| HUNTER
BURNED
Written by Jo Montgomery (One of my dark horse favorite episodes. The script is a fun read, with wonderful, snappy dialogue. So VERY Hunter and McCall)
ACT ONE
FADE IN
EXT. L.A. STREET - DAY (EARLY MORNING)
Hunter's latest ND car, parked in an alley. It looks
empty.
INTERIOR CAR
It isn't empty. Hunter and Dee Dee are scrunched down in
the front seat, which has been pushed as far back as it'll
go, to allow Hunter the necessary leg room;
Hunter is uptight, his fingers drumming away on his knees.
DEE DEE
Relax, Hunter. Even if we collar
the guy, we'll lose him to New
Orleans. They got first dibs on him.
HUNTER
He may not let us collar him,
McCall.
(looks at her)
You read the reports on this guy,
he shoots first and asks why later.
DEE DEE
Next time you volunteer for an
assignment, Hunter, check it out
with me first, okay?
HUNTER
(grins)
What for? You're just as...
Hunter doesn't get to finish the sentence because Dee Dee
has bolted upright.
WHAT THEY SEE - A BMW comes barreling out of an
underground garage and takes off screaming down the alley.
THE CHASE
This is a ball-frosting, hair-raising, freak-out chase to
end all chases. It ends with the BMW doing a Mary-Lou
Retton over a stack of steel girders and skidding half a
block on its spark-spraying red-hot top.
HUNTER'S CAR
skids to a stop and Hunter and Dee Dee are out and ready,
guns pointed.
ON THE BMW
Gunfire erupts from inside and Hunter and Dee Dee dive for
cover. Each one races to come in on the BMW from opposite
sides, guns blazing.
HUNTER
takes cover thirty feet from the BMW, watches closely for
any sign of activity.
DEE DEE
on the opposite side of the car from Hunter, does the same.
HUNTER
Ryker!
(waits)
If you can move, get your butt
outta there, now!
SILENCE
DEE DEE
Ryker! I got a truck-bomb in my hand.
You're outta that car in five seconds
or I toss it in on you!
SILENCE
DEE DEE
Gimme the word, Hunter! Do I toss
this thing or not?
Dee Dee, of course, has nothing in her hands but her gun.
HUNTER
Give 'im five more seconds. Then
throw it in! And don't miss or
you'll hit me!
RYKER'S VOICE
Wait! I'm comin' out!
They WAIT. Nothing.
HUNTER
Throw it McCall!
RYKER'S VOICE
Nooo! I'm coming out!
And he COMES OUT FIRING LIKE CRAZY. He is expensively
dressed, but it doesn't help: he is fifty pounds over-
weight and has a face so mean it looks warped.
Hunter stays out of sight. Dee Dee stays out of sight.
ON RYKER
Naturally he runs out of ammo.
Hunter points his gun at Ryker.
Dee Dee does the same.
HUNTER
I'd like to let you reload, Seymour, but
it's against the rules. Drop it.
Ryker drops the gun and Hunter and McCall step quickly over
to him.
DEE DEE
You got the right to remain silent.
HUNTER
You also got a ticket to ride to
New Orleans. And guess what? My
partner and I'll be with you every
inch of the way.
SERIES OF STOCK SHOTS
TITLES AND CREDITS WILL APPEAR OVER AIRLINER
landing at NEW ORLEANS AIRPORT
PANORAMIC SHOT - NEW ORLEANS
POLICE HEADQUARTERS - NEW ORLEANS
NIGHT LIFE - NEW ORLEANS
END CREDITS
INT. NEW ORLEANS DEPARTMENT STORE - DAY
MED SHOT - DEE DEE
She is doing some last minute shopping for some typically
New Orleans items. She turns and moves along a counter,
and as she looks up she sees:
A MAN
He may or may not be a man named CHARLIE WHITEWOOD who died
six months ago in Los Angeles and whose death was the
subject of an investigation by Hunter and McCall. The man
is dialing a number on a wall phone. He is in his mid-
forties, clean-shaven, handsome, tall and well-muscled.
CLOSE ON DEE DEE
She reacts to seeing Charlie, as any sane woman would. She
is astonished, disbelieving, then keenly interested. She
starts toward the man.
THE MAN
He is waiting for the party to answer. He casually
glances in Dee Dee's direction and his eyes widen in
recognition. He hangs up the phone and takes off in
panic, running.
ON DEE DEE
She hurries after him, digging into her purse for her gun.
EXT. BACK OF STORE - DAY
The man comes out and RUNS OFF PAST CAMERA. The camera
stays ON THE DOOR.
CLOSER ON DOOR
It opens and Dee Dee runs out, looks one way.
DEE DEE'S POV
There is no one in sight.
ON DEE DEE
She looks the other way.
DEE DEE'S POV
There is no one in sight. There should be something a
little unreal, eerie, about the total disappearance of the
man in such a short span of time.
ON DEE DEE
She looks frustrated, puzzled, and more than a little
troubled: Where in hell did he go?
EXT. NEW ORLEANS AIRPORT - DAY
ON HUNTER
He is using an open-alcove phone, talking loudly because of
the various airport noises.
HUNTER
Captain Wyler!? It's Hunter.
We delivered Ryker and --
(he listens)
Sure he was all in one piece,
he was a pussy-cat.
(he listens)
McCall? She's doing a little
shopping, but she'll be here
in plenty of time -- plane
doesn't take off for forty
minutes.
HUNTER (Cont'd)
(he listens)
Right, we'll check in with you
first thing.
(he listens)
Okay.
He hangs up, glances anxiously at his watch, and looks at
the cab traffic.
ON CAB
It pulls up and Dee Dee jumps out. As she pays the
driver, Hunter runs to the cab, reaches into the back seat
and grabs her two suitcases. As the cab drives off:
HUNTER
Where in hell you been!? The
plane takes off in ten minutes!
DEE DEE
Hunter, we can't leave!
Hunter was leaving. He turns back, looks at Dee Dee as if
she has lost her mind.
HUNTER
We can't do what?
DEE DEE
We can't leave. I just saw
Charlie Whitewood!
Now Hunter really thinks she's crazy.
HUNTER
Charlie Whitewood? McCall, are you
referring to the Charlie Whitewood
who died six months ago? The Charlie
Whitewood we both knew and hated?
DEE DEE
Yes! I saw him, Hunter! He's
alive and well and living in New
Orleans!
HUNTER
(grabs her arm)
We'll talk about it on the plane.
With suitcases and Dee Dee in tow, Hunter disappears into
the terminal. Dee Dee going along reluctantly.
ON AIRPLANE - DAY (STOCK)
taking off.
OMITTED
DISSOLVE TO:
INT. LT. FINN'S OFFICE - NIGHT
Lt. Finn leads Hunter and Dee Dee into the office.
FINN
McCall, the world is full of look-
alikes. What do ya want me to do?
DEE DEE
This "look alike" ran when he saw
me staring at him.
FINN
Maybe he had a guilty conscience.
Maybe he was calling his bookie.
Who the hell knows.
DEE DEE
Captain Wyl...
FINN
(overriding)
...assigned this case to me.
DEE DEE
You sure you didn't talk this over
with Hunter?
Lt. Finn sits on the corner of his desk.
FINN
(to Hunter)
You don't believe her either, huh?
DEE DEE
He believes me. It just took a
little persuasion - about two
thousand miles of it.
Lt. Finn looks at Hunter.
FINN
You don't believe her, do you?
HUNTER
You had to be there for the whole
two thousand miles, Lieutenant.
(pauses)
I think we oughta respect McCall's
opinion and have another look at -
He breaks off as a uniformed officer (CARTER) enters with a
folder.
CARTER
The file you asked for Lieutenant -
The Lieutenant takes the file and Hunter moves over to stand
beside Dee Dee as Finn opens the folder and begins to tick
off items as he turns the pages:
FINN
Charles C. Whitewood, criminal
attorney.
(to Dee Dee)
Your guy have a mustache?
DEE DEE
No.
Finn looks at the picture. WE SEE the photograph of
Whitewood, with moustache and dark hair. It still appears
to be the man we saw in New Orleans.
FINN
Whitewood had one.
DEE DEE
(hard as steel)
He shaved it off. He also bleached
his hair.
FINN
The man you saw was blond?
DEE DEE
He had blond hair.
FINN
(turns a page)
Faced a felony charge: obstruction
of justice, bribing a juror.
Committed suicide the day after
being indicted.
He looks skeptically over at Dee Dee.
DEE DEE
That body was charred to nothing!
