| HUNTER
"THE CRADLE WILL ROCK"
Contributing writers E. Nick Alexander, Rogers Turrentine, Roy Huggins
ACT ONE
FADE IN
EXT. SHOPPING CENTER BAR - NIGHT - ESTABLISHING
A neighborhood cocktail lounge.
INT. BAR - NIGHT
CHARLENE LINDQUIST is sitting at the bar. She's in her late
twenties, pretty but rail-thin and drawn. She finishes her
drink and puts out her cigarette in the ashtray as she
checks her watch nervously. She's wired and jittery. She
lights up another cigarette and signals the BARTENDER.
CHARLENE
Hey, you wanta take the air outta
this glass?
The Bartender nods and goes about mixing the drink as
Charlene glances at the TV set behind the bar.
TV SCREEN
The late news is on MOS. The scene is daytime and bayside.
A crane is hoisting an exotic sports car out of the drink.
Police are keeping spectators at a distance.
CHARLENE
is suddenly very interested and concerned.
CHARLENE
(to Bartender)
Turn it up... Turn up the sound... !
wanta hear this...!
He gives her an irritated look and complies.
TV SCREEN
A TV NEWSCASTER is speaking to a CAMERA.
FEMALE NEWSCASTER
...the car is registered to rock
star Zack Sherman. Sherman, who
was divorced last year after a
stormy marriage to rock vocalist
Gina Bee, has been missing for
over two weeks and is suspected
to be the victim of foul play.
Over the above a picture of ZACK SHERMAN is SUPERIMPOSED
for a few seconds.
DOCK SIDE PARKING LOT
The Female Newscaster is standing, microphone in hand, next
to MCCALL. HUNTER can be seen in the background, inspecting
the car which has been hauled into the lot.
FEMALE NEWSCASTER
I'm speaking with Detective
Sergeant Dee Dee McCall from the
Metro Homicide Division.
(turns to McCall)
Sergeant, what can you tell us
about the disappearance of Zack
Sherman?
MCCALL
We'd rather not speculate on
what's happened to him. At this
point, we've only found his car,
not his body.
RESUME CHARLENE
watching the TV in disbelief.
CHARLENE
(to herself)
Dee Dee...Wow, what a rush...!
I don't believe it...
TV SCREEN
FEMALE NEWSCASTER
Has the possibility of suicide
been ruled out?
MCCALL
No, but it hasn't been seriously
considered, either.
FEMALE NEWSCASTER
Is there any evidence to suggest
that this was something other than
an accident?
MCCALL
That's a detail of the case I'm
not at liberty to discuss. Will
you excuse me?
She walks away.
RESUME CHARLENE
She crushes out her cigarette, takes a long drink and
hurriedly gathers up her belongings from the bar.
TV SCREEN
FEMALE NEWSCASTER
(to camera)
From the South Bay, this is Eloisa
Aragon for Channel Three News.
The picture goes BLACK.
INT. MCCALL'S BEDROOM - NIGHT - ON MCCALL
As she puts down the TV remote control and gets into bed,
The phone RINGS. She answers it.
MCCALL
(tired)
Hello, Hunter.
INT. HUNTER'S HOUSE - NIGHT - HUNTER
INTERCUT HUNTER AND MCCALL
HUNTER
I hate to be the one to tell you
this, McCall, but you've got a
limited future in television.
MCCALL
Oh yeah? I wonder why they
decided to interview me?
HUNTER
'Cause I turned 'em down. You
ever think about taking one of
those acting classes? You know,
where they teach you how to get
in touch with your feelings?
MCCALL
(cool)
Good night. Hunter.
STAY on her as she hangs up, then smiles to herself before
she TURNS OUT the LIGHT.
INT. RECORDING STUDIO - NIGHT - CLOSE ON A LOUDSPEAKER
BEGIN TITLES. We HEAR:
CONDUCTOR'S VOICE
One, two, three, four, one, two...
A rock combo begins PLAYING a SONG backing the VOICE of Gina
Beeler, aka MISS BEE, as she SINGS. Miss Bee is a beautiful
black woman. Aside from the musicians, the other interested
parties are SAM MARIKOS, a white, 60, entrepreneur/racketeer
who is producing the record and is Miss Bee's lover and
benefactor, and (with Marikos) ED WILCOX, white, late
thirties, an "associate" of Marikos.
HALLWAY
A sign reads: DO NOT ENTER WHEN RED LIGHT IS ON. The light
is ON. The RECORDING CANNOT BE HEARD. A beefy man, LOU,
steps up, sees the red light and waits impatiently.
INT. RECORDING STUDIO
Miss Bee, still singing. We HOLD on this. As the song comes
to a close, we END TITLES. After a beat:
SOUND ENGINEER'S VOICE
(over p.a.)
That's a wrap, ladies and
gentlemen. Thank you one and all.
HALLWAY - LOU
The light goes OFF and he enters the studio, looks around,
approaches Marikos and Wilcox.
MARIKOS
(sotto voice)
Yeah?
LOU
(sotto voice)
They found the car.
Marikos nods without expression, looks off toward Miss Bee.
WILCOX
That's all? Just the car?
Lou nods.
MISS BEE
The various musicians approach her and congratulate her.
In the b.g., others pack up their instruments.
BASS MAN
(shaking her hand)
Elegant album. Miss Bee, welcome
back.
MISS BEE
Thanks, Ray. Couldn't have done
it without you.
DRUMMER
You sound better than ever.
You're still the Queen.
MISS BEE
Thank you. I wasn't so sure when
we started this session.
DRUMMER
That last track was baaad. Oughta
be the title cut.
A MURMURING of agreement from all.
Lou leaves as Miss Bee approaches Marikos. Wilcox stands
and catches up with Lou for a few final (unheard) words.
MISS BEE
(re Lou)
Anything wrong?
MARIKOS
Not a thing, babe.
MISS BEE
(thin smile, then)
What time is it?
MARIKOS
(checks)
Getting late. Past midnight.
MISS BEE
That's early for me. I'm just
starting to clear out all the
pipes.
(to all)
What d'you say, gang...how about
a little nightcap for auld lang
syne? I'm poppin' if you're
stoppin'. It's on the Queen Bee.
Some AD LIB discussion among the musicians, e.g.: "I could
use a toddy for the body," "I gotta get home," "I got time
for a taste," "Name the place," etc.
DRUMMER
How about The Cradle?
Some AD LIB agreement among the group: "Sounds good," "Meet
you there," "Good call," etc. They finish packing up and
head out the door as:
MISS BEE
(to Marikos)
You gonna join us?
MARIKOS
Too tired, babe.
(grins)
Gotta keep up my strength.
MISS BEE
(insinuating)
Mind if I wake you up later?
MARIKOS
(grins)
You can try.
MISS BEE
I'll do better than try. Count
on it.
He laughs as she gives him a kiss on the neck.
MISS BEE
Sweet dreams.
(turns, stops)
Thanks for bringing me back, Sam.
Thanks for everything.
MARIKOS
No problem.
He watches her leave with obvious concern. Various
musicians file out the door carrying cases. The studio is
almost vacated. Wilcox rejoins Marikos.
WILCOX AND MARIKOS
MARIKOS
(apprehensively)
This thing's gonna break wide
open, I can feel it! What's goin'
down with that broad?
WILCOX
I told you: we're meeting tonight
- right here.
(looks at watch)
She's due any minute.
MARIKOS
(heatedly)
Well close it out! And I don't
care what it takes! - you get
my meaning?
WILCOX
It's done, Sam. I told you -
not to worry.
Marikos nods abruptly and leaves.
INT. MCCALL'S BEDROOM - NIGHT
The phone RINGS in the darkened room. McCall awakens
groggily, TURNS ON the LIGHT and answers the phone.
MCCALL
It's not funny anymore, Hunter.
INTERCUT
INT. PHONE BOOTH - NIGHT - CHARLENE
is on the phone. Phone books are open on the shelf. She's
jittery, looking around paranoiacally.
