BLOW-UP

Written by Herbert Wright

ACT ONE

FADE IN

EXT. ST. ANDREWS CEMETERY - DAY - LONG LENS SHOT

Here even Death puts on a pleasant face. St Andrews is a
gentle parcel of peace and memory, well-kept and well-
loved. We see granite slabs, whited sepulchres, alabaster
angels.

But our lens compresses the space between monuments and
markers, suggesting that something may be wrong with this
picture.

We're looking from under a spreading oak, down a grassy
slope, across a shallow basin.

Through what appears to be a clutter of gravestones, OTTO
MINSKY approaches. Our feeling that something may be wrong
is verified. There's a short circuit back of Otto's eyes:
all the lights are not on.

Otto carries a brown plastic shopping bag by its twine
handles in his left hand; in the crook of his right arm he
cradles a large bouquet of roses. He's shambling across
the lawn, moving uphill now, picking his way around
monuments and markers. We're panning with him. Throughout
all this, we've been hearing the VOICE OF A MINISTER,
FAINTLY AT FIRST BUT GROWING IN PRESENCE:

MINISTER'S VOICE OVER
The Lord is my shepherd; I shall not
want.

He maketh me to lie down in green
pastures; He leadeth me beside the
still waters.
He restoreth my soul; He leadeth me
in the paths of righteousness for
His name's sake....

Now, as Otto continues up the slope, our panning camera
brings in a FUNERAL PARTY in foreground: perhaps a DOZEN
ADULT MOURNERS, TWO SMALL GIRLS and a minister, gathered
around a silver casket which rests above an open grave.
Otto is passing behind them, heading toward a certain
monument: an ANGEL AT PRAYER, atop a pedestal supported
by three marble columns.

On the road which crests the rim of the rise behind them,
we see THREE DARK-TINTED LIMOS and the shining black
HEARSE.

Otto reaches the base of the monument with the praying
Angel, while the Minister (still in foreground) CONTINUES

MINISTER
Yea, Though I walk through the
valley of the shadow of death, I
will fear no evil....

OTTO

sets his burdens down. He reaches into the shopping bag,
bringing out a large black onyx um. He sets it reverently
on the monument, centered between the three marble columns
which support the statue. He removes the wrappers from his
bouquet of roses, places the roses in the urn, the wrappers
in the bag. Over this:

MINISTER'S VOICE
...for Thou art with me; Thy rod
and Thy staff they comfort me.
Thou preparest a table before me in
the presence of mine enemies;
Thou anointest my head with oil; my
cup runneth over....

Otto glances at his watch, sets a card among the roses,
picks up his shopping bag and begins to move off at a
leisurely pace, eventually disappearing over the rim of the
hill -- as we tighten on the card. It reads: "Here today,
gone tomorrow."

CLOSE ON THE TWO LITTLE GIRLS - IN THE FUNERAL PARTY

The first, holding a teddy bear, has been watching Otto with
mild interest. The other has found nothing to interest her,
and yawns. Over this:

MINISTER'S VOICE OVER
Surely goodness and mercy shall follow
me all the days of my life....

FULL SHOT - WITH THE FUNERAL PARTY IN FOREGROUND

As the Minister concludes the 23rd Psalm:

MINISTER
...and I will dwell in the house of
the Lord forever.

A soft sigh (of fulfillment or relief) is heard from the
mourners. Then:

MINISTER
Please join me now in a silent
prayer.

Heads are bowed, eyes are closed. Otto is long gone. We
begin a slow, ominous lens-move, pushing past the party at
the grave site, centering and tightening on the black onyx
urn at the base of that bone-white Angel At Prayer....

We HEAR the FAINT TICKING OF A CLOCK, growing LOUDER AND
LOUDER as we move closer and closer to the urn....

Now the urn fills our screen and the TICKING dominates the
distant sound of songbirds....

EXTREMELY CLOSE - ON THE TEDDY BEAR

dangling from the little girl's hand.

EXTREMELY CLOSE - ON THE URN

Tick...tick...tick...and it SHATTERS IN A FIERY EXPLOSION,
FILLING THE SCREEN.

THREE-FRAME DISSOLVE TO

STOCK SHOT - A MUCH BIGGER EXPLOSION

ERUPTS OUTWARD FROM THE CENTER of the previous cut,
suggesting the full size and impact of the blast. It's
tremendous; churning flame, boiling black smoke, chunks of
stone and marble hurled toward camera. Before they wipe it
out:

FREEZE FRAME
—- and bring in HUNTER'S first line from the next scene:

HUNTER'S VOICE OVER
Why blow up at me?

OMITTED

INT. SQUAD ROOM - DAY

Hunter and McCall are in heated conversation; Hunter
continuing his previous line with:

HUNTER
What's the big deal?

McCALL
You don't remember? You made me a
promise! And on the basis of that,
I made a promise -- to my mother!
I'm taking her out to dinner
tonight and --

HUNTER
So make it some other night. I
thought I could do this stakeout by
myself. Now I find I can't.

McCALL
You really don't remember....do you?
It's her birthday! Not some other
night! Tonight!

HUNTER
(seems to recall)
Oh. Yeah...congratulations ....

But his attention is elsewhere as SEVERAL OFFICERS rush in
excitely, snatch up telephones, begin urgent conversations
as other TELEPHONES begin to ring.

HUNTER
...oh-oh. Something's hit the fan.

McCALL
Don't change the subject! You're
not going to start World War Three
between me and my mother. When we
have just barely achieved a separate
peace --

Hunter turns back to her, studies her with curiosity.

HUNTER
What is it with women and their
mothers? Sorry, McCall. Captain
says he wants us both out there
tonight.

McCALL
Oh. So now it's the Captain!
That's different, Hunter...

She rises, smooths her skirt down over her hips, puts on
a soft, seductive manner (which irritates him).

McCALL
The Captain I can handle....

She starts toward Wyler's office. Hunter looks after her
disapprovingly.

INT. WYLER'S OFFICE - THE SCENE

is one of the aftermaths of disaster, as WYLER confers
with SINGER and CAMPBELL of the Bomb Squad.

WYLER
...worse and worse. Whatcha got,
Singer?

SINGER
Was commercial explosive. Very
serious stuff. Pound for pound,
the best on the market.

WYLER
Campbell?

CAMPBELL
Can't figure it. If it was a
hit on that funeral party -- why
so far away?

In comes McCall with her maternal problem, closely followed
by Hunter, looking like he means to yank her out. But
before Wyler can react to them, the PUBLIC INFORMATION
OFFICER bursts in and pushes up to Wyler's desk between
them.

PUBLIC INFORMATION OFFICER
Press boys are down at the desk,
Captain. And Channel 13's setting
up a mobile in the parking lot.
(not a clue)
Whaddaya going to tell 'em?

Wyler stares moodily out the window. After a moment:

WYLER
It was such a nice day.
(turns, sees Hunter
and McCall)
Whadda you two want?

McCALL
About the stakeout tonight. It
was my understanding --

She's practically forgotten her "seductive" approach in the
confusion, and it wouldn't have worked anyway. Wyler
snaps:

WYLER
Just do it, McCall! Can't you
see I'm kinda busy?
(back to the
P.I.0.)
So what do you suggest? Do I
tell 'em we've got a new kind
of nut out there? Who blows up
marble angels? In cemeteries?

Hunter stiffens, as Wyler flops into a chair, disgusted.

WYLER
That's P.R. for you. Not enough
to protect the living! Now we’ve
gotta protect the dead!

HUNTER
What... cemetery, sir?

WYLER
(abstracted)
St. Andrews...

Hunter looks like he's been stabbed. Wyler focuses on him.

WYLER
You here too? Look, Hunter: what-
ever this is between you and McCall
-- is between you and McCall! You
both have an assignment! Discussion
ended!

HUNTER
Yessir.

And Hunter turns on his heel, going out. McCall, baffled by
his uncharacteristic behavior, is following as:

WYLER
(to Campbell)
What's the body count by now?

INT. SQUAD ROOM

Hunter heads for the exit, fast. McCall, still on her own
case, is at his heels.

McCALL
Hunter! We haven't settled this --

HUNTER
We have. You got it.

McCALL
Huh?

HUNTER
I'll do the stakeout alone.

McCALL
(can't accept it)
You can't...I mean you can't be
giving up so easy. But it is
my mother! It is important --

HUNTER
You won, okay? Go for it.

McCALL
So why do I feel like I lost?
Just for -- holding you to your
promise --

But Hunter's out the door. McCall stops, blinks, lunges out
after him, with:

McCALL
Hunter! Where are you going?