And Charlie Whitewood was a
crooked criminal lawyer. He was
also smart.
FINN
(turns a page)
Body identified positively from
dental chart...
Dee Dee starts to say something but Finn holds up a hand to
stop her.
FINN
His dental history was verified
by his estranged wife. Gimme a
break, McCall.
HUNTER
I, ah, knew Mrs. Whitewood.
His tone makes Finn suspicious.
HUNTER
(continuing)
I saw her for a while after the
split up. She hated his guts.
FINN
(to Dee Dee)
Another hole in your theory, McCall.
She throws a grim frown at Hunter, then goes on fighting:
DEE DEE
Lieutenant, Charlie Whitewood cross-
examined me in a dozen criminal
cases with his face pushed right
into mine. I know that face.
(pauses)
And when that man in New Orleans
saw me, he recognized me. Just
like I recognized him. It was
Charlie Whitewood, without the
moustache and with blond hair. He
ran, Lieutenant, because he knew
me. He ran because he was Charlie
Whitewood.
There is so much conviction in Dee Dee's voice that Finn
is silenced.
HUNTER
(to Finn)
And you still haven't had the full
two thousand miles...
FINN
Hunter, forget the comedy -- you
think McCall saw Charlie Whitewood?
Dee Dee's eyes have Hunter fixed in a look of steel. Hunter
glances at her, glances away.
HUNTER
I got a lot of respect and faith...
FINN
(interrupting)
Gimme a straight answer.
HUNTER
(firmly)
I think you should let us re-open
the death by suicide of Charles
Whitewood.
Finn considers it. Finally...
FINN
You got forty-eight hours.
DEE DEE
Lieutenant Finn, we have a murder
case on our hands. If that burned
body wasn't Charles Whitewood, then
somebody was murdered and it was
a murder we never even investigated.
FINN
Okay, you got seventy-two hours, and
have the New Orleans police put out
an A.P.B. on Whitewood.
HUTNER
Already have.
FINN
(stand)
Okay, good, that's it.
Dee Dee stands, opens her mouth to speak, thinks better of
it, and walks out, followed by Hunter.
INT. SQUAD ROOM - NIGHT
They walk from Finn's office.
DEE DEE
(to Hunter)
I don't know whether to thank you
or take a swing at you.
HUNTER
McCall, I said I'd support you.
I never said I believed you.
DEE DEE
Well, don't you?
HUNTER
It comes and it goes.
DEE DEE
Yeah...
She shakes her head, turns and walks off. Hunter stays
where he is, happy to be free of the problem for a few
hours.
INT. DEE DEE'S BEDROOM - NIGHT
We come in on total darkness except for a clock that reads
4:50. Suddenly an ALARM goes off, we hear Dee Dee stirring,
and her bed-side light comes on. We see Dee Dee in the bed
now as she slams the "off" button on the alarm and climbs
out of bed, a woman with a mission.
INT. SQUAD ROOM - DAY
It is early morning and Dee Dee is hard at work at her
desk. Reports, papers, folders are piled up around her.
ON HUNTER
He enters, sees Dee Dee and walks on to her desk.
HUNTER
You're in early, McCall.
DEE DEE
I've been here since 6 A.M. I figure
our seventy-two hours begins at eight,
right? Wanta hear what I got?
HUNTER
Sure...
DEE DEE
There were four missing persons,
adult males, in the ten days before
Whitewood's "suicide". All but one's
been cleared up. The one that's
still open is -
(consults report)
George Keller, age 50, six feet,
170 pounds. He was an alcoholic.
His daughter's still looking
for him. Interesting, huh?
HUNTER
How tall was Whitewood?
DEE DEE
Whitewood is six feet one. He
weighs 180, he's forty-three,
going on forty-four.
HUNTER
Hey, ease up, I'm on your side,
McCall.
DEE DEE
(stands up)
Okay. I'm gonna go grill Whitewood's
dentist. Why don't you go warm up
your old relationship with Arlene?
HUNTER
Arlene Whitewood?
DEE DEE
How many Arlene's are there in your
lurid past, Hunter?
HUNTER
(grins)
Just one. But we stopped seeing
each other 'cause Arlene kind of
went into shock when Charlie
committed suicide.
DEE DEE
When Charlie did what?
HUNTER
Sorry, McCall, slip of the
tongue.
DEE DEE
You really think I'm a nut case,
don't you? Maybe you'd like me
to handle the Keller case all by
myself. Right?
HUNTER
(he's lost)
The Keller case?
DEE DEE
Yeah. George Keller? The man
who probably burned to death in
Charlie Whitewood's car? We're on
that case - for seventy-two hours.
Remember?
HUNTER
Got it, McCall. The Keller case.
(starts away)
See you after lunch.
DEE DEE
No, his dentist retired - to a
turkey ranch out near Ojai - I'll
meet you at the morgue at 5 P.M.
HUNTER
(bemused)
The morgue. Five P.M. Right.
EXT. BURBANK EQUESTRIAN CENTER- TRIPLE R STABLE-DAY
Hunter walks over to lean on the rail fence of the riding
rink. He watches:
ARLENE WHITEVOOD
She is a slender, lithe woman of thirty or so, riding a
thoroughbred jumper. She takes a jump with infinite grace,
but only slightly more graceful than the beautiful
thoroughbred jumper. As she wheels the horse she sees:
HUNTER
He gives her a wave.
ARLENE
rides over to Hunter, smiling beautifully.
ARLENE
Rick!
She dismounts and an attendant takes the horse's reins.
HUNTER
Can't decide who's the most
beautiful, you or the horse.
ARLENE
I'll take that as a compliment.
HUNTER
(liking the looks
of this woman)
It was.
ARLENE
Is this an accident? Or are
you here on business?
HUNTER
(nods)
I need to talk to you.
ARLENE
(thoughtful)
Okay. The patio in a half hour?
I have to change.
EXT. TURKEY RANCH - DAY
McCall and DR. SPENCER. They are walking from the house.
In background, off to the right are the noisy turkeys -
hundreds of them. Dr. Spencer is a tall, thin, white-haired
man in his late sixties. (The turkeys can be a separate
shot not done by the first unit.)
CLOSE MOVING SHOT - DEE DEE AND DR. SPENCER
DEE DEE
Yes, the case was closed, doctor,
but it's open again.
SPENCER
Why? I don't understand.
DEE DEE
And it worries you, huh?
Spencer abruptly stops walking and stares at Dee Dee, who
stops to look at him closely.
SPENCER
Certainly not. But I think it's
about time you told me what this
is all about.
DEE DEE
How well did you know Charles
Whitewood?
Spencer does not answer. He looks more angry than worried.
DEE DEE
He was your patient for over
fifteen years, wasn't he?
SPENCER
My relationship with my patients
is nobody's business - by law
I might add.
DEE DEE
He also defended you in a criminal
case, didn't he?
Spencer sucks in his breath and glowers at Dee Dee.
SPENCER
(angrily)
And the jury found me innocent!
DEE DEE
Right. You were accused of
taking sexual advantage of a
female patient while she was
under anesthesia, right?
SPENCER
She was a crazy female patient
and Charlie proved I was innocent!
DEE DEE
"Charlie?" You knew him that
well, huh?
SPENCER
I'm not going to listen to any
more of this - not till you
tell me why you're asking questions
about a man who committed suicide
half a year ago!
DEE DEE
For a financially successful and
healthy man, Charlie sure had a
mouthful of bad teeth, didn't he?
SPENCER
Money can buy you great false
teeth, good ones are free - they
come with the genes.
DEE DEE
Did you attend Charlie Whitewood's
funeral?
SPENCER
(snidely)
Charlie didn't have a funeral,
his ashes were scattered at sea.
DEE DEE
(smiles)
Thanks. I think I got everything
I came for.
She starts away. Spencer follows.
SPENCER
What's going on here? I have a
right to know!
DEE DEE
(stops)
Doctor, you have a right to remain
silent.
(smiles)
And so do I.
(starts away)
See you again - you can count
on it.
She leaves Spencer looking frustrated and angry, and perhaps
more than a bit worried.
SPENCER
(yells after Dee
Dee)
If you're raising questions
about my records, think again!
Charlie's ex-wife couldn't stand
me but she testified he had three
porcelain crowns and two impacted
wisdom teeth, just like my records
showed!
Dee Dee does not look back. She reaches her car and
drives off. The noise of the car sets off a storm of
gobbling from the turkeys.
SPENCER
(glares at turkeys)
Knock it off!