CHARLENE
Dee Dee?
MCCALL
(puzzled)
Yes?
CHARLENE
It's Charlene...Lindquist.
MCCALL
(sits up)
Charlene? Charlene! God, it's
been years! Where are you?!
CHARLENE
I saw you on the news tonight.
MCCALL
(laughs)
Don't tell me I'm a celebrity
already.
CHARLENE
I've gotta talk to you. Dee Dee.
It's about the case you're working
on - Zack Sherman.
MCCALL
(serious now)
What about him?
CHARLENE
Not on the phone.
MCCALL
Where are you?
CHARLENE
I'll meet you at The Cradle, it's --
MCCALL
I know where The Cradle is. When?
CHARLENE
Let's make it...an hour,
one-thirty, but don't go inside.
Stay in the parking lot. Just
wait in your car. I'll find you.
MCCALL
(worried)
Charlene, can't you tell me what's
-?
Before McCall gets these last words out, there's A CLICK
and McCall's holding a dead phone. STAY on her as she hangs
up and jumps out of bed.
INT. RECORDING STUDIO - NIGHT
The two-man Third World janitorial service is moving
equipment in through the front door when Charlene slips past
the workers. She's wired and nervous. One of the men
playfully pushes a sweeper across her path. He smiles
flirtingly. She gives him a cold, haughty glare and moves
down a hallway.
HALLWAY
Charlene comes down the empty, silent corridor and pushes
open the door of the studio in which we met Marikos, Miss
Bee, Wilcox, et al. As she goes inside the studio, PAN to
the sign that reads: DO NOT ENTER WHEN RED LIGHT IS ON.
The light is OFF.
IN THE STUDIO
Charlene enters the darkened room. Light from the control
booth silhouettes the equipment in the room. Charlene makes
her way cautiously toward the light.
CHARLENE
Ed? You in here?
CONTROL BOOTH
as Charlene looks inside. Wilcox is seated in a chair, feet
propped up on the console. The booth is partly in shadow
due to the spots of light and small lamps that are used to
illuminate the console.
WILCOX
You by yourself?
CHARLENE
Yeah.
WILCOX
You got it with you?
CHARLENE
No. I'm calling off the deal.
WILCOX
(jumps to his feet)
What the hell you talkin' about!?
CHARLENE
I mean - just forget about it.
I don't want any money. Just tell
Miss Bee not to worry, I'm cuttin'
out.
WILCOX
(moves toward her)
Not till you gimme the merchandise
you're not!
CHARLENE
(backs away)
I haven't got ill I never did,
it was a scam!
Wilcox charges her, grabbing her by the arms and almost
snapping her head off.
WILCOX
(in a rage)
It doesn't work that way! You
got a buyer here!
CHARLENE
(struggling)
I said I don't have it! I never
had it!
WILCOX
Okay, who does have it!?
CHARLENE
I don't know!
She jerks free and runs out of the booth.
IN THE STUDIO - CHARLENE
trips over some equipment and falls in the dark.
WILCOX
flips a switch on the console.
THE SIGN
in the hall LIGHTS UP: DO NOT ENTER WHEN RED LIGHT IS ON.
THE SCENE
Wilcox moves to the door and secures it. Charlene gets to
her feet and stumbles backward across the room, bumping into
stands, chairs, etc., in the dark as Wilcox pursues her.
WILCOX v
You stupid little speed-freak!
When you squeeze Miss Bee you
squeeze my boss! And he doesn't
take "I changed my mind" for an
answer!
Charlene SCREAMS.
CHARLENE
Help! Help! Somebody help me!!
She continues to SCREAM as:
HALLWAY - ON THE SIGN
Silence. No noise emanates from the soundproofed studio.
PAN to the janitors as they sweep, buff, clean and polish
the hallway. PAN on to a clock on the wall that reads:
1:10.
MCCALL'S WATCH
It reads: 2:00.
INT. MCCALL'S CAR - NIGHT
McCall is looking at her watch. She blows out an
exasperated sigh, scans the parking lot futilely and STARTS
the ENGINE.
EXT. THE CRADLE - NIGHT
PAN off the sign to McCall's car. As it drives away, we
HEAR the SOUND of hard rock coming from the nightclub.
DISSOLVE TO:
EXT. APARTMENT HOUSE - DAY
Hunter's car pulls up and parks. McCall and Hunter get out
and enter the apartment building.
INT. APARTMENT HOUSE - DAY - ANGLE ON A DOOR
McCall steps up and RINGS the bell. Hunter stands beside
her. After a few beats, the door opens. In the doorway
stands WENDY LINDQUIST, middle twenties, looking yuppie and
trendy.
WENDY
Yes?
MCCALL
Hi, Wendy.
WENDY
(shock,
recognition)
Dee Dee? I can't believe this!
I haven't seen you since Senior
Prank Week!
MCCALL
Ten long years.
It's apparent Wendy's in no hurry to invite her in.
WENDY
(uncomfortable)
So... I heard you were on the
police force or something. Is
that why you're here?
MCCALL
Yes. This is my partner, Sergeant
Hunter.
HUNTER
Nice to meet you.
WENDY
(to McCall)
Is this a, what-you-call
it...official visit?
MCCALL
Yes. May we come in?
Wendy reluctantly opens the door wider and steps aside for
them to enter.
INT. WENDY'S APARTMENT - DAY
Wendy closes the door after Hunter and McCall enter.
MCCALL
Charlene is missing.
WENDY
Yeah? You mean somebody cares
where she is?
MCCALL
(puzzled)
What?
WENDY
She's probably hiding. Is there
a warrant out for her arrest or
something?
MCCALL
(baffled)
Do you think there should be?
WENDY
I wouldn't know.
MCCALL
Wendy, I think she may be in
serious trouble.
WENDY
(shrugs)
Sorry if I can't get worked up
about that. I washed my hands
of her years ago.
McCall stares at Wendy, obviously dismayed by her attitude.
HUNTER
We were hoping you'd have an
address on her. Or a phone
number.
Wendy heaves a sigh and marches to a desk, opens a drawer,
shuffles through some papers. Over this action:
WENDY
I got a letter from her a few
months ago. It's around here
someplace. I never answered it.
MCCALL
You don't keep in touch at all?
WENDY
(still looking for
the letter)
Why should I? She's a liar and
a leech.
MCCALL
(offended)
Wendy, no matter what may have
happened to Charlene, she's still
your sister!
WENDY
Yeah, she kept reminding me of
that every time she hit me for
another loan.
MCCALL
She called me last night. She
sounded upset...and scared. She
asked me to meet her...and never
showed up.
WENDY
I'm not surprised.
(finds the
envelope)
I've got an appointment in an
hour. I have to get ready, all
right? This is where she lived
three months ago.
She hands the envelope to McCall.
EXT. HOLLYWOOD APARTMENT/HOTEL - DAY
Hunter's car pulls up and parks. Hunter and McCall get out,
approach the building.
MCCALL
(re the envelope)
Apartment 116.
ROW OF MAILBOXES
CLOSE ON MAILBOX NUMBER 116
It bears the label: CHARLENE LINDQUIST.
MCCALL'S VOICE
Somebody broke it open!
WIDER
McCall removes the mail.
HUNTER
That's a federal offense, McCall.
MCCALL
I'm impounding it: evidence.
They go on inside.
INT. FIRST FLOOR - DAY
DOORWAY
The door reads: 116. Hunter and McCall step up to it.
McCall KNOCKS. They wait. She KNOCKS again.
HUNTER
(patiently)
She's not in, McCall.
MCCALL
(re mail)
I can't put this back in that
busted mailbox.
HUNTER
Leave it with the manager.
McCall takes out a lock pick.
MCCALL
Let's put it inside.
HUNTER
You know what the score is for
breaking and entering?
MCCALL
I won't enter. I'll drop the mail
on the floor and leave.
HUNTER
Sure, sure.
She continues trying to pick the lock, gets nowhere.
HUNTER
Losing your touch, McCall?
She tries some more, still getting nowhere.