MOVING SHOT - FROM INSIDE HUNTER'S CAR

McCall is with Hunter, who's driving like a madman, weaving
in and out of traffic. Up ahead, a DETOUR blocks the street
Reacting to the swerve:

McCALL
Hey, Parnelli! Watch it!
(no answer)
McCall to Hunter. Come in,
Hunter. Over...

HUNTER
Speak.

McCALL
Where are we going?

Hunter nods through the windshield as he swings across the
street and drives between the open, ornamental gates of high
walled ST. ANDREWS CEMETERY.

Once inside the sacred grounds, a profane scene is revealed
through the windshield. We see SQUAD CARS and FIRE TRUCKS on
the curving drive ahead. AMBULANCES are still being loaded
with victims of the bombing: members of the FUNERAL PARTY.

McCALL
Oh my God....

Hunter is approaching the area where the bomb went off. It
looks like a battlefield. Trees are blackened, turf torn up
tombstones toppled. DOZENS OF COPS, FIREMEN, PARAMEDICS are
trying to sort it out.

Hunter pulls to a curb, sets the brake, climbs out. McCall
is right behind him. Through the windows of the car we see
them heading for the (roped off) center of devastation. At
the site of the funeral, the coffin is upended in the pit.

EXT. ST. ANDREWS CEMETERY

Hunter makes his way across the rubble, through a wasteland
of monuments and markers, McCall still following.

McCALL
But why are we here? This is
macabre.

Hunter ignores her, fighting strong emotions within himself.
BINDLE, wearing a Bomb Squad jumper suit, heads toward them
on the intercept.

BINDLE
Hunter? You on this?

Hunter stops. Camera holds the three, as Bindle and McCall
settle too. Hunter points off.

HUNTER
The bomb...it went off...there.
Right, Bindle?

BINDLE
Yeah. That's the blast center.

He follows Hunter's look to the three shattered columns
which once supported the Angel At Prayer.

HUNTER
On top of those broken columns...
there used to be an angel.

BINDLE
Yeah. Parts of her scattered
all over the yard. But...how'd
you know?

Hunter doesn't answer, but moves on toward the bomb site.
Bindle casts a strange look at McCall, who shrugs and follows
Hunter.

ANOTHER AREA OF THE CEMETERY

Hunter approaches, sees something on the ground, stops to
pick it up. McCall overtakes him as he studies the Teddy
Bear in his hand.

HUNTER
He's back.

McCALL
Who?

HUNTER
(grim)
Minsky.

McCall stares at him, then around at the horrific scene. It
registers:

McCALL
Otto Minsky... from Florida!
The bank bombing in '78...you
nailed him for that!
(off Hunter's
bitter nod)

But -- I thought he was doing ten
to twenty ---

HUNTER
"Was" seems to be the word.
(looks down
at the Teddy Bear)
How time flies....

INSERT: THE TEDDY BEAR - IN HUNTER'S HAM)

One glass eye is torn from the socket, the stuffings spill-
ing from a rip in the blackened hide, the right leg missing.

HUNTER'S VOICE OVER
...when you're having fun.

BACK TO SCENE

Hunter starts moving on toward the epicenter of the blast.
McCall follows, silent in respect to his need for silence.
The camera pans them to the shattered pedestal, where Hunter
stops again, staring at the remnants of the fallen angel.
After a moment:

McCALL
But... how can you be sure it was
Minsky?

Hunter points to the largest fragment of the angel: the
winged torso with hands clasped in prayer.

HUNTER
Because I helped to pick out
that angel.
(painfully)
It was...for Zena.

McCall looks at him in shock and deep sympathy.

McCALL
Oh...

Camera pans to the remains of the lovely figure, as McCall's
voice continues:

McCALL'S VOICE OVER
...I'm so sorry....

INT. CAPTAIN WYLER'S OFFICE - DAY - CLOSE ON WYLER

He's on the telephone, oozing charm:

WYLER
Of course. I'd be more than
pleased...on behalf of the Divi-
sion. And thank you...
(hangs up,
snaps)
WHAT?

THE SCENE
Hunter and McCall face the harried Captain across his desk,

HUNTER
Captain: it's about that bombing ---

WYLER
-- in the cemetery? I've turned
that over to Lieutenant Finn.
Talk to him.

HUNTER
(blinks)
Finn? Who the hell is ——

WYLER
Lieutenant - Ambrose - Finn. We
were lucky to get him. I've put
him upstairs in Gleason's old office.

He picks up the phone, starts to dial, looks up at Hunter
and McCall.

WYLER
You still here?

They aren't, before he finishes dialing.

INT. SQUAD ROOM

Hunter and McCall move to the stairs. So does the camera.

HUNTER
To finish my thought: who the
hell is Finn?

McCALL
I've heard of him. He's tough.
They've got a saying about him
downtown. "Why does Finn wear
red suspenders?"

HUNTER
Tell me.

McCALL
To hold his guns up."

HUNTER
Oh...that Finn.

They go up the stairs together.

INT. FINN'S OFFICE - DAY - CLOSE ON FINN'S GUNS

He wears them on either side of a broad belt. And he does
wear red suspenders to help support the belt. But his shirt
is conservative: blue, and button-down. His tie is rep.
His pants are the pants to a dark blue suit. We hear his
voice, rumbling out of his big chest into a telephone, before
we see him:

FINN'S VOICE OVER
I like your ideas. But we'll do
it my way. Okay?

He puts the phone down in the cradle and we pull back as he
extends a mighty hand across the desk to shake hands with
McCall, then Hunter. No matter how he tries to dress away
from it, Finn's a street cop, always will be. His toughness
is tempered by a sense of humor. A good man. He nods to the
telephone.

FINN
Sorry about that. You said you
know something about the bombing.

HUNTER
I know who did it.

(as Finn tenses

like a hunting dog)
A slimehead named Otto Minsky.

Before Finn can question that, the Public Relations Officer
pops in. He looks more harassed than before. To Finn:

PUBLIC RELATIONS OFFICER
You're in charge of the bombing
now?

FINN
Just the investigation. What do
you want?

PUBLIC RELATIONS OFFICER
I want -- something -- anything to
throw to the wolves. Will you make
a statement?

FINN
I think Captain Wyler would prefer
to deal with the press.

PUBLIC RELATIONS OFFICER
He sent me to you -- Lieutenant.

Finn studies him, studies Hunter and McCall, studies the
P.I.0. again.

FINN
Tell ‘em the Department cannot
make any statement that might
jeopardize the investigation.

PUBLIC RELATIONS OFFICER
Come on, Lieutenant! There's a
public outcry over this desecration
of private graves. We've got fifty
reporters and TV cameras and a church
group out there....

Finn ponders, looks up at Hunter.

FINN
Let's hear about Minsky.

HUNTER
"The Jacksonville Bomber". I busted
him before. It's gotta be him.

FINN
Gotta be? You said you knew it
was him!

HUNTER
He's been back in town two weeks,
Lieutenant -- and he blows up a
Grave! And not just any grave...
(in anguish
and outrage)
...he blows up the grave of Zena
Curtis.

Finn frowns, casts a blank look at McCall, then at the Public
Information Officer, then at Hunter. Barely audible:

HUNTER
The girl I...almost married.

Finn and the Public Information Officer are strongly affected
McCall, of course, knows the whole tragic story. After a
moment:

FINN
I understand your feelings. But
we need some facts.

HUNTER
He did it. That's a fact.

McCALL
So's this, Lieutenant. From Florida.

She hands a telex report Co Finn, who studies it warily. The
Public Information Officer is curious. To Hunter:

PUBLIC INFORMATION OFFICER
Something we can hand out?

HUNTER
(shakes his head)
I busted this scumball here. But he
had a prior in Jacksonville. They had
a better case, so we let Florida have
him. They cut him loose two weeks ago.

PUBLIC INFORMATION OFFICER
And he came right back?

McCALL
You won't believe this. Some disk
jockey in Jacksonville got up a
fundraiser and bought Otto a plane
ticket. To California.

PUBLIC INFORMATION OFFICER
(nods grimly)
Florida's answer to crime prevention.

Finn looks up from the telex, rubs his chin, stares at Hunter.

HUNTER
That bomb --on Zena's grave -- was
a personal message. To me.

FINN
I think so too. But the press can
turn that personal stuff around.
Make it look like your vendetta.

HUNTER
Let 'em. Right now they're howling
for results. So is City Hall. And
you've got nothin' to give 'em,
Lieutenant ---
(points to
the telex)
-- except the guy himself.

Finn deliberates only a moment more, then nods decisively.

To the Public Information Officer:

FINN
Tell 'em we have a strong suspect
under investigation at this moment.

The P.I.0. grins and plunges out. Hunter and McCall think
Finn's okay.

HUNTER
Lieutenant? Can we follow up
on this?

FINN
You got it.

They grin, mutter thanks, spin toward the door.