EXT. BURBANK EQUESTRIAN CENTER - DAY
ON PATIO
Hunter and Arlene are having some iced tea at a small round
Cable separate from the few others on the patio.
ARLENE
(laughs)
Okay, Rick, I'll make a deal
with you: For every question
you answer, I'll answer one:
Why are you suddenly interested
in poor, dead Charlie?
HUNTER
Maybe he didn't commit suicide.
Maybe he was murdered.
ARLENE
Yeah? What else is new? I
remember asking you at the time
why you were so sure he killed
himself.
HUNTER
And I probably said, because he'd
committed a crime and got caught.
He faced disbarment and six
years in prison.
ARLENE
And now you think he was murdered.
Why?
HUNTER
(smiles)
I've answered three questions
already. Now it's your turn.
ARLENE
Okay. Three questions.
HUNTER
Maybe Charlie didn't die at all.
Arlene looks surprised, then puzzled, then amused.
ARLENE
Is that a question?
HUNTER
Sort of.
ARLENE
Well.
(she studies Hunter's
face, an amused smile
on her lips)
If there was ever a man that
could bring off something like
that, Charlie Whitewood would be the
man...but no, Rick, Charlie's dead
and he wasn't murdered. He called
me the day he drove off that cliff.
He wanted to see me...
(her voice breaks
slightly, and her
eyes tear up a bit)
For once in my life I didn't let
him talk me into doing what he
wanted.
(gets control)
I said no, and I'm still haunted
by that. I still have dreams about
Charlie - that he's still alive.
Letting myself off the hook,
right?
The tears come now and she lowers her head. Hunter
touches her hand.
HUNTER
Okay, no more questions.
(a thought)
Let's have dinner tonight.
Arlene dries her eyes, tries to smile.
ARLENE
I'm a working girl, Rick. Interior
decorator, and I'm meeting a
a client tonight. How about
tomorrow night? I'm free tomorrow
if you really mean it. But no
more talk about Charlie?
HUNTER
It's a date. We'll talk about us.
ARLENE
(smiles)
That's a subject I could warm
up to in some very interesting
ways...
She touches his hand and her damp eyes fill with promise
EXT. MORGUE - DAY
Hunter drives in, parks, gets out and looks around for
McCall. He glances at his watch, then hears McCall's
car.
ON McCALL'S CAR
She drives in, parks, gets out with a big smile for Hunter.
DEE DEE
I'm not late, you're early.
HUNTER
How'd you do?
DEE DEE
(as they walk
toward the morgue)
Well, he didn't break down and
confess, but I made him very
nervous.
HUNTER
Confess to what?
DEE DEE
(gives Hunter a
stern look)
You know to what.
HUNTER
Tell me again, McCall, it keeps
slipping away.
INT. MORGUE - DAY
DEE DEE
No, you keep slipping away,
Hunter, and I don't need that!
I need support here.
HUNTER
You think the dentist faked the
dental chart.
DEE DEE
He provided a dental chart that
matched the burned body, a body
that couldn't have been Charlie
Whitewood's. That's all I'm saying.
Anything Hunter may have had to say is interrupted by the
SOUND of Carlos's tuba.
ON CARLOS
He is lost in ecstasy, pumping out the tuba part in a
classical melody. He does not see Hunter and McCall as they
step up beside him. Finally, Hunter taps him on the
shoulder and Carlos lets out a blast and glares up at the
two of them.
CARLOS
Don't do that! Don't ever do
that!
HUNTER
We're customers, Carlos, we want
some service here.
CARLOS
I'm off. It is 5:05 and I am off
duty.
He starts to play again.
DEE DEE
Carlos? Carlos!
He stops, glares at her.
DEE DEE
We need some help. Now.
Carlos stands, lays the tuba aside and looks at them
patiently.
CARLOS
What - on my own valuable time
- can I do for you?
HUNTER
Remember Charlie Whitewood?
CARLOS
All us citizens of L.A.'s dark
underbelly remember Charlie
Whitewood, may his soul rest in
peace.
DEE DEE
Never mind his soul. Is there
any chance that body wasn't
Charlie Whitewood?
Carlos reacts to that with puzzled interest. Then:
CARLOS
Well, if memory serves me, as it
always does - the skull, spine
and upper arms were more or less
intact, which includes the teeth.
The dental chart left no room for
doubt. It was Charlie Whitewood.
DEE.DEE
Could the chart have been faked?
CARLOS
It came from his dentist, Dr.
Spence.
DEE DEE
Dr. Spencer.
CARLOS
I stand corrected. What are you
getting at? You got some reason
to think it wasn't Charlie Whitewood?
DEE DEE
Would you believe me if I said I
did?
CARLOS
I'm an artist, I'll believe
anything.
DEE DEE
That's a big help.
CARLOS
(smiles)
Would you care to hear my
opinion on that case?
Neither Hunter nor Dee Dee answers.
They wait, Dee Dee hopefully.
Hunter skeptically.
CARLOS
I didn't open my mouth at the
time, I was sure no one would listen
to me.
(dramatic pause)
But it was my opinion then, and
it still is, that the body was
too well done.
HUNTER
(disgusted)
Too well done?
DEE DEE
(patient)
How do you mean?
CARLOS
I got the feeling somebody had
helped with that burn job.
DEE DEE
Helped. How?
CARLOS
Well, maybe poured a little
Barbeque Helper or something all
over Charlie before the car blew
up.
HUNTER
You thought it might have been
murder and you didn't say anything?
CARLOS
Who am I, for God's sake? I'm not
the M.E. I'm not even the third
assistant M.E. I babysit corpses.
Nobody asks me what I think.
HUNTER
You usually tell us though.
CARLOS
This time I didn't. No confidence.
Why're you asking? What you got?
DEE DEE
Suspicion, Carlos, just suspicion.
And you've deepened it.
HUNTER
(dryly)
Thanks, Carlos.
(nods at tuba)
You should get that thing tuned.
They leave and we HOLD on CARLOS, looking affronted at
Hunter's remark, then puzzled, thoughtful.
EXT. MORGUE - DAY (DUSK)
As they walk to their cars:
HUNTER
By the way, while I was waiting
on you I called in, and guess what?
Dee Dee gives him a quick, interested look.
DEE DEE
What?
HUNTER
The missing George Keller? His
daughter returned your called and
left us a message -- she'll be in
to see us on Thursday.
DEE DEE
Why didn't you tell me?
HUNTER
I just did.
She is at her car. She gives him a look, gets in, starts
her car. Hunter goes to his and gets in. By the time his
car is under way Dee Dee is long gone.
EXT. STREET - DAY (DUSK)
Hunter's car passes CAMERA.
THE CAMERA HOLDS and another car passes, then a second car,
In both cars there are two dark-suited men.
INT. THE FIRST CAR
It is driven by a man named TRASK. His passenger is a man
named JELSON. They both look like hired muscle, which they
are. Trask suddenly speeds up.
EXT. STREET
The car driven by Trask passes Hunter's car and gets a
block ahead.
INT. THE SECOND CAR
This one is driven by a man named MARCELINO. His
passenger's name is CLOSKEY. They are also hired,
professional muscle. They fall in directly behind Hunter.
ON HUNTER - DRIVING
He reacts to something ahead.
WHAT HUNTER SEES,
Trask and Jelson have pulled their car over and are fighting
in the street directly in Hunter's path.
HUNTER
slams on his brakes, still looking at:
TRASK AND JELSON
They are staging a very realistic fight practically in the
middle of this city street.
HUNTER
gets out of his car and approaches them on the run.
HUNTER
Police officer! Get off the
street!
They continue fighting.
Hunter steps in and grabs Trask, the nearest to him, and
shoves him toward the sidewalk. But while he is thus
engaged, Jelson sends a haymaker to the side of Hunter's
head. When Hunter turns to take on Jelson, Trask is on him
from behind--and a real donnybrook is underway. We HOLD on
this action for twenty or thirty seconds.
ON MARCELINO AND CLOSKEY
They have pulled up behind Hunter's car. They run to join
the fight, but once it becomes four on one, it doesn't last
much longer.
AT TRASK'S CAR
as the four men toss Hunter onto the back seat. Trask and
Jelson jump into the car and take off fast as
MARCELINO AND CLOSKEY
run back to their car and jump in.
ON A BLACK AND WHITE POLICE CAR
The Black and White pulls into the street as the first car
is pulling out at high speed and the second car is getting
started and taking off with SQUEALING tires after the first
one. The timing should be such that the audience can
assume the two officers (DERN AND WILLIAMS) may have seen
Hunter being tossed into the first car.