MCCALL
This is a weird lock.
They freeze as the door across the hall opens noisily.
MYRA THE MASHER
six feet one inch of professional lady wrestler steps out,
dressed in a sweatsuit.
THE SCENE
MYRA
What you doin? - pickin' that
lock? You are pickin' it! I'm
callin' the copsi
She starts back into her apartment. Hunter runs to her
door, wedges his shoulder against it as she tries to slam
it closed.
HUNTER
Hold it! Wait a
second. We are the
cops.
MYRA
No way! Bull-oney!
INT. MYRA'S APARTMENT - DAY
Myra shoves against Hunter's weight, can't quite get the
door closed.
MYRA
All right, sucker!
She jerks the door open, grabs Hunter's arm and tosses him
in a flying mare across the room. He bounces off the wall,
lands on a couch, slightly dazed. As he starts to get up,
Myra grabs him in a headlock, flips him over her hip as:
HUNTER
Take it easy, ladyyyyyy...!
He lands spread-eagled on his back in the middle of the
floor as Myra jumps up into a "tuck" position, arms clasped
around her knees, ready to deliver her full 180 pounds
directly to Hunter's solar plexus. Hunter rolls out of the
way and Myra hits the floor and rolls.
MCCALL
stands in the doorway, badge in hand.
MCCALL
I hate to break this up, but we
are police officers.
THE SCENE.
Hunter gets to his feet. Myra looks at McCall in disbelief.
MYRA
You're cops?! Why the hell didn't
you say so?l
HUNTER
I did.
MCCALL
He did.
MYRA
(gets to her feet,
glares at Hunter)
You're lucky I didn't break your
neck, sweetie. These hands are
lethal weapons.
HUNTER
I believe you.
MYRA
(to McCall)
I'm Myra the Masher! I open the
card...Saturday nights...Olympic
Gardens!
(to Hunter)
You seen me, right?
HUNTER
Yeah...I thought there was
something familiar about your
style.
MYRA
How come you were tryin' to break
into Charlene's apartment?
MCCALL
She's an old friend of mine and
I think she's in trouble.
MYRA
Oh, I hope not. She's a real nice
kid. I was just talkin' to her
yesterday. But she didn't say
nothin' about goin' away. She
always lets me know so I can water
her plants. She left me a key.
HUNTER
(smiles)
She left you a key?
MYRA
(to McCall)
There an echo in here?
She takes a key off a hook by the door, hands it to McCall
MYRA
I guess it'll be all right if you
use it. Just put it back here
when you're done and lock up
behind you.
She checks her watch and ushers them out the door.
EXT. HALLWAY - DAY
Hunter, McCall and Myra come out of her apartment.
MYRA
I gotta hustle or I'm gonna be
late for rehearsal. Bye-bye.
Myra disappears down the hall.
HUNTER AND MCCALL
cross to Charlene's apartment. McCall can't suppress a
smile.
HUNTER
What's so funny?
MCCALL
You. You looked like you were
waiting for a tag team to save
your buns.
HUNTER
She's a woman. I didn't want to
hurt her.
MCCALL
(sardonic)
Yeah, right.
HUNTER
Open the door.
McCall puts the key in the lock.
INT. CHARLENE'S APARTMENT - DAY - ON THE DOOR
as it opens. McCall steps inside as she puts away the key.
MCCALL
(eyes widen)
Well, now we know she's in
trouble.
WIDEN as Hunter enters behind her and closes the door. THE
ROOM'S BEEN RANSACKED, TORN APART, POTTED PLANTS OVERTURNED:
A DESPERATE AND THOROUGH SEARCH.
They move about the apartment, peeking into the other rooms.
McCall removes a snapshot from a table and puts it in her
pocket. It's a picture of Charlene.The SOUND OF A KNOCK
at the door. Hunter and McCall exchange a look, wait. They
hear the SOUND of the lock being picked, duck out of sight
and draw their guns. The door swings open, out of their
line of sight. Into the room steps SCOOTER DAVIS, small
build, 40s, nervous, a nail file in his hand. He reacts
to the condition of the room.
SCOOTER
Oh no...Aw jeez...
Hunter steps out, gun leveled, and Scooter almost goes into
cardiac arrest. He YELPS in shock. McCall appears and
flashes her 1.D.
MCCALL
Police.
Scooter breathes a sigh of relief.
SCOOTER
You're cops?! Oh, man...thank
God.
HUNTER
We don't hear that very often.
SCOOTER
If you were looking down the
business end of a cannon, who
would you like to find out was
on the other side?
Hunter turns Scooter around, gently pushes him against the
wall.
HUNTER
Spread 'em.
Scooter assumes the position. Hunter pats him down.
SCOOTER
Hey, I'm clean, man. I ain't
carryin', I ain't holdin'.
HUNTER
You're holding a lock pick.
That'll do for starters.
SCOOTER
Lock pick? It's a nail file.
Hunter gives McCall a glance as he takes the nail file and
hands it to her. She looks at the primitive tool and
manages a thin smile.
MCCALL
Why'd you break in?
SCOOTER
Charlene's a friend of mine. I
ain't seen her in four or five
days. I thought maybe something
happened to her.
MCCALL
You got some I.D.?
SCOOTER
In my wallet.
Hunter pulls out Scooter's wallet, flips through it.
HUNTER
(reads)
Scott Raymond Davis...
SCOOTER
Call me Scooter. Everybody does.
MCCALL
Where do you know Charlene from,
Scooter?
SCOOTER
I'm a musician. She's a singer.
We got friends in common.
HUNTER
One of them Zack Sherman?
SCOOTER
Yeah, I know Zack. You guys find
out what happened to him yet?
HUNTER
You and Charlene date?
SCOOTER
Sometimes. She's a free soul.
So am I.
HUNTER
You think of anybody that might've
done this?
(indicates room)
They were obviously looking for
something. Any idea what?
SCOOTER
Maybe it was just a burglar.
MCCALL
A very picky burglar? One who
doesn't like TVs or stereos? This
place was searched. You got no
idea who might've done it? Or
why?
SCOOTER
Looking for what? Charlene wasn't
into dope or stuff like that.
Hunter gives McCall a skeptical look, returns the wallet
to Scooter, who takes a card out of it.
SCOOTER
I'll check around, ask some
questions, see what I can shake
loose.
(re the card)
You can catch me here or at The
Cradle, it's a rock club.
He gives Hunter the card. Hunter pockets it. McCall gives
him one of hers.
MCCALL
I'm Sergeant McCall. Give us a
ring if you hear from her or about
her.
As Scooter reads the card:
MCCALL
Charlene and I went to high school
together. She might have
mentioned me. Dee Dee McCall.
We used to sing in a band we put
together.
SCOOTER
You any good?
MCCALL
Not quite good enough.
SCOOTER
The story of Charlene's life.
(beat)
Okay if I take off now?
HUNTER
Yeah. We'll be in touch.
Scooter heads out the door, closing it behind him.
EXT. APARTMENT BUILDING - DAY - A NEW BMW SEDAN
pulls away from the curb. PAN to Hunter's car as it pulls
out and follows at a safe distance.
INT. HUNTER'S CAR - DAY - DRIVING
McCall picks up the mike. Hunter is driving.
MCCALL
L-56 - Request any wants or
warrants on a late model BMW
sedan, California license number
487 Mary William Charles.
RADIO VOICE (MALE)
Roger - L-56.
EXT. BMW - DAY - DRIVING
He suddenly picks up speed and darts around a couple of
cars.
INT. HUNTER'S CAR
MCCALL
He spotted us, that's gotta tell
us something!
HUNTER
What it tells us is, I got too
close.
SERIES OF SHOTS - CITY STREETS
Hunter's car keeps pace with the BMW.
EXT. INTERSECTION - DAY - THE TRAFFIC LIGHT
Changes to yellow.
THE BMW
speeds up and squeaks through the intersection just before
the cross traffic pulls out.
INT. HUNTER'S CAR - DAY
Hunter SQUEALS to a stop. He stares helplessly at the
stream of cars passing by.