FINN
Hunter.
(as he spins back)
I've read some reports on you. So —
just in case you're tempted -- no
technicals on this one!

Hunter nods and is out the door with McCall.

MOVING SHOT - FROM WITHIN HUNTER'S CAR

He drives with his customary skill and passion, while McCall
examines several PHOTOS of Otto's past triumphs:

INSERT - A DEVASTATED SUPERMARKET (8X10 GLOSSY)

Store front blown out, inside gutted, reduced to rubble.

HUNTER'S VOICE OVER
Supermarket in Miami...

INSERT - ANOTHER PHOTO

McCall's hands bring ANOTHER PHOTO to the top of the stack;

A TRAIN STATION, nearly obliterated.

HUNTER'S VOICE OVER
Train station in Pirate's World...

MORE PHOTOS

are brought to the top: POST OFFICE, a SHOPPING MALL, a
BUS STATION -- all the same: torn and devastated.

HUNTER'S VOICE OVER
They were lucky on that one. The
Tampa bus came in late.

OMITTED

IN THE CAR - HUNTER AND McCALL

are moving down a residential block, above the Boulevard in
Hollywood. Hunter is driving slow, reading numbers on the
old but well-kept buildings. Still looking at the
pictures:

McCALL
What made him do it?

HUNTER
(shrugs)
It's what he does. At his trial
he called himself Death. Death,
the Avenger.

McCALL
A spook...

HUNTER
Yeah.

He sees the number he's been looking for, steps on his
brakes and cramps the wheel toward the curb.

AT EL CORTEZ APARTMENTS

Hunter and McCall climb out. El Cortez is a handsome
building with red-tiled roofs, in the Spanish-Moorish
style of old Hollywood. Hunter and McCall move up the
steps heading for an ornate white iron gate, which
leads to an arched breezeway, which leads to an ornate
black iron gate, which leads to a spacious garden court
surrounded by studio apartments, no two alike. The first
gate is open, and they go in.

IN THE BREEZEWAY

The second gate is locked, and bears a sign:

VISITORS

USE TELEPHONE TO CALL
TENANT; WAIT FOR ESCORT
BEFORE ENTERING

GUARD DOG ON DUTY

McCall takes up the phone, on the wall by the gate. Hunter
takes it from her hand, hangs it up.

HUNTER
What? Think Otto's comin' down?
To let us in?

McCALL
Hunter: we don't have a warrant.

HUNTER
Won't have an Otto, either. If
he knows we're coming.

He looks around for some reason to enter unannounced. She
knows what he's up to.

HUNTER
This gate looks to me like a
fire hazard. I mean: in case of
fire how could a fireman get in?

McCALL
Oh... I think he'd find a way.

Hunter pulls a wire device out of his pocket, with:

HUNTER
You act like picking a lock is
some kind of special gift....

He starts picking away at the lock -- unsuccessfully. Mc-
Call studies a small POSTMAN'S KEY BOX attached to the bars
next to the gate. While Hunter continues struggling with his
pick, she whips out her own device, has the postman’s box
open in a second, takes out the key and hands it to Hunter.

McCALL
Try this.

He gives her a look, takes the key, unlocks the gate. As
he pushes it inward:

McCALL
What about the dog?

HUNTER
What dog?

IN THE COURTYARD

A huge, savage-looking Doberman comes bounding in from
around a comer, barking ferociously, as McCall steps behind
Hunter.

McCALL
That one.

The dog, fangs bared, slams to a stop in front of Hunter,
braces himself, snarls viciously.

Hunter bares his own fangs, snarls back.

The dog blinks, backs up, steps to one side, sits down on
his haunches. He doesn’t move as Hunter and McCall slide
past him.

McCALL
You have a way with animals.

HUNTER
Professional courtesy.

The camera moves with them, Hunter searching for a particu-
lar number. He finds it at the base of an outside staircase
which zig-zags up to a second story apartment.

He nods to McCall and starts up. She follows. At the top
of the staircase, the door stands open. But the screen door
is closed.

INT. OTTO'S APARTMENT - ANGLE TOWARD THE SCREEN DOOR

An efficient-looking LADY in a tailored pants suit sits
with Otto Minsky. They're having coffee. Otto cocks his
head toward the screen door, rises warily. He moves toward
the screen door just as Hunter appears on the landing and
comes up the last few steps. All at once they face each other
through the screen, both briefly frozen by the sudden
revelation.

Before Hunter can speak, Minksy spins away in a seeming
panic, plunges through an open door into the next room,
slams the door. Hunter howls:

HUNTER
Hold it, Minsky!

He yanks at the screen door, finds it latched, kicks it
in. The lady in the pants suit leaps to her feet, spills
coffee all over it. Hunter hits the solid door Minsky
used. It's locked. McCall has leaped in behind him,
throwing down on the lady in the coffee stains.

McCALL
Police officers!

Hunter pounds and slams a shoulder against the door.

HUNTER
Minsky!

OUTSIDE - IN THE COURTYARD

Minsky come crashing through a plate-glass window next
to the outside stairs, landing on a slanted red-tiled roof
in a cloud of flying fragments, rolling down the slant
toward the flagstoned courtyard.

Above, Hunter comes bursting out through the screendoor,
starts bounding down the twisted staircase.

Otto rolls from the roof, hits the pavement on his feet,
goes streaking toward the gate.

Streaking toward Otto from a tangent direction comes the
Guard Dog, very much on duty. With a frightening shriek
he pounces on Otto's back, knocks him flat on his face,
braces himself above him on stiff legs -- hackles up,
fangs flashing, snarling and dripping saliva on the back
of Otto's neck.

Hunter slows to a walk, saunters up. To the Doberman:

HUNTER
Thanks.

The dog nods, walks off to one side, sits down as before.

HUNTER AND OTTO

Hunter bends over Otto, cuffing him.

OMITTED

INT. OTTO'S APARTMENT

McCall, still covering Otto's companion, watches the
action in the courtyard through the screen door. With a
sigh, she drags out her own cuffs and gestures to the lady
with her gun.

McCALL
Turn around.

The woman obeys, putting her hands behind her as McCall
moves closer.

OMITTED

IN THE COURTYARD - HUNTER AND OTTO

Hunter finishes cuffing Otto's hands behind him, flips him
over to his back as if winding up some rodeo event.
Leaning in close to Otto's face:

HUNTER
Welcome back to L.A.

FADE OUT

END OF ACT ONE

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

ACT TWO

FADE IN

OMITTED

INT. INTERVIEW ROOM - DAY

Otto Minsky (still cuffed) and TIFFANY REED, his female
companion (also cuffed,) are seated sullenly at a table,
closely watched by a GUARD. Finn enters with Hunter and
McCall.

FINN
You're Otto Minsky?

OTTO
Oh...I'm sure Hunter's told you
who I am....

FINN
(stiffening)
Yeah? Well now I want you to
tell me.

OTTO
I'm Otto Minsky...Though not the
same Otto Minsky Hunter used to
know.

HUNTER
(controlled rage)
You're the same ball of slime.
And no smart lawyer's gonna change
that. Ever.

OTTO
Speaking of smart lawyers, Hunter --
(nods to Tiffany)
— say hello to mine.

Startled, all three turn to stare at Tiffany, who lifts
her handcuffed wrists.

TIFFANY
Before anyone says hello -- I
want these off.

FINN
(in shock)
You're Minsky's lawyer?

TIFFANY
My name is Tiffany Reed. I'm staff
counsel for the American Legal Action
Committee.
(of the cuffs)
Off.

ANOTHER ANGLE

Finn shoots a black look at Hunter and McCall, nods curtly
to the Guard. The Guard frees Tiffany. Finn nods to Minsky
too. The Guard unhooks him. Otto and Tiffany massage their
wrists.

TIFFANY
Always wondered how it might feel
to be wearing those. I don't like it.

HUNTER
You're not supposed to.

McCALL
Why didn't you identify yourself
before I put them on?

TIFFANY
Because I wanted to see how far
you'd go -- the two of you -- in
violation of Mr. Minsky's civil
liberties.

HUNTER
Civil liberties?

TIFFANY
Oh? Hasn't word of the Constitu-
tion reached this little outpost
of frontier justice?

If the roof had caved in on Finn, Hunter and McCall, they'd
like it better. McCall slumps into a chair.

HUNTER
What were you doing in his
apartment?

TIFFANY
I was called by Mr. Minsky because
he heard a radio report of the
bombing at St. Andrews -- and was
almost certain you'd come there.
He was quite convinced you'd vio-
late his rights. Which you did.
(the snapper)
And because of those violations,
you -- the Department -- and the
City of Los Angeles -- will find
yourselves in court.

HUNTER
(hot)
Just a minute! What violations?
Your client knows I'm a cop! So
he takes one look at me through a
screen door and makes a run for it!