ANOTHER ANGLE
as the Black and White SQUEALS out into the main street and
takes off in pursuit of the two speeding cars, SIREN
screaming.
ON HUNTER'S CAR
As the police car PASSES it the CAMERA sweeps past Hunter's
license plate, 1JRQ409.
INT. THE POLICE CAR
WILLIAMS, on passenger side, is on the radio.
WILLIAMS
The possible victim's license
number is 1 John, Robert, Queen 409.
Repeat: A possible 207 at Beach and
20th. We are in pursuit of two
vehicles, one a dark green BMW.
Request assistance.
THE CHASE
Intercut all three cars going through traffic, like death-
wish maniacs. The Black and White's siren is still
WAILING.
INT. TRASK'S CAR
Hunter is on the back seat, unconscious.
EXT. STREET - ON DEE DEE'S CAR
She is driving home.
INT. DEE DEE'S CAR
RADIO VOICE
L-56 come in.
DEE DEE
(into mike)
This is L-56, over.
RADIO VOICE
Sergeant McCall, your partner's
license number was just called
in. A possible 207 in progress,
Sgt. Hunter the possible victim.
Car 71 is in pursuit of two
vehicles, going south on 20th,
east of Beach Boulevard. Over.
DEE DEE
(excited but in
control of herself)
Will respond! L-56 out!
CONTINUED
DEE DEE does a U-turn, slams her rotating red light onto
the roof of her car and takes off with her SIREN SCREAMING
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
INT. A WAREHOUSE - NIGHT
TRASK'S CAR drives through an open warehouse door and skids
to a stop behind a dark Mercedes parked in the center of
the warehouse, facing the entrance door. Marcelino
barrels in behind Trask.
A man, NESBIT, closes the warehouse door (it is on
rollers).
AT TRASK'S CAR
As all four men pull Hunter out of the car. The only LIGHT
SOURCE in the warehouse is the headlights of their cars.
ON HUNTER
He is rapidly regaining consciousness as he is hustled over
to:
NICK BARTONI
Bartoni is a big man in his late sixties. He wears a
heavy coat with a fur collar and a wool cap.
As the four men hustle Hunter over to Bartoni, he pulls
the wool cap down over his face, revealing that two holes
for his eyes have been crudely scissored in the cap. The
other men have not bothered to cover their faces.
FULL SHOT
The scene centers on Hunter in one angle and Bartoni in the
other. Hunter is completely recovered now and he tries
to throw Trask and Closkey off of him, but Marcelino and
Jelson join them and Hunter is subdued.
BARTONI
(an old man's voice,
Eastern accent)
Hey. Relax. You listen to me and
you got nothin' to worry about. Nobody
wants to put you away or punish
you. Y ou hear what I'm sayin'?
HUNTER
Yeah. I don't believe you, 'but I
hear you real good.
BARTONI
I want certain information. You
give it to me, you walk outta here
with all your teeth and thirty or
forty more years to live.
(stops, waits)
You don't give it to me, I'm gonna
put you away. Understand?
Hunter doesn't bother to answer.
BARTONI
All I need is you tell me
why Charlie Whitewood's death is
alla sudden an open case again.
HUNTER
That's it? I tell you why and
I walk outta here?
BARTONI
You got my solemn oath on that,
my friend.
HUNTER
That's a deal. Captain Wyler,
my boss, has a policy. Every six
months he orders a re-investigation
of any case that wasn't closed
air-tight. That's it. Charlie
Whitewood bought the jar exactly
six months ago.
Bartoni nods at Jelson, who suddenly hits Hunter in the
gut. Hunter doubles over in pain but Trask and Closkey
jerk him erect, whether he likes it or not.
HUNTER
(a groan)
So much for solemn oaths...
BARTONI
(angrily)
Hold it, friend! I keep
my word!
(moves closer)
Be straight with me, I'm
straight with you. So think it
over. Take your time.
HUNTER
Forget it, I told you the truth.
I don't think I wanta know what
happens when I lie.
OMITTED
ON NESBITT
He is running from the door of the warehouse toward Hunter
and the group around him.
NESBITT
(breathless, running)
Chief! There's police cars
buzzin' 'round like crazy out there!
ON HUNTER, BARTONI AND OTHERS
as Nesbitt enters the SHOT, out of breath.
NESBITT
They're huntin' for this dude,
boss! We gotta get outta here!
Bartoni takes a second to digest that, then nods at
Closkey, who quickly hits Hunter just above the temple with
the butt of an automatic. The two men holding Hunter let
go of him and he drops like a felled tree. Bartoni and
his men run for their cars as Nesbitt runs to the door,
where he stands ready to open it.
ON HUNTER
He moves. The NOISE of the MOTORS comes over. Hunter,
flat on his face, blinks and slowly raises his head. The
lights of the three cars throw crazy, dancing shadows as
they turn and head for the door.
AT DOOR
as Nesbitt slides it open.
ON HUNTER
The car he best sees is the Mercedes, the closest to him.
Its lights are on, motor running. Bartoni is at the wheel,
waiting for the other two cars to get out of his way.
ON HUNTER
squinting at something, lips moving.
WHAT HUNTER IS TRYING TO SEE:
The license plate of the Mercedes. It reads: 1 DVO 545.
The plate disappears as the Mercedes ROARS out fast.
AT THE DOOR
Trask's car goes out first, followed by Marcelino's.
Bartoni skids to a stop at the door so Nesbitt can jump in
and take the wheel. The Mercedes speeds on out of the
warehouse and onto the street.
ON HUNTER
He tries to move but he can't make it. He moves his lips
again. He is repeating 1 DVO 545, but we don't hear
anything. Hunter painfully turns his head to look toward
the open door.
ON OPEN DOOR
Nothing there but lights from the streets and buildings
beyond. This picture begins to SPIN crazily.
ON HUNTER
as his head drops and his eyes close. WE
DISSOLVE TO
HUNTER
We do not see this at first but his head is in Dee Dee's
lap. As we come out of the DISSOLVE, his lips begin to
move in the same way as before. Blood has trickled down
across the left side of his face.
DEE DEE'S VOICE
Did you call an ambulance?!
WILLIAMS' VOICE
Sure did.
CAMERA PULLS BACK
to reveal Dee Dee seated on the dirty floor of the
warehouse holding Hunter's head in her lap.
DEE DEE
Then where is it?!
WILLIAMS
(very calm)
It'll be here, sergeant.
The two uniformed officers are present, behind them, their
Black and White, lights on, and Dee Dee's car, lights on.
DEE DEE
He's trying to say something.
HUNTER
(muffled)
Write it down.
DEE DEE
(softly)
What did you say?
WILLIAMS
(gets out pencil)
I think he said "write it down".
The officer squats down beside Hunter and McCall.
DEE DEE
Rick? Write what down?
HUNTER
(muffled, slow)
One...Dee...Vee...Oh...three four
five...
CONTINUED
The officer writes it down.
DEE DEE
(to officer)
License number. Sounded like
One David Victor Ocean 345.
WILLIAMS
That's what I got.
HUNTER
(barely audible)
Good...
Hunter's head falls to the side and he is out of it but
happy. We hear a SIREN coming on fast.
INT. HOSPITAL ROOM - DAY
Hunter, a white patch at his temple, is sitting up in bed,
bare to the waist and not happy being immobilized.
Lieutenant Finn and Dee Dee are also present and when WE COME
INTO the SHOT, the Lieutenant, standing, at the foot of the
bed, is saying:
FINN
The car's registered to Nick Bartoni,
but it was reported stolen at eight
o'clock last night, just minutes
after McCall found you.
HUNTER
Nick Bartoni... I've heard of him.
Chicago in the 30's and 40's, a
powerhouse in Las Vegas in the 50's
and 60's. He lives here now?
DEE DEE
The car you saw is registered in
that name, at 25811 Pacific Coast
Highway, Malibu.
HUNTER
You know, Finn, I'm touched.
Captain Wyler never would've been
down here. I've got only four
stitches and a slight concussion.
FINN
We'll get those guys, Hunter. We
can't let 'em go 'round beatin'
on the good guys. And you can't
identify the guy who asked the
questions?
HUNTER
(shaking his head)
Maybe his voice...
FINN
You know how long we could hold
Bartoni on a voice I.D.? About
ten minutes.
HUNTER
That long, huh?
FINN
So we won't try, and I don't want
any moves made on him that I don't
know about. You got that? He
contributes money to political
campaigns, and he doesn't care
what party. He's rich and retired.