HUNTER
Damn.
RADIO VOICE
L-56 - I have no wants or
warrants. Vehicle is registered
to Zachary Sherman, 1404 Summit,
Baldwin Hills.
As they both react to the name Zachary Sherman, we:
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
INT. POLICE STATION - DAY - SQUAD ROOM
Hunter is dialing the phone at his desk, referring to
Scooter's business card. We HEAR a phone RING, then:
RECORDING (FILTER)
We're sorry. You have reached
a number that has been
disconnected or is no longer in
service. If you feel you have
reached this number in error...
Hunter hangs up, flips Scooter's card onto the desk.
HUNTER
He stiffed us. Number's no good.
WIDEN TO INCLUDE MCCALL
MCCALL
Doesn't surprise me.
She takes Charlene's mail out of her purse.
HUNTER
I thought you were gonna leave
that in Charlene's apartment.
MCCALL
(not really)
I forgot.
She flips through the envelopes, tears one of them open.
HUNTER
You're looking at five to ten on
Terminal Island there, Sergeant.
MCCALL
It's evidence, Hunter,
(looks through it)
Besides, it's all junk mail and
ads anyway. Except for this.
(opens it)
Her phone bill.
PHONE BILL
as the CAMERA PUSHES IN:
MCCALL'S VOICE
She made eight toll calls in the
last three days to the same
number...
MCCALL
is scanning a criss-cross directory. WIDEN to include
Hunter looking over her shoulder.
MCCALL
...which is listed to one Edward
Wilcox, 1742 Shoreline Drive,
Redondo Beach.
EXT. BEACH COTTAGE - DAY - HUNTER'S CAR
pulls up and parks. Hunter and McCall get out, approach
the house.
FRONT PORCH
Hunter and McCall step up. McCall KNOCKS. After a few
beats, Wilcox answers, bare-chested, tying up his
sweatpants. He looks irritated.
WILCOX
I don't want any, okay?
He starts to close the door. McCall flashes her
credentials.
MCCALL
Edward Wilcox?
(he stops)
Police. We'd like to talk to you
about Charlene Lundquist.
WILCOX
(steps outside,
closes the door)
What about her?
HUNTER
She called you several times last
week. About what?
Wilcox looks back and forth between them uncomfortably.
WILCOX
About drugs.
MCCALL
Are you saying she uses drugs?
WILCOX
Uses drugs? She's a stoner, a
coke-burner, speed freak. She'll
chip, joy-pop, freebase, you name
it.
McCall looks stunned.
WILCOX
I keep telling her I got no
connections. I'm outta the drug
scene. She won't believe me.
She keeps calling back.
MCCALL
We talking about the same person?
She's a singer.
WILCOX
Once, maybe. Now she's an
all-purpose junkie.
MCCALL
(upset)
I don't believe you!
WILCOX
(puzzled)
Hey, I'm telling it like it is,
okay? You act like it's something
personal.
(to Hunter)
What's the matter with her?
HUNTER
It's personal. What do you do
for a living?
WILCOX
I'm in the music business, do a
little of this, a little of that.
HUNTER
You know a Scooter Davis?
WILCOX
(surprised)
Yeah. Why?
MCCALL
(hostile)
Where'll we find him?
WILCOX
(shrugs)
I don't know. Have you tried The
Cradle?
HUNTER
You mind if we go inside and talk?
WILCOX
Hell, yes, I mind. I got a lady
in there.
MCCALL
(moves toward the
door)
And I'll bet it's someone we
oughta talk to.
WILCOX
(blocking the way)
Not unless you got a search
warrant.
HUNTER
Be happy to get one. My partner
can wait here with you till I get
back. Shouldn't be more than a
couple of hours.
(leaving)
And don't get any strong-arm
ideas. She's tougher than she
looks.
McCall smiles sweetly. Wilcox reconsiders and opens the
door.
WILCOX
Okay, okay.
(more loudly)
Come on in, officers.
Footsteps RUNNING, then the SLAMMING of a door is HEARD.
INT. COTTAGE - DAY
McCall and Hunter rush toward the back door, open, Wilcox
following. The SOUND of a car ROARING away is heard as they
look out:
EXT. REAR OF HOUSE - DAY
THEIR POV - OUT THE BACK DOOR
A car ROARS away down the alley in a cloud of dust and
disappears from sight.
ON HUNTER, MCCALL, WILCOX
at rear door of house.
WILCOX
(angrily)
Thanks a lot.
HUNTER
(to Wilcox)
Who was it? Charlene Lindquist?
WILCOX
Hey, isn't it about time you
hard-noses read me my rights?
Hunter and McCall just look at him in silence for a second
or two, then turn and start back toward the front door.
HUNTER
(as they go)
We'll read 'em to you next time
we see you - which'll probably
be soon.
They go on out the front door.
INT. MORGUE - DAY
CLOSE ON PICTURE OF CHARLENE LINDQUIST
The picture McCall took from Charlene's apartment is being
held in a man's (CARLOS'S) hand.
CARLOS'S VOICE
People with faces like this
shouldn't end up in places like
this.
THE SCENE
Carlos hands the picture back to Hunter.
HUNTER
(puts picture in
pocket)
Carlos, you're a poet. You think
she's here?
CARLOS
I hope not, Hunter, but let's take
a look.
As they turn and start toward the long row of covered,
toe-tagged bodies we
CUT TO;
INT. DEVANE'S OFFICE - DAY
CLOSE ON Devane. He is in slight shock:
DEVANE
As a singer!? You're asking for
time and money to go undercover
as a singer?!
THE SCENE
McCall is alone with Devane in the office, seated demurely
in a chair facing Devane's desk. Devane is standing.
MCCALL
Yes, sir, I've done it before,
and got away with it. I was in
a trio in high school that
actually made money one year.
DEVANE
But this place, 'The Cradle',
isn't that a little over your
head?
MCCALL
They give unknowns a shot on
weeknights - I figure if I can
last a night or two that'll do
it.
Devane thinks about that, sits down, stares at her.
DEVANE
How dangerous is it?
MCCALL
(grins)
I don't sing all that bad.
DEVANE
(doesn't crack a
smile)
You were on TV just the other
night, talking about Zack Sherman.
A lot of people saw you, McCall.
MCCALL
For a fast two minutes. Captain,
it's no more dangerous than
cuffing a homicide suspect!
DEVANE
(ignores her)
You also got two people, both
missing, with close connections
with this 'Cradle' joint. And
Zack Sherman? Isn't he connected
with it, too?
MCCALL
Yes. He was a headliner there.
DEVANE
Right up to the time he
disappeared, right?
MCCALL
(nods)
That's why I think I oughta be
there as part of the scene.
DEVANE
Hunter know about this?
MCCALL
He doesn't want me to do it -
one of those missing people, a
musician named Scooter Davis,
knows I'm a cop and got a good
look at me.
Devane stares at her, drums on the desktop with his fingers,
stares at her some more. Finally:
DEVANE
You really wanta do this?
MCCALL
One of the other missing people,
Charlene Lindquist, was a member
of that trio I mentioned. I
really wanta do this.
DEVANE
What's it gonna cost?
MCCALL
I got friends, pros, who can
handle guitar, drums, keyboard
and bass - and they're good.
We make a tape on a regular tape
recorder, take it to a guy named
Sooky at The Cradle, and if he
likes it they'll give us a shot.
DEVANE
How about costumes?
MCCALL
They don't care what we look like,
just how we sound, and they give
us free passes that we're allowed
to sell - we might even make
money.
DEVANE
Okay. Go for it.
INT. MORGUE - DAY
Carlos and Hunter are walking down the corridor toward the
elevator. In b.g. we see Carlos's tuba.
CARLOS
I can't say I'm unhappy we didn't
find her.
HUNTER
Watch it, Carlos - you start to
develop a heart you'll want to
quit, and McCall and I won't let
you.
They reach the elevator and Hunter steps in and pushes the
down button.
