you there. I'm
leavin' now.

EXT. ROADSIDE PHONE BOOTH - DAY - ON JOHNSON

As he takes the phone receiver from Amy and hangs up. He
pulls her out of the phone booth and we...

CUT TO

EXT. BELLAMY'S RANCH - DAY - ON DEE DEE AND BELLAMY

As they ride up on horseback and dismount. Gaines cakes
the reins. Just then the phone nearby starts to RING.

BELLAMY
(to Gaines)
I'll get it.
(smiles to Dee Dee)
Why don't you make yourself
comfortable? I'll have something
nice and cold brought out.

ANGLE - BELLAMY

as he walks over to an outdoor phone and picks up the
receiver.

BELLAMY
Yes?

OMITTED

INT. PHONE BOOTH - DAY - ON JOHNSON

On the phone.

JOHNSON
I think we got ourselves another
Problem.

OMITTED

INTERCUT - EXT. RANCH - DAY - ON BELLAMY

BELLAMY
What do you mean?

JOHNSON

The night clerk at the Royal Arms
saw Hunter walkin' out of the wing
where that new singer's stay in'.
Makes you kinda wonder, don't it?
-- Hunter's room bein' in the other
wing.

This worries Bellamy, and when he's worried he gets
peevish.

BELLAMY
They got two dozen rooms in the
wing, Kyle. We got enough pro-
blems without you inventin' any.

He looks over at Dee Dee sitting by a table
sipping a glass of iced tea.

JOHNSON
Whatever you say, Mister Bellamy,
but you want my opinion, she's his
backup and she shouldn't be runnin'
around loose.

BELLAMY
(beginning to
believe it)
Okay, okay -- maybe you're right.

He hangs up and walks back over to Dee Dee.

DEE DEE
(smiles)
Business?

BELLAMY
(returns smile)
Could be.

He suddenly grabs Dee Dee by the arm and shoves her against
Gaines.

BELLAMY
Hold her.

Gaines grabs a hold of Dee Dee. Dee Dee stares at Bellamy
as if he's crazy.

DEE DEE
Ray, have you gone crazy? I can't
believe this is for real.

BELLAMY
Are you for real, Dee Dee?

DEE DEE
I don't think this is funny.

BELLAMY
Not intended to be. What was
that fella Hunter doin' in your
room last night?

DEE DEE
Hunter? Who's Hunter?

BELLAMY
Oh, you are good, lady. The
tall guy I asked you about at
the club. That's Sergeant Rick
Hunter...as if you didn't know.

DEE DEE
Well I don't know! - and he
wasn't in my room last night or
any other night! Who says he
was?

BELLAMY
The clerk saw him comin' out of
your wing of the motel.

DEE DEE
Come off it, Ray! That puts him
in my room?

BELLAMY
(baffled)
You are one tough broad, honey --
this is one more time you didn't
even blink.

DEE DEE
Maybe 'cause I'm innocent, ever
Think of that?

BELLAMY
(moves close)
Yeah. You're just what you claim
to be. Or you're a cop. And I'm
havin' one hell of a time decidin'
which.

DEE DEE
Do I look like a cop!?

BELLAMY
Never saw a female cop that did.
But you and Hunter show up about
the same time, check into the same
motel, and all of a sudden I got a
slew of problems.

DEE DEE
Well I'm not one of 'em.

Bellamy pulls Dee Dee's purse out of her hand and rummages
through it. He doesn't find anything and tosses it back
to her.

BELLAMY
Maybe I'm making a big mistake
about you, honey, but if I am, it's
a mistake I'll just have to live
with.
(to Gaines)
Get her in the car then wait by the
phone in case I need you.

Gaines nods and as he shoves Dee Dee away from the corral
with Bellamy following, we...

CUT TO

OMITTED

EXT. ROADSIDE TURN-OFF - DAY - ON JOHNSON

As he holds Amy's arm, her hands handcuffed behind her. He
watches as Bellamy drives up and gets out. He motions
with his gun for Dee Dee to get out. She does and Johnson
grabs her hands behind her back and handcuffs her.

DEE DEE
(to Bellamy)
You're insane if you think you'll
get away with this. The body count's
getting too big.

BELLAMY
There's not gonna be any body count.
Three people are just gonna drive
off and never be heard from again.
(a glance at Amy)
Like they suddenly got rich and
took off for Mexico.

ANGLE - JOHNSON

as he opens his car trunk and pulls out a couple of scoped
rifles. He hands one to Bellamy who chambers a round.

JOHNSON
(referring to
Amy)
Better get her into her car and
get yours out of sight.

He grabs Dee Dee and pushes her towards an incline that
leads to the rocks above. They start up it.

ANGLE - BELLAMY

as he opens the door to Amy's car and pushes her inside.
He slams the door closed then runs towards his car and
jumps in. He pulls it out of sight.

POV SHOT - AS SEEN THROUGH A PAIR OF BINOCULARS

They HOLD on Johnson shoving Dee Dee up the incline. We
can see Johnson push Dee Dee down behind some rocks and
take up a firing position. The binoculars PAN across the
turn-off, HOLD for a beat on Amy sitting in her car, then
continue to PAN. They pick up Bellamy as he kneels down
behind a tree and brings up his rifle as he sights in on
Amy's car.

EXT. RIDGE - DAY - ON HUNTER

As he puts down his binoculars. He pulls out his .45 and
starts making his way towards the trees.