That give you a faint hint why I
came to see you?
HUNTER
Yes, and it's a big relief, Finn.
If you'd come to see how I was
do in', I'd have had a relapse.
FINN
Relapse? Hell, there was nothing
wrong with you in the first place.
They're letting you out of here at
noon and I'm giving you the rest
of the day off, as in off. You
even go near Bartoni and I'll have
your butt in a sling, 'cause that's
where mine'll be if you try anything
stupid. Are we all straight on
all this?
HUNTER
I really appreciate that, Lieutenant,
and my head appreciates it too.
Thank you.
The Lieutenant looks both surprised and suspicious at
Hunter's tractable attitude and his "thank you".
FINN
Maybe he isn't well, McCall --
I'll hold you responsible for him.
And Finn exits, leaving Dee Dee and Hunter alone.
HUNTER
(a big smile for
Dee Dee)
What time is it ?
She starts to look at her watch, then looks at Hunter. Why
is he asking what time it is?
EXT. PACIFIC COAST HIGHWAY - DAY
ON HUNTER'S CAR
driving north toward Malibu.
INT. CAR - HUNTER (driving) AND McCALL
DEE DEE
I just thought of another reason
you shouldn't be doing this.
HUNTER
You're over-selling, McCall.
DEE DEE
Bartoni's probably surrounded by
heavy muscle -- how many guys
were there last night?
HUNTER
Five, and probably all of 'em from
out of town. Didn't even bother
to cover their faces. They're
long gone.
DEE DEE
You hope.
HUNTER
All I want is to hear his voice.
That's all, that's it.
DEE DEE
Yeah? And if the voice tells
you he's your man, you just
walk away, huh?
HUNTER
(looks at her,
grins)
No. Then I give'm a real close
look at my gun, and offer him
five seconds to explain himself.
DEE DEE
Hunter, the Captain made me
responsible for you.
(glares at him)
You're gonna do this by the book.
Right?
HUNTER
Hey, I wouldn't be in this mess if
it wasn't for you, remember?
DEE DEE
(relaxes) .
Yeah... Well, at least now you know
I really did see Charlie Whitewood.
HUNTER
(a surprised
glance at her)
Where'd you get that idea?
DEE DEE
Whaaat! Are we back to that again!?
HUNTER
Bartoni wanted to know why the case
was re-opened. That doesn't tell
us Charlie's alive. Maybe Bartoni
wasted Charlie. That's how it looks,
in fact.
DEE DEE
So the guy I saw in New Orleans
was Charlie's ghost, huh?
(glares at him)
You really do think I'm an airhead,
don't you? And I resent it, Hunter.
If you told me you saw Charlie
Whitewood in New Orleans, I'd believe
you!
HUNTER
(grins)
Maybe -that's why I believe
you - ever since we talked
to Carlos.
DEE DEE
(smiles, relieved)
Welcome back, Hunter.
EXT. RESTAURANT AT TRANCAS - DAY
Hunter's car pulls in and stops.
INT. HUNTER'S CAR
HUNTER
Here's the drill: If I'm not back
here (glances at watch) at exactly
2:25, call in the troops and come
and get me.
DEE- DEE
And you aren't going to break in,
you're gonna knock on the door and
get invited in, right?
HUNTER
(grins)
What'd the poet say about "the best
laid plans..."?
DEE DEE
Hunter, if I didn't have a personal
stake in this whole thing I'd put
you under arrest.
HUNTER
Sure you would.
(opens the door)
And stay by the phone, just in case.
Dee Dee gets out, closes the door.
DEE DEE
Be cool. Okay? And if you don't
show up right on the money, I'm
coming in with eighteen back-up
cars.
HUNTER
Make it twenty.
Hunter drives off, fast. Dee Dee watches him disappear up
the highway, walks into the restaurant.
EXT. 25811 PACIFIC COAST HIGHWAY - DAY
The house is modest by Malibu standards, probably worth no
more than three million dollars in a slow market. It is
white, almost austere. There is a closed two-car garage.
No cars in the ample driveway and no cars on the highway in
front of the house.
ON HUNTER
He is standing at the edge of the highway, looking the
place over. He has left his jacket and tie in his car.
SHOOTING FROM THE HOUSE
Hunter walks quietly across the parking area, looking the
house over as he goes. The only sound is the distant
breakers on the ocean side of the house; that is, until
two German shepherds start BARKING inside.
ON HUNTER
as he gazes into the uncurtained living room window. The
two dogs hit the window hard enough to rattle it. Hunter
moves on.
SHOOTING FROM THE SIDE OF THE HOUSE
Hunter walks toward camera, along the side of the house
toward the ocean. The BARKING CONTINUES.
SHOOTING FROM THE PATIO OF THE HOUSE
The patio is glass-enclosed, furnished with white tubular
chairs, low glass tables, brightly striped umbrellas.
Hunter appears, looks into the patio, sees no one there.
The dogs are at the ocean side of the house now, carrying
on like mad.
ON HUNTER
He looks out toward the beach.
WHAT HUNTER SEES THERE
A white-haired man (Bartoni) seated in a canvas beach chair
fishing, his back to Hunter and our camera.
CLOSE ON BARTONI
We recognize him now. He has an ice-filled bucket at his
left side with a bottle of white wine in it. He holds his
fishing pole in one hand and a sturdy glass, half-filled
with wine in the other. It is a warm day, but he is
wearing white pants, tennis shoes, a polo shirt and a heavy
white sweater. A radio is on the sand at his right, tuned
to an all-sports station. The announcer is talking about
the coming Rams-Chargers game and giving the odds. We
cannot hear the dogs where Bartoni sits, too far from the
house, too close to the water.
Bartoni's attention is caught by a pair of bare male feet
that come to a stop near the radio. Bartoni looks up at:
HUNTER
looking ten feet tall from this angle. He has not only
removed his shoes and socks, he has rolled his pants half
way up his shins.
HUNTER
Afternoon, Mr. Bartoni.
BARTONI
(stays where he is)
You a neighbor?
Hunter sits down on the sand beside Bartoni.
HUNTER
Mind if I turn this off?
(indicates radio)
BARTONI
Yeah, I do. Do I know you?
HUNTER
We met last night, remember? You
owe me three hundred bucks -- hospital
and doctor's care.
BARTONI
You look like a cop. Are you?
HUNTER
Sergeant Rick Hunter, L.A.
Metropolitan Homicide.
BARTOMI
(tough as hell, and
quiet)
Then what in hell you doin'?
- askin' me questions? You
ever heard of Miranda?
HUNTER
Yeah, he was a guy who got off
scott free after making a full
confession.
BARTONI
Get lost or I'll call some cops who
know the rules.
HUNTER
I know the rules. So do you.
Kidnapping, for instance, is
against the law. So is battery.
So is threatening a man's life. You
broke all those rules last night.
BARTONI
You gonna make me get up and call the
sheriff's office. He's a frienda mine.
Hunter turns off Bartoni's radio.
HUNTER
No, I'm gonna take a leaf from your
book. How'd you say it last night?
"If you wanta live another forty years
tell me why you re-opened the Whitewood
case". Okay: tell me why you wanta
know.
BARTONI
(laughs)
You offerin' me another forty
years? I'll take it.
HUNTER
You got a dinner date tonight?
BARTONI
I got a dinner date every night.
HUNTER
If you wanta keep this one you're
gonna tell me the answer.
BARTONI
And if I don't?
HUNTER
I told a friend of mine I'd give you
five seconds. How's that sound
to you?
Bartoni is laughing. Hunter waits.
BARTONI
Guns haven't scared me since
I was twenty years old. And
talk about guns makes me laugh.
Hunter reaches back and takes out his gun. He shows it to
Bartoni who is surprised to see it and no longer laughing.
HUNTER
You violated my rights. You
also nearly killed me. I got
stitches in my head and a bad
concussion. I'm suffering from
what is officially known as
diminished capacity, which means
I'm not guilty of what I'm about
to do.
Bartoni studies Hunter's face. Hunter looks at him
steadily, not blinking.
BARTONI
You're crazy!
HUNTER
Riiiight....
(pauses)
Why do you care if I ask questions
about Charlie Whitewood? You got
got five seconds.
Hunter's even, deadly tone has got through to Bartoni, and
he is listening now, and as scared as Bartoni ever gets.
BARTONI
I'll make a deal with you.
Hunter waits.
BARTONI
I don't give a damn why you're
diggin' into Charlie Whitewood. I
was doin' a favor for a dear friend.