CARLOS
(smiles)
Where is the little fox?
HUNTER
She's joining your field - music.
And on the word "music" we hear the LOUD SOUND of a rock
'n roll number being delivered by Puget Sound, McCall's
group.
INT. THE CRADLE - DAY
The place has the sad, empty look of all nightclubs at
mid-day. There are only two people in the room: SOOKY,
who manages the shows at the The Cradle, and McCall.
Sooky, who is a little bald and a little fat, is seated
staring off at a corner of the ceiling. He might be
thinking about what he's going to have for dinner. He wears
jeans and a T-shirt. McCall is standing nearby looking
tense. She really wants Sooky to like what she and her
friends have done.
What they have done is being played through a ghetto-blaster
and it doesn't sound at all bad. The tune is "original",
in the sense that we haven't heard it before. McCall's
voice is full and hot.
McCall is also wearing jeans and a T-shirt. She steals a
nervous look at
SOOKY
who appears to be half asleep.
The song comes to a violent end and Sooky looks at McCall,
sucks his teeth for a few seconds and:
SOOKY
(unimpressed)
Not bad. How come I never seen
you before?
MCCALL
I move around a lot - just got
to L.A., from Phoenix.
SOOKY
Where's your back-up?
That catches McCall a bit off guard because she thinks for
a second he means Hunter. She recovers nicely, and:
MCCALL
Oh, they're here. I rounded 'en
up here in L.A. - you've met some
of 'em.
SOOKY
(still unimpressed)
Then you could give it a roll
tonight, huh?
MCCALL
Sure could!
SOOKY
Be here like early? Eight-thirty,
nine, like that?
MCCALL
Eight-thirty's fine!
EXT. THE CRADLE - NIGHT
We are in the parking lot and we HEAR the SOUND of one of
the weeknight groups (not McCall's) as Hunter's car drives
in.
INT. HUNTER'S CAR - NIGHT
He pulls into a spot as:
DISPATCHER'S VOICE
L-56, L-56. Come in.
HUNTER
(into mike)
L-56, talk to me.
DISPATCHER'S VOICE
You wanta be patched through to
somebody named Carlos? He says
it's important.
HUNTER
Patch him through.
INTERCUT WITH CARLOS
INT. MORGUE - NIGHT
CARLOS
Hunter, we just got a pick-up call
- a two-day d.b., and from the
stats I'd say you'll wanta check
her out.
HUNTER
Will do, Carlos. Where?
CARLOS
1424 Landale, in the Valley.
HUNTER
I'm on my way, thanks!
He puts the mike away and backs out with a squeal of rubber.
Over the above dialogue and action the group we heard at
the top of the scene has finished and as Hunter drives out
a second group has begun. It is, we are about to discover,
Puget Sound.
INT. THE CRADLE - NIGHT
It's hard to believe this is the same place we saw earlier.
It's alive now, with sound and people and energy. McCall
is doing a grand job with a song she wrote for the occasion.
ON THE CROWD
The place is not SRO but there is a good crowd in
attendance, including Miss Bee and Sam Marikos at a special
table toward the rear. Sooky is seated with them at the
moment, talking (unheard) with Marikos. Miss Bee is
listening.
WE STAY with the song for an appropriate length of time and
CUT TO:
INT. SMALL BUNGALOW - NIGHT
This is 1424 Landale, bathed in the lights from two
black-and-whites and the coroner's wagon. A sign on the
weed-covered lawn reads: "For Sale or Rent".
Hunter pulls up and hurries toward the house.
INT. BUNGALOW - NIGHT
As Hunter enters. Uniformed police, coroner's men, and
BARNEY, who is checking the lifeless body of
CHARLENE LINDQUIST
sprawled on a worn sofa, a needle lying next to her
dead-white arm.
Barney looks up, is surprised to see Hunter there.
BARNEY
Hunter. What brought you here?
HUNTER
(looking at
Chartene)
Her name's Charlene Lindquist - I've
been looking for her. What
happened? An O.D.?
BARNEY
Could be, but it looks like she
got knocked around a little before
she died...
HUNTER
(to uniform, in
re needle)
Handle that carefully, I want it
checked for prints.
BARNEY
(stands)
So you think this might be a
homicide, huh?
HUNTER
(looks at Charlene
again)
I don't know, Barney.
(to Barney)
You tell me. The sooner the
better.
CUT TO:
INT. THE CRADLE - NIGHT
Puget Sound is knocking out another song. It ends with a
bang and gets a nice round of applause.
SOOKY
walks up to McCall, offering her (unheard) an invitation
to join him.
She steps down to go with Sooky.
MCCALL
(to side-men)
See you in the bar.
MISS BEE AND MARIKOS
McCall and Sooky reach their table, and Sooky introduces
McCall. Miss Bee smiles and offers her hand; Marikos nods
and offers nothing.
MISS BEE
You're pretty good, honey. You
got no fear, and that's half the
battle.
(gestures)
Sit down, stay awhile
MCCALL
(a big smile)
Thank you!
McCall is happy on two levels: Miss Bee really seems to
have liked her song, and McCall is having her presence here
validated by the most important people in the room. Sooky
returns to the stage to introduce the next group.
EXT. THE CRADLE - NIGHT
A car drives in and
WILCOX
gets out! He slams his car door and walks toward the club.
INT. THE CRADLE - NIGHT
Another group is on stage playing its heart out.
AT MARIKOS'S TABLE - MCCALL, MISS BEE, MARIKOS
Miss Bee and McCall are listening to the group. Marikos is
just sitting. He glances around, sees:
WILCOX
who enters, looks the room over.
AT TABLE
MARIKOS
(rises)
'Scuse me a second, babe.
This gets McCall's attention.
MISS BEE
(looks at Wilcox)
Ask him to join us.
MARIKOS
Okay.
Marikos walks toward
WILCOX
who sees Marikos coming toward him.
MCCALL
She turns slightly and smiles at Miss Bee, a move that
reduces Wilcox's view of her.
MCCALL
I ought to go see how my guys are
doing.
MISS BEE
(smiles)
You ought to stay and meet this
gentleman - Ed Wilcox, I think
he'd like you.
MCCALL
(manages a smile)
Could I join you again later?
MISS BEE
(sweetly)
Anytime.
McCall gets up and starts away.
THE SCENE
Wilcox and Marikos are making their way, past and around
tables, to Miss Bee. McCall is making her way toward the
front of the club where Sooky stands watching the group on
stage. She goes past and around tables only a few feet from
the ones Wilcox and Marikos are threading their way through.
As they pass one another:
MCCALL
lowers her head and coughs as if she has something caught
in her throat. She brings up a hand and coughs quietly
again at the point where she is closest to Marikos and
Wilcox. Marikos does not look her way. Wilcox does, and
gets a puzzled look on his face that tells us he knows he's
met her but can't recall where.
AT MISS BEE'S TABLE
MARIKOS
What happened to the young lady?
MISS BEE
She wanted to be with her friends.
(to Wilcox)
You here on business, Ed, or
pleasure?
WILCOX
With you, it's always a pleasure.
(looks off)
What's her name?
MISS BEE
(laughs)
Puget Sound.
As Wilcox gets settled he looks again toward:
MCCALL
who has reached Sooky and is talking to him (unheard from
Wilcox's POV).
ON WILCOX
Still not placing that face: the context isn't right.
MCCALL AND SOOKY
MCCALL
(a slight wheeze)
I don't know what happened, but...
(coughs)
something's caught in my
throat. I'm not sure I can do
the next set.
SOOKY
(smiles)
Your guys are having a drink in
the bar, a shot of booze and
you'll be good as new - you did
fine.
The group on stage finishes and Sooky walks toward the
stage, applauding with his customary enthusiasm.
MCCALL
starts to walk toward the bar when she sees:
HUNTER
just coming in. Their eyes meet. Hunter gives her an almost
invisible nod, turns and exits. McCall follows, glancing
toward Miss Bee's table.