TIFFANY
(calm)
He walked from one room into the
next.

HUNTER
Where he jumped out the damn win-
Dow! Of course I went after him!
What else -—

TIFFANY
(over him, to Finn)
The violations include illegal
entry, illegal search and seizure,
assault, unnecessary use of force ——

FINN
Look, Miss Reed: there's a lot
about this that smells like provoca-
tion. Including the fact that you
chose not to identify yourself.
If Sergeant Hunter didn't play by
the rules, he'll suffer the conse-
quences. But there is no way
that you'll be the judge of that!

TIFFANY
I don't intend to be the Judge; only
Mr. Minsky's legal representative.
In a court of law. A commodity in
short supply, it seems — in this
Division.
arising)
I assume we're free to go.

Finn nods in resignation, waving a big hand toward the door.

TIFFANY
Come along, Qtto. I'll buy you a
cup of coffee. For the one I spilled
on your rug.

With a smirk at Hunter, Otto follows Tiffany out.

ANOTHER ANGLE

Finn turns to the Guard.

FINN
Make sure they can find their
way out.
(when the Guard
is gone, to Hunter)
Bustin' through a door with an
A.L.A.C. lawyer inside?

HUNTER
That was a set-up. We all know
it.

FINN
(explodes)
Oh sure: we all know a lot!
But knowing and proving is two
different things! And we're in
the proving business! "Knowing"
is for freakin' psychics and
weathermen!
(slamming out)
Get it in gear, for God's
Sake!

As the door hits the frame behind him. Hunter looks stoically
at McCall.

HUNTER
Come to think of it... there's
a coffee shop across the street.

OMITTED

INT. COFFEE SHOP ACROSS THE STREET - DAY

It's not as full of the ODDBALL FRINGE as it would be if
it weren't so close to the Police Station, Hunter and McCall
enter, look around, spot Otto in a back booth with Tiffany.
McCall nods as they sit at the counter,

McCALL
You guessed it.

HUNTER
(to a WAITRESS)
Two teas.

TIFFANY

rises, moves to a wall telephone. She hadn't seen Hunter or
McCall.

OMITTED

BACK TO SCENE

The Waitress brings the two cups of tea as Hunter notes
that Otto is alone. He gets off his stool, picking up
both cups of tea.

HUNTER
Think I'll go over and say Hi
to good ol' Otto...

McCALL
(nervous)
Don't off him in here, Hunter.
It'll look bad in court.

HUNTER
(put upon)
Technicalities....

He heads toward Otto's booth.

AT THE BOOTH

Otto looks up as Hunter looms toward him, a cup of tea in
either hand. Apprehension in Otto's expression as he looks
around for Tiffany.

HIS POINT OF VIEW: TIFFANY

is on the wall phone, nowhere close.

AT THE BOOTH

Hunter slides in across from Otto, balancing the cups in
mid-air. Otto tries to tough it out:

OTTO
You don't scare me, Hunter.
You're digging your own grave.

HUNTER
Bad choice of words, scumball.

He slams the two cups down on the table. All the hot stuff
splashes out -- on Otto's shirt and pants. He almost lets
out a yelp, holds it back, squirms as the boiling tea soaks
his lap. Hunter takes a napkin and dabs at Otto. Otto
knocks his hand away.

OTTO
It's no good, Hunter. I won’t
lose control. I told you:
I'm a different man. In charge
of myself. I've done my time.

HUNTER
And you'll do it again.

OTTO
(stares at him)
No. I spent eight years think-
ing about you, you righteous
pig. You sent me to Hell down
there -- but never again!
(needling)
I've come back. I know my
Rights! And you -- can't —
touch me!

Hunter's big hand shoots out, clamps on Otto's shirt
front.

HUNTER
Can't I?

Tiffany arrives in time to save Otto's neck.

TIFFANY
What’s. this?

Hunter straightens Otto's shirt. Otto catches his
breath.

HUNTER
Why, counselor: Mr. Minsky and
I were just having tea.

TIFFANY
He seems to be wearing it. This
is one more count of harassment.

HUNTER
(stands)
Lady: when I want to "harass"
this garbage can -- you'll learn
the meaning of the word.
(looking down)
Otto: we'll talk again.

He goes, leaving Otto and Tiffany gaping after him.

EXT. POLICE PARKING LOT – DAY

As shifts change. Hunter and McCall stand with Finn.

FINN
Eight surveillance teams?!

HUNTER
Yeah. And tail vehicles, sound
truck, the works. Around the
clock. When Minsky sneezes,
we'll be there to wipe his nose.

FINN
(considers it)
How do I justify spendin' that
kind of dough -- just on your
gut feelin'?

HUNTER
How do you justify not spending
it -- if he hits again?

McCALL
And he will, Lieutenant. He
always does.

FINN
(chews on it)
You said...two weeks.

HUNTER
(hopefully)
You mean: we got it?

FINN
You got one.

He gets in his car and drives out. Hunter and McCall
think one is better than none.

EXT. FASHION SQUARE - DAY

Fashion Square is a stylish shopping center, with a major
department store at either end of a long outside mall.
Fine stores and restaurants face each other across a wide
promenade with areas of green grass and sheltering trees.

Our first view of it is a BLACK AND WHITE VIDEO CAMERA
SHOT, TAKEN WITH A LONG LENS AND SHOWN ON A TV MONITOR,
of Otto Minsky Strolling through the mall with a black
lunchbox.

OMITTED

MEDIUM CLOSE ON MAN WITH VIDEO CAMERA

He's a long way from Otto and shooting from concealment.

IN THE PARKING AREA - BEHIND THE MALL

Among other vehicles in this area, adjacent to a parking
structure, we see a large, plain VAN. Our camera ZOOMS
IN on it.

INSIDE THE VAN

Hunter and McCALL are surrounded by sophisticated surveil-
lance devices. Their attention is on several short circuit
TV MONITORS

INSERT: TWO OF THE MONITORS

Each shows a view of Otto in the mall, taken simultaneously
from widely separated vantage points. (One of them is the
angle seen before.)

HUNTER AND McCALL

are watching Otto on the screens, have been at it so long
they're on automatic pilot. Picking up a personal dialogue

HUNTER
But there must be some way you
can make it up to your mother.

McCALL
You don't know my mother.

HUNTER
I know you. That means I know
something about your mother.

McCALL
(impressed)
Hunter: have you been reading
my books again?

But Hunter is alerted, as another TV monitor lights up.

HUNTER
Uh-oh. Check Camera Three.

McCall looks.

INSERT: THIRD TV MONITOR

From a rooftop of the parking structure, the CAMERA. HAS A
PICTURE OF LIEUTENANT FINN, approaching the very VAN which
houses Hunter and McCALL. The Video Cameraman ZOOMS in on
Finn's face, which wears a black expression.

IN THE VAN

HUNTER
(into mike)
Got it. Camera Three. Thanks.

Monitor Three goes blank as Finn jerks the door of the van
open and steps inside, waving a memo.

McCALL
Welcome, Lieutenant -- to the
wide world of surveillance.

Finn slides the door shut behind him. Of the memo:

FINN
Field Marshal Wyler is poppin'
nuts over what our little opera-
tion here is costin’.

HUNTER
(watching monitors)
You want results, it costs.

FINN
Fine. So show me some results.

HUNTER
(short)
Otto Minsky's the guy who can
show you results, Lieutenant ---
(snaps his
fingers)
— just like that! And we'll
have standing room only at the
morgue.

FINN
That's why I went for it. Why
I got the money up.

HUNTER
But Wyler had to go along.

FINN
Sure. He's given me a free hand.
But not because he believes in
this operation. He sees this
case as a career buster.

McCall reacts along with Hunter:

McCALL
You mean: he wants you to blow
it?

FINN
Oh no: he wants me to succeed.
He's a good cop. But if I don't —
it's mv career. Not his.

HUNTER
(studies Finn)
Something personal?

FINN
Professional. Me and him go back
a long way. And he never did be-
lieve in my methods. Too much
like yours, Hunter. But he wasn't
a street cop.

McCALL
Well: street cop seems to work
for you. You were top of the list
four weeks ago. For promotion to
Captain.

FINN
That's the point. Wyler's putting
my methods to the test. Right here.
With mv promotion on the line.
(a beat)
He thinks I've got myself in a no-
win situation. And maybe he's
right. Maybe Minsky's got us all
on a jerk line. While he plays
with Hunter's head.

HUNTER
It's only been four days! He'll
make his move any minute. I feel
it!

FINN
Yeah, you feel it. I used to
think like that too, Hunter,
when I was a dumb street cop
like you. But a few months ago
I decided I wanta leave this
outfit at least as a deputy chief,
So I'm takin' a few pages out of
Captain Wyler's book. Which
gets me to why I'm here.