(pauses)
You let me call her and tell her
I'm being threatened by a nutso
cop. If she gives me the okay
to tell you what you wanna know,
great. If she don't...you'll
just have to kill me.
Hunter feels like laughing and almost does, but he manages
to keep a straight, almost blank look, and gets to his
feet.
Bartoni plants his fishing pole and tries to get up. He
can't make it and Hunter helps him. For Hunter, the
situation is getting funnier by the second, but he isn't
letting Bartoni know that.
HUNTER
Your phone got an extension?
BARTONI
My extensions have extensions.
Hunter puts his gun away as they walk to
THE PATIO
There are at least two phones there and Hunter peers inside
the house. Bartoni sits down and does two things: INSERT,
Bartoni's foot. It presses down a brass signal device under
the table. Bartoni also punches out a number. Hunter sees
nothing threatening inside but the two dogs, still barking
like mad. Hunter walks over, sits down, and picks up the
extension. We will HEAR BOTH SIDES of the conversation.
After two RINGS:
INT. AVA FONTAINE'S LIVING ROOM - DAY
AVA FONTAINE is a former motion picture star on the order
and magnitude of Joan Crawford or Bette Davis. She is over
60 but looks 40, as she sweeps down the gracefully curving
staircase and over the RINGING phone. We will
INTERCUT Ava, Hunter and Bartoni.
AVA
Hello.
BARTONI
Maggie? It's Nick.
AVA
Any developments?
BARTONI
Yeah. The cop I had my little
conversation with last night?
He's sittin' here listenin' to
this conversation.
AVA
You're putting me on.
BARTONI
You wanta say something, Hunter?
HUNTER
(into phone)
You know my name. What's yours?
AVA
Nick, what in hell is going on?
Are you at home?
BARTONI
Look, Maggie, this guy is bonkers.
He's threatened to kill me if I
don't tell him why I was askin'
about Whitewood. You got that, babe?
He's got a gun, and I'm not sure he
won't use it. He's claimin' diminished
capacity and we both know what that
means.
AVA
Should I call the cops?
BARTONI
Are you nuts, too? He'll have the
job done before they get here. Just
tell me whether to give him what he
wants or tell him to get lost.
AVA
Hey, are you still on the line?
HUNTER
Me? Yeah.
AVA
I live in the colony, I'll be there
in ten minutes.
HUNTER
Sorry, that won't work.
AVA
Why not? You want the
answer or don't you?
HUNTER
You might decide to bring a few of
those muscle heads I met last night.
AVA
Nick. I'm coming over there. I'm
coming alone, as you know. I'll
leave it up to you to convince
this jerk I won't bring anybody
with me.
And she hangs up. Hunter looks at Bartoni and hangs up the
phone, so does Bartoni.
HUNTER
Convince me.
BARTONI
How? She's as crazy as you are.
Didn't you recognize her voice?
HUNTER
I've heard it before. Who was
it?
BARTONI
Would you believe Ava Fontaine?
HUNTER
I'll be damned...
Hunter picks up the phone.
HUNTER
(to Bartoni)
You know the number of the
restaurant at Trancas?
BARTONI
Yeah. 555-2121.
Hunter dials the number. He waits.
VOICE
Hello.
HUNTER
Page Sergeant McCall, police
business.
INT. RESTAURANT - DAY
AT WALL PHONE
Dee Dee enters and picks up the phone.
DEE DEE
Yes?
INTERCUT DEE DEE AND HUNTER
HUNTER
McCall, we got a change in plans.
DEE DEE
Oh yeah?
HUNTER
Yeah, I'm gonna have the answer
in a half hour, so change the
pre-empt time to 2:40.
DEE DEE
Hunter, has somebody got a gun at
your head?
HUNTER
No, and if you show up at 2:25
it'll blow our action.
Dee Dee thinks, hard.
HUNTER
You still there?
DEE DEE
I'm here but I don't know how
to handle this.
HUNTER
McCall, I'm sitting here with Nick
Bartoni and nobody else. No guns
are pointed, Ava Fontaine'll be
here any second to give me what I
came for - the answer.
DEE DEE
Ava Fontaine?! Hunter, is that
some kind of code message?
HUNTER
No, dammit! Look McCall, if you
want the answer on Charlie Whitewood,
stay there till 2:40! Okay?
DEE DEE
Hunter, if anything bad happens to
you I'll never forgive you!
And she hangs up.
EXT. LAX - DAY
AT CAB PICK-UP STAND
A man in a hat and sun glasses gets into a cab, suitcase in
his hand, and the cab takes off.
INT. THE CAB - MOVING SHOT
The man takes off the sun glasses as:
MAN
(to driver)
Century City, corner of Santa
Monica and Constellation.
He is the man Dee Dee saw in New Orleans, and he is Charlie
Whitewood.
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN:
BACK TO BARTONI'S PATIO - DAY
Bartoni and Hunter are seated as before.
BARTONI
...and Maggie..."Ava" to you and
her millions of fans - she saved
my bacon with a three hundred
thousand dollar loan. That was
back in '62.
(nods, remembering)
Well, from that day, my friend,
anything Ava wanted, Ava got, if
you know what I mean...
Hunter starts to say something but stops because the dogs
suddenly start to make a racket again from inside the house.
Hunter stands quickly, steps over to the glass doors and
looks into the house. When Hunter turns back he freezes.
OMITTED
HUNTER'S POV
through barely parted curtains, across the kitchen, out
the windows on the other side to Closkey and Marcelino,
guns at the ready, sneaking toward the patio.
ON HUNTER
moving toward the corner.
ON CLOSKEY AND MARCELINO
moving toward corner. As they reach it...
HUNTER'S FIST
comes out of nowhere and slams Marcelino full force on the
chin. Marcelino goes flying across the patio toward the pool
INSERT ON
Marcelino's gun skittering across the patio.
BACK ON HUNTER
jamming his revolver into Closkey's gut as hard as he can.
ON MARCELINO
scrambling for the gun.
BACK ON HUNTER
grabbing the doubled over Closkey by the hair and heaving
him across the patio at Bartoni who has to move his chair
in order not to be hit by the flying body.
TIGHT ON HUNTER
switching his attention back to Marcelino.
HUNTER'S POV
On Marcelino reaching the gun, grabbing it, turning toward
Hunter...and meeting Hunter's foot flush in the gut.
Marcelino catapults backwards and falls with a SPLASH into
the sunken pool.
ANGLE ON HUNTER
turning back and leveling his .38 between Closkey's eyes.
HUNTER
Sit down!
Closkey does as he's told.
Hunter whips around to Marcelino struggling out of the pool.
HUNTER
Get up here!
A soaking wet Marcelino scrambles out of the pool.
HUNTER
Okay you sit up here with your
friend.
A dripping Marcelino joins Closkey sitting on the patio.
BARTONI
(disgusted, to
Closkey and
Marcelino)
You guys are great.
And he stares unhappily at Closkey and Marcelino.
EXT. FRONT OF BARTONI'S HOUSE
A white Rolls Royce limo pulls into the driveway (still no
cars visible) and stops. The driver, in a dark suit and
visored cap, gets out and opens the passenger door. We
cannot see inside because there are black, one-way windows.
ON AVA FONTAINE
As she steps out and crosses to the front door.
Ava, seen in full-figure now, looks lean and healthy and
very much in command of her life. She is dressed for Rodeo
Drive, not Malibu.
AT DOOR
The dogs are letting her know they are there.
She takes a key from her purse, unlocks the door and opens
it. The two dogs obviously adore her. She pats them
fondly, steps in and closes the door.
EXT. THE PATIO
Hunter is standing against the wall, gun in hand, one eye
on the door, the other on Bartoni and his two muscle men.
He tenses as the door opens.
AVA'S VOICE
(firm)
Stay!
Ava steps into the patio, closes the door, sees Hunter,
gun in hand, looks at Bartoni and his men.
AVA
(to Bartoni)
Tell him to put that gun away.
BARTONI
(shrugs, looks at
Hunter)
Put that gun away.
HUNTER
(to Ava)
Why don't you sit down?
Ava looks Hunter over, reacting especially to his bare feet
and rolled up pants.
AVA
You get rid of those guns or
I let Ashley and Carl out.
They really hate people with guns.
She reaches for the doorknob and Hunter grins at her.
HUNTER
(quickly)
Okay, I believe you.
Hunter puts all three guns down on a redwood table under
one of the windows.
He smiles at Ava again and spreads his hands.