MCCALL'S POV
Wilcox is looking right at her and we (and she) get the
feeling that he has finally placed her.
EXT. THE CRADLE - NIGHT
Hunter is waiting in the shadows as McCall joins him at a
half-run.
MCCALL
Where's your car? We gotta get
outta here!
Hunter doesn't ask questions, he just grabs her arm and they
continue on the run to:
HUNTER'S CAR
They jump in. Hunter starts the car, and they take off as
McCall looks off to see:
WILCOX
coming out of the club looking for her. He sees:
HUNTER'S CAR
tearing hell out of there.
ON WILCOX
looking after Hunter's car. Marikos appears behind Wilcox,
steps up beside him.
MARIKOS
You sure you're not just gettin'
jumpy?
WILCOX
Yeah, I'm jumpy, she's a COP.
You bet I'm jumpy!
MARIKOS
Let's go in and have some words
with Sooky...
They turn and go back inside as we
CUT TO:
INT. HUNTER'S CAR - NIGHT - DRIVING
MCCALL
...then I look up and see Wilcox,
big as life and coming right at
me.
(looks at Hunter)
I don't think he figured out who
I was till I was on my way outta
there.
HUNTER
So now we know Wilcox is tied in
some way with Zack Sherman's
ex-wife.
MCCALL
And I don't believe those calls
from Charlene to Wilcox about dope
either.
Hunter looks at McCall at the mention of Charlene.
HUNTER
Speaking of Charlene...
MCCALL
(a tense guess)
You found her...
HUNTER
(reluctantly)
Yes...She's dead, McCall.
McCall looks away and we can see the depth of her feeling
although she manages to hold it in. Finally:
MCCALL
How...?
HUNTER
Maybe an O.D., but I think she
was murdered - there was a
partial print, not hers, on the
syringe. It's being checked out.
MCCALL
I've got to tell her sister, I
don't want Wendy to just...hear
about it on TV.
HUNTER
You think she cares?
MCCALL
Yes. I know she does.
DISSOLVE TO;
EXT. WENDY'S APARTMENT BUILDING - NIGHT
As Hunter's car pulls up, they get out and go in.
IMT. THE CORRIDOR - NIGHT
Hunter and McCall approach Wendy's door.
HUNTER
I don't envy you this one.
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
INT. WENDY'S APARTMENT - NIGHT
A shambles! Lou and another big guy, GUS, are wearing cloth
gloves and methodically tearing the place apart. Drawers
have been pulled out, their contents dumped on the floor.
Wendy is tied and gagged, lying on the floor next to the
wall, staring at the spectacle through terrified eyes. A
doorbell RINGS. Lou and Gus freeze. Their eyes lock. They
wait.
INT. HALLWAY - NIGHT - HUNTER AND MCCALL
are standing in front of Wendy's door. After a beat:
MCCALL
Somebody's in there. I heard 'em.
Hunter bangs on the door.
HUNTER
(calls)
Miss Lundquist! It's Sergeant
Hunter!
INT. WENDY'S APARTMENT - NIGHT
Lou and Gus hear that. Gus motions for Lou to move to the
center of the room, directly in front of the door. Another
KNOCK and bell RING. Lou crouches like a defensive lineman.
Gus grabs the door handle, twists the knob and pulls the
door open. Lou charges toward the door! The instant the
door opens, Lou hits Hunter and McCall with a crushing body
block!
INT. HALLWAY - NIGHT
Hunter and McCall go crashing to the floor! In a blur, Gus
is out the door. He grabs Lou's hand, pulls him up and the
two go racing down the hallway.
HUNTER AND MCCALL
get up off the floor. As Hunter charges after Lou and Gus;
HUNTER
Check on Wendy!
McCall runs into the apartment.
ANOTHER ANGLE
Gus and Lou reach an exit door. Hunter races toward them,
his gun out now. Gus slams open the door - Lou charges
through, Gus at his shoulder.
INT. STAIRWELL - NIGHT
Hunter bolts onto the landing. Gus and Lou are taking steps
two and three at a time as they tumble down the stairwell!
GUS
turns, a revolver in his hand. He FIRES.
HUNTER
The bullets ricochet around him.
INT. WENDY'S APARTMENT - NIGHT
McCall has removed Wendy's gag and is untying her wrists.
She hears the SOUNDS of GUNFIRE. She reacts, then bolts
toward the open door, drawing her revolver.
INT. STAIRWELL - NIGHT
Hunter, not breaking stride, returns salvo.
ANGLE FROM BELOW
In the stairwell, Lou blasts up at Hunter as Gus races past,
shoulders open the fire door and charges into -
EXT. ALLEY - NIGHT
Gus turns and gives covering FIRE to Lou who runs to a
parked car and starts it up.
ANGLE - HUNTER
is driven back inside, bullets blowing away pavement and
wall.
THE CAR
speeds down the alley, squeals around a corner as -
HUNTER
Frustrated, angry, he runs back into the building.
INT. WENDY'S APARTMENT BUILDING - NIGHT
Hunter, badge displayed, tries to reassure a group of
tenants in the hall.
HUNTER
No one was hurt. There was an
attempted robbery. We're
investigating it now. There's
no need for alarm.
Hunter enters Wendy's apartment.
WENDY AND MCCALL
Wendy tosses down the last of a drink, starts to pour
herself another.
WENDY
I thought they were gonna... I
don't know, torture me or
something. One of them slapped
me! - I don't know how many
times!
HUNTER
Do you know what they were looking
for?
WENDY
No. I asked them what they
thought I had that was so
important. They didn't tell me.
But when they figured I wasn't
going to give it to them they
started tearing the place apart.
Wendy impulsively starts to straighten up some spilled
contents of a drawer, then stops suddenly.
WENDY
Is it okay? Can I put things
back?
HUNTER
(nods)
They were wearing gloves. Go
ahead.
MCCALL
I'll help you.
As they start to gather some of the scattered items, Wendy
suddenly throws something and breaks it.
WENDY
It's got something to do with
Charlene! Doesn't it!?
Hunter and McCall exchange another glance.
WENDY
Answer me, Dee Dee! It's
Charlene, isn't it?
MCCALL
Wendy...Charlene is dead.
After a long, shocked silence, Wendy turns away and begins
to sob heart-brokenly.
EXT. MARIKOS'S HOME - NIGHT - ESTABLISHING
A comfortable estate with a view. The car that Lou and Gus
escaped in is parked in the drive.
INT. MARIKOS'S HOME - NIGHT - DEN
Marikos is talking with Lou and Gus privately, still dressed
as he was at the club. He's not happy with their report.
MARIKOS
A big, tall cop with a woman
partner? She got dark, curly
hair?
Lou and Gus nod in agreement and Marikos looks frightened
and angry. He jerks open a desk drawer, takes out a cash
box, counts some bills from it, hands a roll each to Lou
and Gus, during:
MARIKOS
Get lost. Call your travel agent,
take a trip. I don't wanta see
you for at least a month.
He jerks a finger toward a door. Gus and Lou pocket the
money, head for the exit.
LOU
Sorry we came up empty, Mr.
Marikos.
MARIKOS
Forget it. Work on your tan.
GUS
I'm goin' to Canada.
MARIKOS
Whatever. Just don't send me no
postcards.
Lou and Gus head out the door, close it behind them.
ANGLE - ANOTHER DOOR
opens and Miss Bee enters, cautiously, under great stress,
MARIKOS
What is it, babe?
MISS BEE
I'm scared, Sam...First Ed,
telling us crazy stories about
undercover cops, now this -
whatever this was about.
MARIKOS
Take it easy, babe. Everything's
under control.
MISS BEE
The police know about Scooter too
- they asked Ed Wilcox about him.
MARIKOS
We'll find Scooter! You put this
in my hands, so let me take care
of it.
MISS BEE
I was wrong calling you for help.
I should have just turned myself
in.
MARIKOS
Forget that! There was a time
you could've done that, but that
time is gone. You handed the
problem to me and I've got it
under control. And now that I'm
involved, you gotta stay out of
it. I'll call the shots. You
just sing your songs like nothing
ever happened. You haven't seen
Zack Sherman in over a year. And
nobody's gonna prove otherwise.