HUNTER
(flat, hard)
You're pullin' the plug on us.

FINN
(equally flat)
Close of business today.

Hunter is about to protest when something on one of the
monitors catches him up.

HUNTER
Wait. Why is Minsky going into
a restaurant?

FINN
Lunchtime.

INSERT: THE TV MONITOR

Minsky, after perusing the outside menu, exits into the
Gardens Cafe.

HUNTER'S VOICE OVER
Yeah? So what's the lunchbox for?

He flips a switch on a walkie-talkie.

HUNTER
Carter. You're closest. Get in
there after him.

CARTER'S VOICE (ON W-T)
Roger wilco.

INT. GARDENS CAFE

A thoroughly charming place, every table crowded with the
Ladies Who Lunch. Otto Minsky comes toward us, looking
pleasant, as CARTER, with Walkie-talkie in a jacket over
his arm, slips in behind him.

Otto makes a turn, close to camera, which pans him around
a corner into the Men's Room. Carter moves up quickly,
stopping by a cigarette machine, eye on the Men's Room door.

CARTER
(low, into W-T)
He's gone into the John.

IN THE VAN

FINN
Guess even Otto Minsky —

Before he can finish:

CARTER'S VOICE (ON W-T)
He's out again.

McCALL
(blinks)
That was quick.

HUNTER
Too quick.
(into W-T)
Where's the lunch box?

A beat. STATIC.

INT. THE GARDENS CAFE

Carter, in our foreground near the Men's Room door, watches
after Otto, heading for the door in background.

CARTER
No lunch box.

IN THE VAN

CARTER'S VOICE (ON W-T)
Must've left it in the John.

HUNTER
(to Finn)
Just like Miami!

Finn stares at Hunter, then at the TV monitors.

INSERT: TWO OF THE MONITORS - LONG LENS ANGLES

on both, SHOWING Otto coming out of the Gardens Cafe, minus
the little black box.

BACK TO SCENE

Decision time. Finn slaps a switch.

FINN
All units! We're goin' in!

Hunter and McCall lunge for the door as Finn yanks out one
of his guns.

EXT. THE MALL - LONG SHOT FROM LOW ANGLE

Almost like one of Otto's bombs, cops explode into action,
seemingly from behind every tree and bush, from around ever-
corner, out of every crosswalk and doorway -- converging on
a vanishing point far down the promenade. MUSIC UP STRONG

FADE OUT

END OF ACT TWO

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

ACT THREE

FADE IN

OMITTED

EXT. FASHION SQUARE – DAY - OTTO MINSKY

has reached a crosswalk near the Gardens Cafe. (The walk
borders an underpass which runs from Riverside Drive to
parking areas behind the mall). SHOPPERS react in shock as
a major POLICE ACTION erupts in their midst. Otto stops
and looks around like the innocent he isn't, as POLICE
WHISTLES AND POLICE SIRENS ARE HEARD, and at least four
squad cars come careening into the underpass off Riverside.
But Otto doesn't seem to panic until he hears;

HUNTER'S VOICE
Hold it, Minsky!

Otto spins-toward the sound.

HIS POINT OF VIEW: HUNTER

is racing toward him on the crossing from the parking lot,
his long legs carrying him far ahead of Finn and McCall.

OTTO
glances around desperately. INTERCUT:

TWO ANGLES - OTTO'S POINT OF VIEW – COPS

are coming at him from both ends of the promenade.

OTTO

whirls, darts down the crosswalk toward Riverside.

HUNTER
charges after him.

AT RIVERSIDE

A Squad car slams to the curb in front of Otto; TWO
UNIFORMED COPS pile out and throw down on the fugitive.

Otto jolts to a stop and lifts his hands. Hunter runs up,
yanks Otto's arms down behind him, cuffs him again, hurls
him toward the uniformed cops. Savagely:

HUNTER
Hold him. And read him his
rights!

He spins back, heading for the mall.

OTTO

stares after him with a freaky smile, as:

COP'S VOICE
You have the right to remain
silent. If you give up the right
to remain silent, (etc)...

OUTSIDE THE GARDENS CAFE

The traffic is held back by yellow police-line ropes even
as the cafe is evacuated. A specially-dressed BOMB
DISPOSAL TEAM (protective visors, bullet-proof jump suit,
sound-barrier earmuffs) pushes a bomb trolley into the
cafe as Hunter arrives, followed by Finn and McCall. As
Hunter starts for the door, Finn catches his arm.

FINN
They don't need you in there.

HUNTER
I need me in there.

He goes in as more customers are brought out and escorted
to positions back of the police lines.

INT. GARDEN CAFE

Police are still getting customers out (then getting
themselves out) as Hunter follows the bomb trolley forward
toward the Men's Room door. Singer (also suited up) is
waiting there as the Bomb Squad guys arrive.

HUNTER
Haven't you got it out yet?

SINGER
Might not have time for that.
Wanta look inside it first.

He nods to a couple of Bomb Squad guys, who take some
special equipment from the trolley and head into the John.
(The equipment consists of a large, strange-looking X-Ray
gun and a portable monitor for same.) Singer follows them
in, with:

SINGER
If I were you. Hunter, I would-
n't be there.

Hunter thinks he's right: he follows him into the John.

IN THE MEN'S ROOM

Otto's black lunch box sits atop a towel rack next to the
line of sinks. Campbell stands by the rack;
the guys with the X-Ray stuff move to it; Singer and Hunt-
er close in behind them. Campbell nods to the guy with
the gun, who aims it at the box as the other guy sets up
the monitor. There's a WHIRRING SOUND. Everyone stares at
the monitor.

INSERT: THE X-RAY MONITOR
shows blue-gray ghost IMAGES of the box's interior.

THE SCENE

SINGER
Looks like...sandwiches....
maybe...peanut butter and jelly.
(squinting)
...with pickles?

CAMPBELL
That s sick.

INSERT: THE X-RAY MONITOR

shows a Thermos bottle nesting in the box's lid, with a
long black shape inside. Hunter's finger points to it.

BACK TO SCENE

HUNTER
There. Gotta be in the Thermos.

Campbell stares at Singer, who nods.

SINGER
Open sesame.

Campbell cautiously pops the latches on the lid. He lifts
the lid. It rocks backwards.

Campbell carefully lifts the Thermos from the box.

Singer takes it from him, holds it to his ear, gives it a
shake and a listen -- while all present grit their teeth.
Singer frowns, carefully unscrews the plastic cover-cup
from the bottle, sets it aside on the sink, gently pulls the
cork, smells the steaming mist which rises from the open
throat of the Thermos. Looks at Hunter. Inverts the
bottle toward its cover-cup on the sink.

Out comes dark steaming hot liquid, filling the cup.

SINGER
How you like your coffee,
Hunter? Black?

HUNTER
I don't like it at all.

OMITTED

INT. FINN'S OFFICE - DAY

Tiffany Reed versus Hunter, McCall and Finn, and more than
holding her own as:

HUNTER
We had probable cause and you
know it.

TIFFANY
The man goes to the bathroom
and forgets his lunchbox. That's
probable cause?

McCALL
We're dealing with a convicted
bomber. It'd be dereliction of
duty not to keep him under
surveillance.

FINN
He set it up!

TIFFANY
He set it up? Oh: that's a new
one. He forced you to conduct the
surveillance? To assault him? To
arrest him illegally?

HUNTER
The answer to that is yes. He's
trying to gaslight me -- because
I busted him eight years ago!

TIFFANY
(stares at him)
Sergeant: I wonder if you realize
how paranoid that sounds.

Finn and McCall exchange a look. They thought so too. In
comes Otto, smiling crookedly, escorted by a ROOKIE COP.

OTTO
I'm not interrupting anything?

Hunter wants to kill him, McCall hopes he won't. Tiffany
wishes he'd try, Finn nods curtly to the rookie:

FINN
Wait outside.
(to Minsky)
Sit down, Mr. Minsky.

OTTO
(checking his
watch)
If you don't mind -- can I make
a call first? I'm late for a
doctor's appointment.

HUNTER
You mean: with your shrink?

OTTO
(pleasant)
He's a therapist. Not a shrink.

TIFFANY
You have no right to keep him
from calling his therapist.

FINN
(to Otto)
Go ahead. Use my phone.

Otto picks up the phone on Finn's desk and punches in a
number as the others stand by uncomfortably.

INT. DISTRICT ATTORNEY'S OFFICE - DAY

We see the back of the D.A.'s desk chair and the D.A.'S
right hand holding a brief, as the TELEPHONE RINGS ONE TIME
on his desk. The D.A.'s hand lowers the brief, revealing
some correspondence and a parcel on his desk. The package
is wrapped in brown paper, is addressed (to the D.A.) with
a black marking pen, and bears a red gummed label: SpeeDemon
Delivery Service. Before the phone rings a second time:

INT. FINN'S OFFICE

Otto hangs up, muttering to himself:

OTTO
Busy...
(punching in
the number)
If at first you don't succeed....