AVA
nods and takes a seat. Hunter sits down so that he is now
closer than anyone there to (1) the door, and (2) the guns,
which are now behind him, about five feet away.
AVA
Now what? Do we flip a coin?
HUNTER
Why?
AVA
To see who goes first.
HUNTER
You go first.
AVA
Why?
HUNTER
'Cause that's how it works.
Ava thinks about that. Hunter looks at her. She's still a
damned beautiful woman. He smiles. Ava decides Hunter is
a great-looking guy. She smiles.
AVA
I don't like one-way streets.
I walked one once in Gower Gulch
where a guy named Harry directed
traffic. I haven't taken a
one-way street since, so here's
what I want:
(indicates Bartoni)
I give you the information you're
after first, okay? But you swear
to me you won't bring any charges
against my friend Nick or his boys.
Hunter has to think about that. He looks at Nick and the
two muscle men. He touches the bandage at his temple.
Finally:
HUNTER
Okay. Go.
AVA
Charlie Whitewood defended a close
friend of mine two years ago and
we got very very well acquainted.
EXT. SANTA MONICA AND CONSTELLATION - DAY
Charlie Whitewood gets out of the cab, pays the fare, and
the cab drives off. He is still wearing the hat and the
sunglasses.
AVA'S VOICE
(over Charlie and
cab)
Charlie fell in love with me. He
got a legal separation from his
wife and moved in with me.
A PHONE BOOTH - DAY
Charlie Whitewood steps into the phone booth, drops a quar-
ter and dials a number.
AVA'S VOICE
(over Charlie)
Then one day, Charlie got into
trouble - got caught rigging
a jury or something.
BACK TO PATIO
AVA
And I woke up one afternoon and
found Charlie gone. Charlie and
about two million dollars in jewels,
bearer bonds, securities, cash...gone.
A couple of days later, Charlie was
indicted. And the next day, he
drove off a cliff.
(long pause)
That's it. The whole, sad - and
strange, story. Now it's your turn.
HUNTER
You've never heard from him since?
AVA
Heard from him? Is that a joke? Or
do you believe in ghosts?
(it suddenly hits her)
You mean that's the answer? Charlie
wasn't in that car? He's alive?
HUNTER
I don't know.
AVA
Hey, come on, we got a deal here...
and there's one thing I felt pretty
sure of at the time and still do -
jerks like Charlie don't usually
commit suicide.
DEE DEE'S VOICE
You're right, they don't. At least
Charlie didn't.
They all look off at Dee Dee, who is standing at the edge
of the left enclosure of the patio. She has a gun in her
hand, which she now puts away.
AVA
Who in hell are you?
HUNTER
She's my partner.
(to Dee Dee)
You're fifteen minutes early.
DEE DEE
Couldn't wait. I didn't like that
phone call.
(to Ava)
I heard your story. And no,
Charlie wasn't in that car.
I saw him in New Orleans just a
few days ago.
She comes on into the patio to stand near Hunter.
AVA
Wow! The S.O.B. is alive! I can't
believe it!
BARTONI
Sorry, Ava, guess I steered you
wrong on that one.
(looks at Hunter)
I told her Charlie probably tried to
fence the jewels and bonds, and the
fence ripped him off and killed him.
Ava stands up. Hunter stands, the others remain seated.
AVA
(extends her hand
to Hunter)
I'm going to be putting a fifty-
thousand dollar reward on that
creep's head, so don't stop looking
for him.
DEE DEE
We aren't allowed to accept
rewards, Miss Fontaine.
AVA
(looks Dee Dee
over)
You're pretty cute for a cop. You
oughta try my racket, it takes even
more guts than yours.
She starts for the door, stops.
AVA
(to Hunter and
Dee Dee)
Send me the names of your favorite
charities. You find Charlie,
you're a pair of philanthropists.
And she opens the door, quiets the dogs, closes the door,
and disappears into the house.
HUNTER
How many backup cars did you
bring with you?'
DEE DEE
Six.
Hunter walks to the redwood table, tosses the guns to
Closkey and Marcelino.
HUNTER
Take a long walk, up the beach.
Closkey and Marcelino look at Bartoni, who nods. They take
off fast toward the beach.
BARTONI
Thanks, you didn't have to do that,
you got what you wanted.
HUNTER
You can thank my Uncle Dom. He'd
approve of it because I gave my
word, and kept it.
BARTONI
Your Uncle Dom?
HUNTER
Dominic Mastroni.
BARTONI
(astonished)
He's your uncle?
HUNTER
He is.
Bartoni's face widens in a huge grin and he tries to get
up. Hunter steps over and helps him to his feet. When
Bartoni is on both feet, he extends his hand to Hunter.
BARTONI
Your uncle and me are personal
friends. Tell'm I said hello.
HUNTER
I will.
EXT. PACIFIC COAST HIGHWAY
ON HUNTER'S CAR, heading south, Hunter at the wheel.
INT. - THE CAR
A long silence. Dee Dee looks depressed.
DEE DEE
Well? Say it, Hunter. Everything
- you getting beat up, Ava
Fontaine's story - it all adds
up to nothing, doesn't prove I
saw Charlie Whitewood at all. I'm
beginning to think I didn't.
HUNTER
You did.
DEE DEE
Huh?
HUNTER
You saw Charlie all right...Ava
Fontaine's story gave us the
answer.
DEE DEE
Yeah? How?
HUNTER
We're about to find out. I got a
date with Arlene tonight and I
think she's got all the answers.
On McCall's puzzled look at Hunter, we
END OF ACT THREE
FADE OUT
*************************************************************
ACT FOUR
FADE IN
EXT. ARLENE VICKER'S HOUSE - NIGHT
It is a well-cared-for one-story house in Pacific
Palisades. Hunter, alone, drives into the driveway and
gets out. He is dressed in a grey suit and looks great.
The door opens as he approaches it. Arlene is standing in
the door looking beautiful.
ARLENE
(big smile)
I remember you: always right on
time.
INT. ARLENE'S HOUSE - NIGHT
as Hunter enters and she closes the door.
HUNTER
I remember you, too, always
ready and beautiful.
ARLENE
(leads him into
bar-study)
I was just making myself a drink.
(glances at bandage)
What happened to your head?
HUNTER
Just routine, ma'am.
INT. BAR-STUDY
as Arlene goes to the bar.
ARLENE
Are you still drinking soda
water with a twist?
HUNTER
No, I gave up the twist.
She laughs and begins to prepare a glass of soda and ice
for Hunter.
ARLENE
Well, I'm having a martini.
I may even have two, so sit
down and be comfortable.
She hands him his soda and pours herself a martini from a
frosted shaker as Hunter sits down on the sofa by a
fieldstone fireplace.
Arlene walks over with her drink and sits beside him on the
sofa. She touches her glass to his and:
ARLENE
Probably doesn't count
without booze, but what'll
we drink to? Us?
HUNTER
Let's drink to Charlie.
ARLENE
Hey, come on, that's not
funny, and you promised --
no talk about poor Charlie.
HUNTER
I lied.
ARLENE
(puzzled)
What's going on here, Rick?
HUNTER
I lied to you about why I was
asking about Charlie. The
truth is he's alive.
ARLENE
(almost a whisper)
I said, this isn't funny...
HUNTER
My partner saw him in New
Orleans. And he saw her.
He ran.
ARLENE
Are you here to take me to
dinner? Or are you here as
a cop?
HUNTER
That depends on you, Arlene.
ARLENE
How?
HUNTER
The man they found in Charlie's
car....He had a lot of dental
work, some crowns, stuff like
that, and two impacted wisdom
teeth.
ARLENE
Yes. And Charlie's dentist
verified that.
HUNTER
And you confirmed it.
ARLENE
Yes. Why shouldn't I?
HUNTER
Because it wasn't Charlie. Which
makes you and the dentist accessories
before and after the fact of murder.
Arlene gets to her feet, crosses to the bar and puts down
her drink.
ARLENE
(angry, but controlled)
Listen, Rick, and listen good: I
got absolutely nothing out of Charlie's
death. He thought he was going to live
forever, so he didn't even have
insurance. We were legally separated
so some cousin of his in Sacramento
got his estate.
(draws a deep breath)
I got nothing and have no reason
on earth to care whether Charlie
was murdered, or killed himself,
or didn't die at all.
Hunter gets up and walks over to her.
HUNTER
Arlene...Charlie's trouble on that
jury tampering charge started two
years before he died...three months
before you two separated.
Arlene picks up her drink, sips it, manages to look calm
and indifferent. She particularly does not look in the
direction of
THE SECOND DOOR OF THE BAR-STUDY
This door leads to the hall that gives access to the rear
of the house.