MISS BEE
Suppose they find his body, Sam...
MARIKOS
That's one guarantee I can give
you - they won't.
Over this last line the phone has RUNG and Marikos snatches
it up.
MARIKOS
Yeah?
(listens)
Okay. Move. And thanks, Ed.
He hangs up and looks at Miss Bee.
MARIKOS
He's found Scooter and they're
gonna deal.
(smiles)
This'll be all pressed out by
tomorrow, babe. Next week we'll
be lyin' on the beach in Barbados.
MISS BEE
(weakly)
Yeah...I'd like that.
EXT. A WILSHIRE HIGH-RISE APARTMENT BUILDING - NIGHT
Wilcox comes out of the building and hurries to his car.
He jumps in, fires up the engine and does a jack-rabbit
start. He's a man in a hurry.
ON HUNTER'S CAR
The lights off, and they remain off. The car is started
and it pulls out.
INT. HUNTER'S CAR - NIGHT
Hunter at the wheel, McCall beside him.
POV - THROUGH WINDSHIELD
Wilcox's car is a long way ahead of them, a taillight in
the distance.
MCCALL
(tense)
Don't lose him.
HUNTER
I can spook him or lose him, I'll
try not to do either one.
MCCALL
(manages a smile
at Hunter)
I'm counting on you for that, big
guy.
EXT. WILCOX'S CAR - NIGHT
traveling a bit too fast.
INT. WILCOX'S CAR - NIGHT
He looks at his watch, not into his rearview mirror.
INT. HUNTER'S CAR - NIGHT
Hunter and McCall are watching the car ahead in tense
silence.
CUT TO:
EXT. OCEAN DRIVE - NIGHT
Wilcox's car pulls into the curb and Wilcox gets out without
a look back, a man intent on what lies ahead.
EXT. STREET - NIGHT
Hunter's car pulls into the curb.
INT. HUNTER'S CAR - NIGHT
as Hunter and McCall watch
WILCOX
walk out onto the Santa Monica Pier. This is an EXTREME
LONG SHOT.
INT. HUNTER'S CAR - DAY
HUNTER
One of us better stay with the
car - he could leave in a hurry.
MCCALL
It's your call.
HUNTER
(getting out)
You stay.
EXT. SANTA MONICA PIER - NIGHT
It's dark, foggy and damp. No night for strollers or
sightseers. Scooter steps INTO FRAME, checks his watch,
steps over to a bench.
ANOTHER ANGLE - POV SHOT - FROM THE SHADOWS
We WATCH as Scooter sits down on the bench. After a few
beats, the CAMERA MOVES FORWARD TOWARD the bench. When
we're almost upon it. Scooter turns and looks INTO CAMERA,
registers surprise.
REVERSE ANGLE - WILCOX
stands above Scooter.
WILCOX
Hi, Scooter.
SCOOTER
(jumps)
Hey, Ed...what're you doin' here?
WILCOX
What's the matter? You nervous?
SCOOTER
You snuck up on me. I didn't see
you coming. I was waitin' for
somebody...
WILCOX
Yaah. Mike called me...
SCOOTER
(on the edge of
terror)
Why?
WILCOX
I paid him to find you, and call
me...you and me got some business
to transact.
SCOOTER
Hey, man, I got nothin' you'd
want.
WILCOX
But you do. You've got the tape.
SCOOTER
The tape?
WILCOX
The tape. The one Charlene tried
to sell me.
SCOOTER
I don't know anything about any
tape, man!
WILCOX
You took it from Zack's place and
gave it to Charlene. But she got
rid of it. That means you got
it. Where is it?
He pulls out a .22.
SCOOTER
I don't know! I swear!
WILCOX
You're gonna tell it straight,
little man, or I'm gonna blow you
away right here.
Scooter stares at Wilcox, at the gun, back to Wilcox.
SCOOTER
(terrified)
I was never gonna use it! I
wouldn't've tried to blackmail
Miss Bee. It was Charlene's idea.
We got high the night I let her
look at the tape. She took it.
I don't know what she did with
It!
WILCOX
My boss doesn't buy that, Scooter.
He says I gotta clean everything
up tonight. Let's go get it.
HUNTER'S VOICE
Police! Drop the gun!
Scooter is the first to move: He lunges with hands and body
to knock Wilcox's gun away.
The gun FIRES, sending Scooter flying backward.
Wilcox turns and FIRES again, into the dark, taking off fast
as he shoots.
HUNTER
returns FIRE, goes after Wilcox.
WILCOX
runs into the fog, toward the edge of the pier.
EXT. HUNTER'S CAR - NIGHT
McCall, having heard the shots, is running, gun in hand,
toward the pier.
SERIES OF SHOTS - THE PIER
in the fog, illuminated only by an occasional overhead lamp,
as Hunter reaches for Wilcox.
ON WILCOX
He climbs over the railing, crouches, starts to move back
outside, along the edge of the pier. He looks down as the
waves crash against the pilings far below.
HUNTER
moves carefully, cautiously, straining to see into the
blackness beyond each light. He hears a SCRAPING SOUND off
to the side. He whirls, levels his gun, tries to make out
a shape in the night.
ON WILCOX
He sees Hunter, spins and FIRES and loses his footing.
HUNTER
gun raised, but he has not fired it.
WILCOX
can't regain his grip on the railing and falls backward into
the breakers below.
ON HUNTER
He runs to the railing. Haloed by the overhead light, he
looks down into the churning waters beneath the pier as we
HEAR McCall's feet running toward him.
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
EXT. DIVISION H.Q. - DAY
DEVANE'S VOICE
It's either a case you've neatly
put to bed, or it's a dead-end,
and I don't like dead-ends.
INT. DEVANE'S OFFICE - DAY
DEVANE, HUNTER, MCCALL
HUNTER
Neither do I, but Wilcox isn't
a neat solution, he was just a
hired gun.
DEVANE
How do you know that? His prints
match the partial on the dope
equipment you found by -
(consults report)
- Charlene Linguist's body.
(looks up)
And you saw him shoot this -
(consults report
again)
- Scot, Scooter, Davis, right?
HUNTER
Right.
DEVANE
That's two homicides. Solved.
Hunter decides not to go on with this, but McCall won't let
it go.
MCCALL
Zack Sherman was, and still is,
missing and presumed dead. That's
the case we started on, and it's
still there.
DEVANE
I didn't say it wasn't. I'm just
saying you haven't established
any connection between these two
crimes - which I an signing off
(he signs his name
on the report)
- as solved - and Zack Sherman.
HUNTER
Charlie, I don't think anything's
solved. We should be out there
trying to find out who hired
Wilcox, and what he's looking for.
DEVANE
And you both think he's tied in
with Zack Sherman.
MCCALL HUNTER
Yes. Yes.
DEVANE
Then what are you doing in here
wasting my time?
Hunter and McCall exchange a bemused glance and leave. As
they leave:
DEVANE
But for the record: These two
homicides have been solved!
They close the door without looking back.
EXT. POLICE STATION - PARKING LOT - DAY
Hunter and McCall come out of the building and cross the
lot.
ANOTHER ANGLE - POV - BINOCULAR SHOT
We WATCH through the binoculars as Hunter and McCall cross
to Hunter's car, get in and drive out of the lot.
EXT. MERCEDES - DAY
The car is parked down the street from the police station.
Someone is watching through binoculars from the back seat
through the partially opened window. Then the smoked window
glides closed obscuring the passenger and the car pulls away
from the curb.
EXT. HUNTER'S CAR - DAY
driving down a city street.
EXT. MERCEDES - DAY
following at a safe distance.
INT. HUNTER'S CAR - DAY
HUNTER
Charlie's report will look good:
two homicides solved, killer
drowns in attempt to avoid
capture.
(looks at Mccall)
And the truth is, we're nowhere.
MCCALL
The Cradle. The answer's still
there.