INT. DISTRICT ATTORNEY'S OFFICE

ZOOMING in on the package as the TELEPHONE RINGS AGAIN. The
package EXPLODES, obliterating our shot.

INT. FINN'S OFFICE - BACK TO SCENE

Otto hangs up with an apologetic shrug:

OTTO
...try, try again.

Finn looks at him sourly, turns back to Tiffany:

FINN
In spite of our differences,
Miss Reed -- I appreciate your
not dragging us into court over ---

Wyler enters, stopping Finn in mid-sentence. The Captain
gives a curt nod to his people and a nice one to Tiffany
and her client.

WYLER
I've just come from downtown.
Mr. Minsky is not being charged
and is free to go.
(to Finn)
By the way. Lieutenant: I told
'em you're doing a helluva job.
Backed you and Hunter all the way.

FINN
Thanks a lot.

WYLER
(to Tiffany)
You understand: this department
respects the rights -- and problems
-- of all people involved in the
legal process. And ---

The door swings open hard. Singer lunges in, pale with shock.

SINGER
Sorry to bust in, Captain -- but
we got another one!

WYLER
What???

Otto's bomb could have exploded right here, as:

SINGER
The D.A.'s office on Temple. It
just blew up. They think -- he
was in it.

Hunter whirls around toward Minsky, glaring. Finn steps
between them. Tiffany decides that retreat is in order.

TIFFANY
Since you've had Mr. Minsky
under round-the-clock surveillance
for four days -- I doubt if you can
hang this one on him.

She takes Otto by the arm and to the door, where he stops
to face the glaring Hunter.

OTTO
Hunter -- in my own interest --
perhaps I can help you.
(gives him a
business card)
I believe you know the place.

INSERT: THE BUSINESS CARD IN HUNTER'S HAND

It's the card for ST. ANDREWS CEMETERY.

OTTO'S VOICE OVER
Shall we say -- in one hour?

BACK TO SCENE

HUNTER
(grimly)
I'll be there. But if this is some
kind of roust, Otto -- I'll string
your guts to the flagpole.

OTTO
(gently chiding)
Be nice.
(with a look
at McCall)
Oh, by the way, Hunter: you must
come alone.
(to McCall)
No offense, dear.
(to them all)
Have a pleasant day.

He goes out after Tiffany. Everyone stares at each other.

HUNTER
(grinding it)
He did it. The D.A.'s office. I
don't know how. But he did.

WYLER
(to Singer)
Any evidence of a timing device
in the rubble?

SINGER
They're still looking for the D.A.

FINN
Could Minsky have a confederate?

HUNTER
Guys like him don't have confederates.

McCALL
Well you do -- and you're not go-
ing to meet him alone.

HUNTER
Thanks, McCall. But I am.

He goes out.

OMITTED

EXT. ST. ANDREWS CEMETERY - SHOOTING PAST BROKEN MONUMENT

It's still minus its shattered angel. In deep background.
Hunter is setting a floral offering against a granite slab.
ZOOM IN VERY CLOSE, as he adjusts the flowers. We see that
a tiny tape recorder is at the center of Hunter's bouquet.

ANOTHER ANGLE - HUNTER

straightens, walks a couple of plots away from the recording
device (it's a powerhouse), and sits spraddle-legged on a
grassy slope. He glances at his watch, gazes around the
grounds for Otto, finally sees him coming.

HUNTER'S POINT OF VIEW: OTTO MINSKY

approaches, eating popcorn out of a yellow carton, seeming
to evolve (once again) out of a clutter of tombstones and
monuments.

THE SCENE

Otto comes up the slope, stops short of Hunter -- who doesn’t
get up.

OTTO
Where is it, Hunter? The wire?

HUNTER
No wire.

OTTO
I mean really: where is it?

HUNTER
No wire, Otto.
(stands and
spreads his hands)
See for yourself.

Otto runs his fingers over Hunter expertly. Frowning:

HUNTER
But don't enjoy it too much.

Otto doesn't find anything, sits on the slope next to
where Hunter sat. Hunter sits where he did.

OTTO
Getting lazy?

HUNTER
Don't want to waste time. You
said you had something to tell
me. Tell it.

OTTO
Your trouble is... you haven't
learned to think like me. I'm
a special person, Hunter....

HUNTER
I agree on that.

OTTO
On the other hand...I did learn to
think like you. I've thought and
thought... how you hounded me, kept
after me...never let me breathe.
I was glad when you caught me...
was looking forward to the trial....
(bitterly)
Then you — had me sent to Florida!
And they locked me away — in a
rural prison! Hunter...do you
have any idea what that means?
A rural prison — in Florida -- by
a swamp ?! To be boxed into a 3x5
cell...to be crawling with bugs --
eaten by mosquitos -- to lie in
bed at night and sweat...and sweat
...and wake up screaming?! Night
after night, Hunter, I'd wake up
screaming...your name!

HUNTER
Sorry I wasn't there to hear it.
Now tell me how you planted the
bomb in the D.A.'s office.

OTTO
(begins to grin)
Same way I planted the one in
Chester A. Arthur High....

HUNTER
(frowns)
Never heard of that one....

OTTO
Oh...it hasn't happened yet. But
it will.
(glancing at his watch)
When the bell rings at three o'clock.

Hunter stares at him, rasping:

HUNTER
If this is another false alarm.....

OTTO
If it isn't -- think of all those
dreadful little teeny-boppers --
poof! Up in smoke.
(tosses popcorn
into his mouth)
I ask you: am I being helpful?
Or am I?

Hunter springs to his feet, yanks Otto up, swings him around
slams him belly-down on the turf, claps the cuffs on him
again. Otto squeals with delight:

OTTO
Now this is the Hunter I love!

INT. HUNTER'S CAR – DAY

Hunter races through traffic, Otto on the seat beside him.

HUNTER
(into mike)
-- use normal fire drill pro-
cedures to evacuate the school.
We'll need Bomb Disposal Team
and uniformed backup ---

OTTO
-- and Paramedics ---

HUNTER
Shut up!
(into mike)
And Paramedics.

EXT. BENJAMIN FRANKLIN HIGH SCHOOL - DAY

SHOOTING FROM behind police lines across the street from
the handsome, red brick school. In our foreground, backs
to camera, excited HIGH SCHOOL KIDS are watching the fev-
erish activity of POLICE, FIRE DEPARTMENT AND BOMB SQUAD
PERSONNEL, whose vehicles jam the street. The kids are
enjoying the prospect of seeing the school blow up.

WIDE ANGLE

Hunter's car comes careening in, slams to a stop. McCall
rushes over as Hunter bails out, whips around to the other
side, yanks Otto off the seat and into the street.

CLOSER

McCALL
Oh God. Did we bust him again?

HUNTER .
This time he admits he did it.

OTTO
Did what?

HUNTER
(savagely)
Shut up! McCall: you stay here.
(shows Walkie-
Talkie)
I'll keep you informed -- for as
long as we've got.

He jerks Otto up the walk toward the main entrance of the
school building. McCall gets out her Walkie-Talkie and
looks after them anxiously.

ON THE WALK

Hunter encounters Bindle on his way to the street.

HUNTER
Is everyone out?

BINDLE
(negative, mad)
Got some wacko kids upstairs.
Playin' hide an' seek with us.
They think this is a joke.

OTTO
So do I.

HUNTER
Gotta get 'em out if we have to
use tear gas. Got less than ten
minutes.

A CHEER goes up from the CROWD across the street. Bindle's
look snaps toward the main entrance.

BINDLE
This must be them.

About TWENTY KIDS, laughing and waving to their schoolmates
across the street, come tumbling out the door -- escorted by
grim-faced cops.

ACROSS THE STREET - HIGH SCHOOL KIDS

wave and cheer the daring holdouts.

ON THE WALK

As the kids are escorted past:

HUNTER
(to Bindle)
That's everyone?

BINDLE
Bomb Squad guys still on the
second floor.

Hunter yanks Otto toward the building:

INT. BENJAMIN FRANKLIN HIGH

Hunter and Otto enter a long, ECHOING corridor, banked on
both sides with lockers bearing combination locks. It's
deserted except for Singer, suited up again, standing half-
way down the corridor, staring glumly at the lockers. Turn-
ing to Hunter;

SINGER
Last time it was coffee. What
is it this time. Hunter?

HUNTER
The cigar. Get your men out,
Singer. Otto's going to tell
me where it is. But not in
front of witnesses.