ANGLE - JOHNSON

as he glances at Dee Dee sitting on the ground, a
handkerchief stuffed in her mouth. He brings up his rifle
and adjusts the scope.

INT - CAR - DAY - ON AMY

Desperately but futilely trying to open the car door with
her hands cuffed behind her.

ANGLE - BELLAMY

holding his rifle ready and waiting for Hunter Co drive
into view.

ON HUNTER

as he makes his way through the trees coming up behind
Bellamy. He jams his .45 in Bellamy's side.

HUNTER
(pulling rifle out
of Bellamy's hand)
I'll take that.

He cuffs Bellamy whose face registers not only dismay, but
shock at seeing Hunter there. Bellamy opens his mouth to
yell and Hunter shoves a handkerchief in it. He pulls off
Bellamy's belt and ties his legs, leaving him trussed up on
the ground. Hunter picks up Bellamy's rifle and starts
working his way towards Johnson.

ANGLE - JOHNSON

as he looks down at the turn-off. He glances at his watch.

JOHNSON
(calls off,
alarmed)
Somethin's wrong, he should be
here!
(off the silence)
Mister Bellamy! Mister Bellamy!

ANGLE - HUNTER

as he makes his way towards Johnson and Dee Dee.

ANGLE - JOHNSON

A frightened, sweating man.

JOHNSON
(yells)
Bellamy?!
He stands and starts down to Bellamy.

ANGLE - HUNTER

behind a tree. He brings up the rifle and sights in one
Johnson.

HUNTER
(calls)
Drop the rifle, Chief!

ANGLE - JOHNSON
as he reacts and FIRES from the hip.

ON HUNTER

as a bullet clips the tree. Hunter FIRES and Johnson
dives for cover behind some rock. He BLASTS away at
Hunter.

ANGLE - HUNTER

as he closes in on Johnson, running from tree to tree as
Johnson tries to nail him.

ANGLE - DEE DEE
as she stumbles and makes her way down towards Johnson.

ON JOHNSON

as he hears Dee Dee and whirls around. He brings up his
rifle to blow her away.

ANGLE - HUNTER

as he SNAPS off a quick shot at Johnson. Johnson grabs his
shoulder as he goes rolling down the rest of the incline.

ON HUNTER

as he walks over to Johnson. Johnson frantically grabs for
his bolstered pistol. Hunter knocks it away. Dee Dee
walks over.

HUNTER
You okay?

DEE DEE
(nods)
Yeah.

He finds the handcuff key in Johnson's pocket and uncuffs
her.

DEE DEE
I'll get Amy and call in for an
ambulance.

Hunter hands Dee Dee Johnson's pistol.

HUNTER
(points)
You'll find Bellamy about
sixty yards behind those trees.

Dee Dee nods and hurries off,

HUNTER
(looks at Johnson's
shoulder)
You'll live. Listen, I'm gonna
offer it to you first. You don't
take it, I'm offerin' it to
Bellamy and somehow I don't see
him sayin' no.

JOHNSON
Whaddaya talkin' about?

HUNTER
A deal. Chief, a deal to keep
you out of the gas chamber.

Bellamy's the one we want -- for
the murder of Charles Latimer.
You did it, but the D.A.'ll drop
the special circumstances charge
in return for a little cooperation.

They look at each other and Johnson grimaces in pain.

JOHNSON
How in hell did you know this was
a setup?

Hunter looks over to where Dee Dee is helping Amy out of the
car. He glances down at Johnson.

HUNTER
Smart girl, Amy. Nothin' she
said to me on the phone made
sense. She once told me Charles
wouldn't even cheat on his taxes
and all of a sudden she's sayin'
she found what he was usin' to
blackmail Bellamy.
(smiles)
And just to make sure I got the
message, she referred to him as
Charlie.

Johnson looks at Hunter for a long beat 'then...

JOHNSON
I'll think about your deal...

And off his look we...

FADE OUT

END OF ACT FOUR

TAG

FADE IN

EXT. MOTEL - ON HUNTER

As he puts his suitcase and Dee Dee's in the trunk of the
Jaguar. Amy and Dee Dee watch him.

AMY
Rick...did Mister Bellamy tell
you... anything about me?

Hunter closes the trunk and looks at her.

HUNTER
Like what?

AMY
(not easy to
admit)
Like I...I tried to blackmail
him?

Hunter and Dee Dee exchange a look, then Hunter looks at
Amy.

HUNTER
You did, huh?

AMY
(nods)
I told him I had copies of the
insurance policies he never sent
in to the home office.

HUNTER
Well, I don't think Mister Bellamy
is gonna take the stand, so he
won't be sayin' anything about
you or about insurance policies.

AMY
But I did try to blackmail him...

DEE DEE
They aren't going to need you,
Amy -- Chief Johnson's decided
to turn state's evidence.
There's not a lawyer alive that
can keep Bellamy from being con-
victed of Charles' murder.

HUNTER
(smiles)
And, Amy -- you have the right to
remain silent. And I suggest you
do.

AMY
(slowly smiles)
Thank you, but I want you to know:
I never would have done it if he
hadn't killed Charles.

HUNTER
I figured that.

He and Dee Dee get into the Jag. Amy leans in the window
and looks at Hunter and Dee Dee.

AMY
Thank you...for everything.

She steps back and looks after them as the Jaguar drives
off.

FADE OUT

THE END