Charlie Whitewood appears in this door, a gun in his hand.
THE SCENE
Charlie is looking at Arlene's face and Hunter's back.
Arlene is rigidly not seeing Charlie there, although she
knows he is.
HUNTER
Charlie had just met Ava Fontaine.
(pauses)
Past her prime but still beautiful.
And loaded with all kinds of
negotiable goodies like bonds and
cash and jewels..
(looks hard into
her eyes)
Charlie's only asset was his license
to practice and his reputation. And
he knew he was gonna lose 'em both
and go to prison.
ON CHARLIE
listening.
HUNTER
So you and Charlie worked it all
out before you..."separated".
ARLENE
And that hurts you, doesn't it,
Rick?
HUNTER
No, I think you enjoyed our
little affair as much as I did.
CHARLIE'S VOICE
(a touch of anger?)
Don't move, Hunter, just put
your hands at the back of your
head.
Hunter freezes, but does not raise his hands. Charlie
walks into the room, gun pointed. Arlene spins, goes
around the bar and picks up a gun, which she points at
Hunter.
ARLENE
Do as he says, Rick, we don't
want to kill you.
CHARLIE
Do it!
Hunter slowly puts his hands behind his head.
CHARLIE
Fingers together.
Hunter clasps his fingers, turns to look at Charlie.
HUNTER
Hello, Charlie.
CHARLIE
Where's your partner? Outside?
HUNTER
She's at home.
CHARLIE
Call her. Tell her Arlene wants
to make a statement. You need
her here as a witness.
HUNTER
So you can kill both of us?
CHARLIE
So I can keep you both tied up,
if you'll excuse the pun, long
enough for the two of us to get
into Mexico.. You'll spend a cozy
night here together. The house-
keeper'll find you about 9 A.M.
if she's on time.
(smiles)
Then you can try your luck at
making people believe Charlie
Whitewood is still alive.
(nods at Arlene)
Give Arlene the number. Say
the wrong thing, I'll pull the
plug on you, and I mean that
both ways.
He steps back and takes hold of the white phone wire that
leads into a jack in the bar wall.
ARLENE
What's her number?
HUNTER
Area code 818-555-3721.
Arlene punches it out.
INT. DEE DEE'S HOUSE - NIGHT
CLOSE ON DEE DEE'S PHONE
It RINGS once, CLICKS, and:
INT. DEE DEE'S CAR - NIGHT
On a cellular phone. It RINGS.
ON DEE DEE
at wheel, car not moving. She lets it ring.
INT. BAR-STUDY
Arlene is holding the phone to Hunter's ear. Hunter's
hands are still clasped behind his head. We hear the
PHONE RING again, then a CLICK as:
DEE DEE'S VOICE
Hello.
HUNTER
Dee Dee, I hit pay dirt.
EXT. DEE DEE'S CAR - NIGHT
We do not know where her car is parked, but it is on a
residential street.
HUNTER'S VOICE
(filtered)
Arlene wants to make a statement.
Get over here, and bring your tape
recorder.
INTERCUT DEE AND HUNTER
DEE DEE
(into phone)
Great! What's the address?
HUNTER
2023 San Reuro, Pacific Palisades.
DEE DEE
Gimme a half hour!
She hangs up.
ARLENE
hangs up.
CHARLIE
Nice going, Hunter. I knew you'd
be reasonable.
(to Arlene)
Get his gun, and be careful.
Arlene, staying as far from Hunter as possible, reaches for
his bolstered gun, jerks it out, steps back quickly.
EXT. DEE DEE'S CAR
She has gotten out and has removed her shoes, which she
tosses into the car, quietly closes the door, and hurries
down the sidewalk.
EXT. ARLENE'S HOUSE - NIGHT
Dee Dee crosses the lawn, moving fast toward the lighted
windows of the bar-study.
AT WINDOW
Dee Dee tries to peer in, but the curtains are, of course,
drawn tight. She moves quickly around the house toward the
rear.
AT REAR DOOR
Dee Dee tries the door. It is, of course, locked. She gets
out her lock-pick, moving quickly.
INT. BAR-STUDY
HUNTER
(to Charlie)
You've got my gun, mind if I
lower my hands7
CHARLIE
Keep 'em right there!
HUNTER
Was I right, Charlie? Your "legal
separation" was just the first
step in the scam and Ava was just
a mark?
Charlie starts to answer, but freezes. He has apparently
heard something.
HUNTER
Or did you find out --
CHARLIE
Shut up!
WE HOLD ON something like a tableau for several seconds.
WE HEAR nothing.
CHARLIE
(to Arlene)
If he moves a finger, shoot him!
And Charlie is gone, through the door he entered, hurrying
toward the back entrance.
ON HUNTER AND ARLENE
Arlene senses that Hunter is thinking of lunging at her.
She backs away and Hunter gives up the idea.
ARLENE
jumps as SHOTS are HEARD from the rear, several in rapid
succession.
ARLENE
(almost screams
at Hunter)
If you move I'll kill you!
She means it, but suddenly Charlie appears in the open door
and Arlene's eyes go to Charlie.
ON HUNTER
who takes advantage of her reaction to Charlie's entrance
(Charlie is taking a couple of shots toward the open door)
and leaps toward Arlene with the speed and precision of a
defensive end sacking a quarterback.
CHARLIE
gets off another deterrent shot through the open door and
heads for the front door. He SEES:
HUNTER AND ARLENE
Hunter has just at this moment tackled Arlene, so what
Charlie sees is the two of them tangled together on the
floor. Hunter twisting the gun out of Arlene's hand.
CHARLIE AT FRONT DOOR
He can't fire at Hunter, he might hit Arlene. As he opens
the door:
CHARLIE
(to Arlene)
You know where to find me,
Babe!
And Charlie is gone as Dee Dee appears in the door of the
bar-study simultaneously with Charlie's exit. We HEAR a
shot from outside. Hunter scrambles to his feet, scoops up
his own gun (Arlene's is in his hand) and follows Dee Dee
to the open front door. They are too well-trained to burst
out and get shot by Charlie, but the sound of a car
STARTING comes over and they both exit on the run.
EXT. THE HOUSE
Charlie is driving off with a SQUEALING jack rabbit start.
He fires off one more shot as he disappears into the
night, with Dee Dee and Hunter taking a shot at him.
DEE DEE
(looking at Hunter's
car)
He shot out your tire!
She runs toward her car as Hunter looks at:
HIS CAR
the front left tire flat as yesterday's beer.
HUNTER
takes off after Dee Dee.
AT DEE DEE'S CAR
She has the motor running by the time Hunter leaps in
beside her and she takes off with a ROAR after Charlie.
THE CHASE - NIGHT
Charlie is desperate and Dee Dee and Hunter are determined,
so both are driving like maniacs, whenever it is safe and
in range, Hunter takes a shot at Charlie's car.
Finally, on a street paralleling the palisades overlooking
the ocean, one of Hunter's shots hits Charlie's right rear
tire.
ON CHARLIE'S CAR
Out of control, it SWERVES, and SPINS and finally LUNGES
OVER THE CLIFF.
ON McCALL AND HUNTER
as McCall PULLS HER CAR TO A SCREECHING STOP.
They get out, run toward cliff and look down at:
THEIR POV
The crashed, burning car below.
ON HUNTER AND DEE DEE
They continue to stare at the raging fire-ball that was
once Charlie's car. Each seems lost in his and her private
thoughts. Finally Dee Dee looks at Hunter, her expression
thoughtful, moved, and when she speaks she is not trying to
be funny:
DEE DEE
I guess this is what they call
irony...
Hunter continues to look at the burning car.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
INT. SQUAD ROOM
ON HUNTER AND McCALL
Hunter is sitting at his desk, typing a report. He stops,
stares, pensive. The report will put Arlene away.
DEE DEE
(looking at Hunter)
You okay?
Hunter doesn't answer, goes back to the typing, at one-
finger speed.
DEE DEE
I just talked to George Roller's
daughter. Her father's dental
history matches the chart Arlene
and the dentist said was Charlie's...
HUNTER
Yeah. Case closed.
He goes on typing.
DEE DEE
You know, Hunter, no matter how
close you think you are to someone
you never really know them
completely...
Hunter shrugs, then finally,
HUNTER
Yeah, well, Arlene and I, we had
a lot of laughs...
He pulls the last page of the report out of the typewriter
gets up and walks down the hall. AND WE
FADE OUT
THE END
|