OTTO
Oh, Hunter: you're so clever.

Singer considers for a second, speaks into his Walkie-Talkie

SINGER
This is Singer. Everyone out.
Clear the premises. Now!

ANOTHER ANGLE

Hunter drags Otto to one side of the hall, unhooks the
cuffs, hooks one of the handle of a locker -- as the Bomb
Squad guys come charging down the stairs. Camera pans
after them as Singer follows them out.

HUNTER AND OTTO

are alone in the corridor.

HUNTER
Where is it, Otto? In one of
the lockers?

OTTO
(amused)
Now you are thinking like me.

HUNTER
Which one? And the combination.
(no reply)
We're not going anywhere, scum
-- till you talk. If you don't --
we're going to Hell together.

OTTO
I love it when you swear.
(but he's sweating)
All right. Let me call my lawyer.
If she says okay -- I'll tell you.

Hunter glances up the hall, sees a pay telephone on the
wall, unhooks Otto, cuffs his hands in front of him, pushes
him toward the phone. The camera moves with them.

At the phone, Hunter takes it off the hook, hands the in-
strument to Otto, drops a quarter in. Otto, holding the
phone in one cuffed hand, listens for a dial tone, then
punches in the number clumsily.

INT. JUDGE'S CHAMBERS - DAY

In background, the JUDGE is putting on his robe over his
regular clothes. In foreground, we see a parcel similar
to the one we saw in the D.A.'s office. Same red SpeeDemon
label. Between table and Judge, on his desk, the TELEPHONE
RINGS ONCE.

BACK TO SCENE

Otto hangs up, muttering:

OTTO
Damn handcuffs. Hit the wrong
number....

Hunter feeds the box another quarter. Otto tries again.

INT. JUDGE'S CHAMBERS - DAY

The Judge has turned toward the telephone when it rang
the first time. Now it RINGS THE SECOND TIME -- and the
brown package EXPLODES. Fire, smoke and flying debris
fills the screen.

BACK TO SCENE

Otto listens to the telephone, shakes his head, hangs up.

OTTO
No answer. Guess I'm not her
only client. Sorry Hunter.
Can't say a word without my
lawyer.

Hunter grabs him angrily, slams him back against a locker,
hooks him to it.

HUNTER
There is no bomb. Is there?
This is another roust!

OTTO
Could be. But if it isn't,
Hunter -- like you said -- we'll
go to Hell together.

He laughs triumphantly. Hunter glances desperately at a
clock on the wall. ZOOM IN ON that. It's five to Three.

RIPPLE DISSOLVE

INT. CORRIDOR - CLOSE ON WALL CLOCK

Four minutes have passed. Sixty seconds remain before
Three o'clock. ZOOM BACK to the same setup as the last one,
Hunter turns from the clock to Otto.

HUNTER
When the bell rings at Three
o'clock, you said....

OTTO
(enjoying this)
Think either one of us will hear
it, Hunter?

HUNTER
(after a pause)
I think I will. Tough stuff, Otto:
you waited too long.
(into W-T)
Coming out, McCall...

With this he starts walking away from Otto, moving toward us
along the corridor. The camera moves with him as he leaves
Otto hooked up to the locker in background. Otto starts to
panic.

OTTO
Hunter? Wait! You said — we'd
go to Hell together -—

HUNTER
You can get started without me.

He continues to the main exit.

OMIT

THE WALL CLOCK
Its second hand jerks its way up toward the "12".

OTTO'S VOICE OVER
HUNTER! You can't leave me here!

THE SCENE

Hunter stops at the doorway, turns back.

HUNTER
Way I see it, Otto: this is one
way to stop the bombings.

He goes out. After a moment. Otto SCREAMS:

OTTO
HUNTERRR-R-R-R!! All right! I'll
tell you!

Hunter steps back in quickly, looks across the deep distance
between him and Otto. There's a long moment. Then the THREE
O'CLOCK BELL RINGS.

HUNTER

stares at Otto as the RINGING OF THE BELL ECHOES DOWN THE
CORRIDOR and nothing explodes.

OMIT

OTTO

waits until the ECHOES DIE, then bursts into sudden, wild
laughter.

OTTO
You did it! You went for it again!
Oh Hunter: I love you!

HUNTER

looks murderous, as Otto's mocking laughter washes over him
like a surf of acid.

END OF ACT THREE

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

ACT FOUR

FADE IN:

OMIT

INT. SQUAD ROOM - DAY - CLOSE ON TAPE RECORDER - ON DESK

It's the one Hunter used at St. Andrew's. From it we HEAR:

HUNTER'S VOICE (ON TAPE)
Now tell me how you planted the
bomb in the D.A.'s office...

OTTO'S VOICE (ON TAPE)
Same way I planted the one in
Benjamin Franklin High...

HUNTER'S VOICE (ON TAPE)
Never heard of that one...

OTTO'S VOICE (ON TAPE)
Oh it hasn't happened yet. But it
will...when the bell rings at 3:00
o'clock...

During this we've pulled back to show Tiffany Reed sitting
next to Hunter's desk while Hunter and McCall observe her
reaction to the tape. In the background, other COPS deal
with the usual assortment of HOOKERS, PIMPS and DOPERS.
Tiffany looks stunned as she pushes the "STOP" button on
the tiny recorder, with:

TIFFANY
I don't have to hear it all again.

McCALL
What about it, Miss Reed?

Tiffany's reply sounds somewhat dazed and automatic -- as
if she s reading in bad light from a law book.

TIFFANY
You...realize, of course...such a
tape -- made without my client's
knowledge or permission -- is in-
admissable as evidence in any court
of law ---

HUNTER
Lady: how do you sleep at night?

TIFFANY
(defensive)
What you have there...is evidence
of a hoax -- not a bombing. When
the bomb went off in the D.A.'s
office -- Mr. Minsky was here.
With you. When the Courthouse
was hit in Van Nuys -- he was with
you again. At Franklin High.

HUNTER
True. But that D.A. was the man
who sent Minski back to Florida.
And that Judge -- in Van Nuys --
presided at his hearing. How
does he do that, Miss Reed? With-
out a timing device?

TIFFANY
I...don't know.

She gets up, turns to leave, turns back.

TIFFANY
Sergeant Hunter. Where are you
going to be? In one hour?

HUNTER
Where do you think?

TIFFANY
That... coffee shop across the
street?

HUNTER
That's where.

TIFFANY
I'll be there too.

She goes out. Camera closes on Hunter and McCall, staring
after her.

McCALL
I'll have to call my mother.
Tell her I'll be late again ——

HUNTER
No. You're off the hook, Mc-
Call. This one is mine.

INT. COFFEE SHOP-HUNTER AND TIFFANY REED

face each other over a table in a rear booth. Hunter studies
her as she struggles to get this said:

TIFFANY
This...is very hard for me.
But I -- I've been doing my
job...that's all. The law....

HUNTER
The letter of the law.

TIFFANY
Yes, but...that's what I've
believed in. All my life.
That the...law took precedence
over any individual case. But --
now I believe that the man I've
sworn to defend is guilty. And
if I continue to defend him --
he may kill again.

HUNTER
Yes.

TIFFANY
(emotionally)
So -- what can I do? Stand by
and let him do it? That's not
rational. And if the law's not
rational, then my whole life
doesn't work!
(controlling herself)
So...since you saw me last, Sergeant
...I've resigned my position with
the American Legal Action Committee.
I am no longer anyone's attorney.
And I never will be.

Hunter is impressed, sympathetic, but relentless.

HUNTER
I'm sorry. But if that's what
it takes to get to the truth
about Otto ---

TIFFANY
(still hurting)
It's what was necessary -- to me
--before I could tell you this.
Once -- in Otto's apartment -- I
went to make a phone call. I
happened to glance at the phone
book -- open to the yellow pages
-- before I dialed. There was an
advertisement there, circled with a
marking pen. It would have meant
nothing, except that Otto leaped
up and snatched the book away.
His...behavior was so strange, I
...remembered the ad. The name
of the company.
(hands him a
piece of paper)
I've written it there.

Hunter glances at the note, then looks at Tiffany.

TIFFANY
It may explain -- at least --
how he's putting the bombs in
place.

HUNTER
Thanks. I know what this means
to you.

TIFFANY
I doubt if anyone could.

Hunter looks at the note.

INSERT: THE NOTE IN HUNTER'S HAND

In Tiffany's precise penmanship, we read:

SpeeDemon Delivery Service

OMITTED

INT. SPEEDEMON DELIVERY SERVICE - DAY - IN FRONT OFFICE

A sign above the counter tells us where we are; so does
a sign on a delivery truck seen outside on a loading ramp,
through a window. Hunter faces a COMPETENT LADY across
the counter. She wears a telephone headset and is in
constant communication with her computer. Throughout the
scene, MESSENGERS hurry in behind her, snatch packages out
of bins on the back wall, and rush them out to God knows
where. And a GIRL IN A SMOCK keeps coming in and putting
other packages into the bins. From a larger office, o.s.
behind this one, we hear TELEPHONES RINGING and a SUSTAINED
CHATTERING OF VOICES. Checking her computer:

COMPETENT LADY
No Otto Minsky.
(into headset
phone)
Right, Forty-two. Wilshire and
Larchmont.

HUNTER
How about a delivery to St.
Andrews Cemetery on the eleventh?

The lady asks the computer, typing it in.

INSERT: COMPUTER SCREEN

No luck.

LADY'S VOICE OVER
No St. Andrews Cemetery on the
Eleventh.

BACK TO SCENE

HUNTER
How about a package to ---

LADY
(into headset)
Wrong, Twenty-one. Behind the
pizza parlor.

HUNTER
-- District Attorney Alan Wert-
heimer on Temple Street?

The lady works at her keyboard.

INSERT: COMPUTER SCREEN

Letters jog across.

LADY'S VOICE OVER
Yep. We delivered a package to
him on the seventeenth.

BACK TO SCENE

HUNTER
(tightening)
Can you cross-reference back to
who sent it?

The lady nods, fingers flying over the keyboard as she
speaks into her headset:

LADY
Yes, Eighty-three. Report back
here. You're in deep trouble.
(to Hunter)
Pay dirt.

INSERT: COMPUTER SCREE

as letters jog across:

Client: HUNTER ENTERPRISES

Deliveries to:

DISTRICT ATTORNEY ALAN WERTHEIMER
177 TEMPLE STREET
LOS ANGELES, CA
September 17th 10:OO.A.M.

JUDGE DONALD A. GARRARD
“VAN NUYS COURT BUILDING"
VAN NUYST, CA
September 17, 2:00 P.M.

DEE DEE McCALL
315 HAZELTINE STREET
STUDIO CITY, CA
September 18, 12;00 NOON

Dee Dee McCall's name and address keeps blinking on and off.
Tighten on it, as:

LADY'S VOICE OVER
We just delivered that one.

OMITTED

Hunter runs out as the lady looks after him, annoyed.

LADY
You're welcome!

INT. HOLDING CELL AND VISITOR'S AREA

Finn stands with a GUARD outside the bars of Otto's cell.

OTTO
Since my lawyer quit me, Lieuten-
ant, I'm entitled to one more call!

FINN
(deliberates, nods
to the Guard)
Okay. He can use the pay phone
in the hall.

OTTO
(milking it)
I'll need a quarter!

Finn scowls, digs a quarter out of his pocket, hands it
through the bars to Otto — as the Guard prepares to unlock
the cell.

EXT. STREET - MOVING SHOT FROM WITHIN HUNTER'S CAR

He's driving fast through traffic, HORN HONKING, SIREN
SCREAMING, on his way to McCall's.

OMITTED

INT. McCALL'S APARTMENT

We see her through the window, coming toward her door from
outside. She carries a bag of groceries and her door key.
In a moment she opens the door and looks down -- as a pack-
age, which has been resting against the door, falls inside.
Camera ZOOMS IN ON that. The package wears the familiar
gummed label of the SpeeDemon Delivery Service.

ANOTHER ANGLE

McCall picks up the package, looks at it curiously, picks
it up and carries it into the dining area with her groceries.
She leaves it on the table and carries the groceries into
the kitchen. There's a telephone (with a long cord) on the
table. McCall comes back from the kitchen, looks at the
package, picks it up. The TELEPHONE RINGS. McCall sets
down the package, picks up the phone before it rings again.

McCALL
Hello? Oh, hi Mom....
(drops into
a chair)
Yes I do plan to be there to-
night. Yes I do know I missed
your birthday, but tonight is ---
(grimacing)
-- mother! Listen to mel The mess-
age I left on your machine said
I'd be a little late, that's all --
I said nothing about canceling!

OMITTED

INT. POLICE DEPARTMENT CORRIDOR

Otto stands at a wall telephone, the Guard standing next to
him. Otto is frowning, listening to the earpiece.

OTTO
Busy....
(hangs up;
to the Guard)
I'll have to try again.

EXT. STREET - FROM WITHIN HUNTER'S CAR

Still speeding through traffic, he's on the mike:

HUNTER

-- Bomb Disposal Team and Para-
medics ---

INT. McCALL'S APARTMENT

McCALL
(still on phone)
Mother, I hate it when you don't
listen to me. It's diminishing
me as a person, and ---
(blast from phone)
This is me talking! Not my thera-
pist!
(another blast)
Well I didn't start this!

INT. POLICE DEPARTMENT CORRIDOR

Otto, at the phone, tries again. Frowns, mutters:

OTTO
Uncarinq people. Tying up the lines '

He hangs up, gets his quarter back, drops it in again.

INT. McCALL'S APARTMENT

McCALL
(into phone)
Well maybe we'd better just hang
up and get into this another time -—

OMITTED

INT. POLICE DEPARTMENT CORRIDOR

Still busy. Otto recycles the quarter, punches in again.

INT. McCALL'S APARTMENT

McCALL

...well I'm sorry too, Mom. I
was only trying to please you,
and then I ——
(KNOCKING AT
DOOR, O.S.)
— WAIT A MINUTE! No, Mom, I'm
not yelling at you -—
(BANGING ON
DOOR, O.S.)
— COMING, DAMN IT!
(into phone)
Mom? Mom? Did you hang up on
me?
(slams phone
into cradle)
You did!

She gets up and starts for the door, just as the whole door
bursts in off its hinges. Hunter leaps in, sees McCall,
sees the SpeeDemon package on the table behind her — as the
TELEPHONE RINGS. McCall stares at Hunter in shock.

Hunter dives for the package, takes McCall to the floor,
hurls the package out the window in the same movement — as
the TELEPHONE RINGS AGAIN.

A HUGE EXPLOSION in the airspace outside the broken window
blows more shattered glass into the room. Black smoke
billows in.

OMITTED

HUNTER AND McCALL

are on the floor, under the table. Hunter raises up
on his hands, looks down at her disapprovingly.

HUNTER
Why aren't you with your mother?

INT. SQUAD ROOM - DAY

Begin on a view of Wyler's glassed-in office, where Wyler
is facing a battery of lights, TV CAMERAS, MEDIA NEWSPEOPLE,
and loving it. Pull back to show that the Captain's per-
formance is the center of all attention in the Squad Room.

ANOTHER ANGLE

As McCall watches Wyler in fascination. Hunter rises and
starts for the rear door. From that direction comes Finn.
Both men stop briefly. Nodding to the TV show:

FINN
What's with the Captain?

HUNTER
Just tellin' the folks how it
Feels to capture The Jacksonville
Bomber.

FINN
(grins)
I love it.

HUNTER
By the way. Lieutenant: how does
it feel?

FINN
Good. And grateful.
(extends his hand)
Thanks, Hunter.

HUNTER
(shakes it)
Thanks, Lieutenant.

He moves on as Finn turns his full attention toward Wyler.

INT. CORRIDOR - DAY

It's the same corridor where Otto used the telephone. The
Guard now sits at a desk outside the door to the holding cell.
Hunter comes toward him, with:

HUNTER
I won't be long.

GUARD
No hurry. He's got the time.

Hunter exits into the holding cell area.

INT. HOLDING CELL AREA

Hunter enters the visitor's space as Otto rises from a
bench, comes forward to the bars. With a strange smile:

OTTO
I knew you'd come. You're
going to miss me, Hunter.

HUNTER
(nods)
Like you'll be missing we.

OTTO
Yes! We do think alike....
(changing)
Oh but one doesn't get lonely,
you know -- in prison. On
the contrary: you're never
alone. Not really!
(angles his
head at the bars)
There's always someone...listen-
ing. ..talking...sucking away the
air...the very breath out of you!
(that odd smile)
But this time...you won't send me
back to Florida!

HUNTER
No. This time I'll send you to
the chair.

A look of panic stabs into Otto's eyes.

OTTO
I can't be killed, Hunter. Be-
cause...because...I am Death!
Death, the Avenger!

Hunter stares at Otto. But he's heard that song before.
He shrugs, turns, and goes out.

Otto, scared, pushes up to the bars, grits his teeth,
screws up his face, holds his breath as long as he can,
then SCREAMS:

OTTO
HUNTERRR-R-R-R!!!

IN THE CORRIDOR

Hunter continues to walk away, down the long corridor,
as Otto's SCREAM follows him:

OTTO'S VOICE OVER
HUNTERRR-R-R-R!!!

FREEZE FRAME

AND FADE OUT

THE END