HUNTER
(knowing the answer
is yes)
You think Wilcox told 'em you're
a cop?
MCCALL
So they won't be surprised when
I flash my badge.
They look at each other and grin.
EXT. HUNTER'S CAR - DAY
Moving right along.
EXT. THE MERCEDES - DAY
INT. THE MERCEDES - DAY
Two men here, neither one seen before. Their names are
Solly and Rook, and they look competent and tough.
SOLLY
(the passenger)
You're givin' 'em too much space.
ROOK
(the driver)
They're cops. Any closer they'll
spot us.
Solly lifts his binoculars to his eyes.
IMT. THE CRADLE - DAY
The way we first saw it. McCall and Hunter enter and see
SOOKY
sitting at one of the tables reading a trade magazine and
drinking coffee. When he sees McCall he almost chokes.
He slams down the magazine, drops the cup into the saucer,
spilling half the coffee, and lumbers to his feet. The
place is otherwise empty.
SOOKY
You're not welcome in here! Out!
Sooky confronts McCall as if Hunter is invisible.
SOOKY
I said out!
McCall and Hunter come to a stop a couple of feet from
Sooky. McCall shows her badge.
MCCALL
Sergeant Dee Dee McCall, Metro
Police.
SOOKY
I know! I know! I said, out!
HCCALL
And this is my partner, Sergeant
Hunter.
Sooky looks at Hunter, looks up at Hunter, apparently
without fear.
SOOKY
(to Hunter)
I got nothin' against you, you
can stay.
(to McCall)
But you lied to me and made a damn
fool outa me and I want you outa
here.
HUNTER
We're here on official business.
When we're finished, we'll leave.
SOOKY
(to Hunter)
State your business.
MCCALL
We'd like to -
SOOKY
(cuts her off)
Not you, I'm not talkin' to you.
(to Hunter)
State your business.
HUNTER
What can you tell us about the
fat man Ed Wilcox came in here
to see last night?
SOOKY
(still sounding
tough)
The one with Miss Bee? He's
financing her comeback album.
Why?
HUNTER
(polite as hell)
My partner didn't get his name
last night, the noise and all.
Could you give it to me please?
SOOKY
(chilling out just
a little)
Sam Marikos, and if you don't know
the name you don't know the music
business.
HUNTER
(to McCall)
Ring a bell?
MCCALL
Sure does.
(to Sooky)
Before he got into the music
business he was in the drug
business, right?
SOOKY
(to Hunter, not
even giving McCall
a glance)
Anything else?
HUNTER
You know Scooter Davis?
SOOKY
So?
HUNTER
He was shot last night, by Ed
Wilcox.
That takes all the steam out of Sooky. He stares at Hunter
a moment, then turns and sits down heavily in the nearest
chair. Finally:
SOOKY
Did you get the bastard? Wilcox?
HUNTER
Yes, we did. He's dead.
MCCALL
(gently, to Sooky)
Chartene Lindquist was killed too,
also by Wilcox.
Sooky does not ignore McCall this time. He looks at her,
all anger gone.
SOOKY
Oh, no...Jesus...
We are beginning to realize that Sooky is a man with a lot
of soul and a big heart. He looks at McCall, at Hunter.
SOOKY
Why? Why would anybody do
that?...
MCCALL
That's why I lied to you, Sooky,
we're trying to find out why.
Somebody's looking for something.
Something important. They thought
Charlene, or maybe Scooter, had
it.
SOOKY
(half to himself)
Doesn't make any sense...They
never had anything...they were
just two sweet losers...
(looks up at them)
What can I do? How can I help?
HUNTER
Did Wilcox work for this Sam...
SOOKY
Marikos. Yeah, he was Sam's man.
HUNTER
Do you know anyone who was really
close to Charlene? Or Scooter?
SOOKY
Yeah. Me.
MCCALL
Anybody else?
SOOKY
Woody Tapscott. You gotta know
who Woody is.
HUNTER
(nods)
Played trumpet, right?
SOOKY
(nods)
Better than Bix, better than
Miles. He lost his lip and he
crashed. Scooter and Charlene
kind of took care of him. Never
talked about it, they just did
it.
EXT. STREET - HUNTER'S CAR - DAY
EXT. STREET - THE MERCEDES - DAY
INT. THE MERCEDES - DAY
Solly is watching Hunter's car through the binoculars.
EXT. BUNGALOW - DAY
Somewhere in Culver City. The place is badly in need of
paint and repairs. Hunter's car is parked in front of the
bungalow.
The CAMERA PANS from Hunter's car and we see a car parked
in front of a convenience store over two blocks away. We
ZOOM in on the car close enough to establish that it is the
Mercedes.
ON HUNTER'S CAR
We are seeing it through a window. We are in:
INT. WOODY TAPSCOTT'S HOME - DAY
WOODY'S VOICE
I knew it...when I didn't hear
from either of 'em for three-four
days...I knew somethin' was wrong.
We have PULLED BACK from the window to reveal
WOODY TAPSCOTT
He is a small black man in his early sixties with grizzled
hair and beard. He is seated in a worn Morris chair, his
eyes wet with tears. Hunter and McCall are seated on a sofa
across from him.
MCCALL
Whoever it was was looking for
something he thought Charlene or
Scooter had. Have you any idea
what it might be?
WOODY
(deeply puzzled)
Like money? Dope? What?
MCCALL
We just don't know, but it was
important enough to kill for, and
something small enough to look
for in places no larger than a
drawer or a shoe box, or a -
McCall breaks off because Woody has responded to this with
a look of quick surmise.
WOODY
Something maybe smaller even than,
like a book?
MCCALL
It's possible...
Woody gets up and hurries into his bedroom. McCall and
Hunter exchange hopeful glances.
ON WOODY
as he returns to the room carrying some letters, two
magazines, and a small package the size of a paperback book.
WOODY
Whenever Scooter didn't have a
place of his own - which was most
of the time - he'd have his mail
forwarded to me.
(puts letters, etc.
on table)
I figured this was one of them
paperback books.
Hunter picks up the small package Woody is referring to.
HUNTER
(reads, excited)
This is addressed to S. Davis,
care of Woody Tapscott.
(looks at Woody)
That means you could authorize us to open
it.
WOODY
Go for it!
Hunter tears open the package, taking care to keep the
address information intact, revealing a Beta-format
videotape, no cover, no label.
HUNTER
You got a cassette player here?
WOODY
Only the kind you listen to.
Hunter finds the piece of the package that says "Care of
Woody Tapscott", takes it and the cassette and stands up.
HUNTER
We'd like to take this, and we
can if you say so.
WOODY
You got it, and I hope it helps
you nail whoever killed Charlene
and Scooter.
Hunter shakes Woody's hand, -thanks him and heads for the
door.
MCCALL
(to Woody)
Thanks, we'll let you know what
happens.
Hunter has opened the door.
EXT. WOODY'S BUNGALOW - DAY
as Hunter and McCall exit. Woody comes to the door and
watches as they hurry to the car and jump in. Hunter slips
the cassette into his pocket as he heads for the car.
CUT TO:
EXT. CASSETTE RENTAL STORE - DAY
The place is plastered with signs, advertising shows
available, low-low prices, and one that says "Cassette
Players for Rent".
Hunter comes out of the store carrying a Beta VCR in a tan
cover. McCall is at the wheel. She pushes the door open,
he jumps in, closes the door and McCall takes off.
EXT. STREET - ON MERCEDES
Parked.
INT. MERCEDES
Solly has the binoculars to his eyes.
SOLLY
He's carryin' a VCR!
Rook picks up the car phone and punches out a number.
ROOK
(into phone)
They got it and we're on 'em!
CUT TO:
INT. HUNTER'S HOUSE - DAY
Hunter finishes connecting the cables to his TV set, turns
on the set, slides the cassette into the VCR and pushes the
"play" button.
He and McCall are standing, looking at the TV screen.
ON TV SCREEN
The flickering image suddenly clears and we see a BED and
part of a bedroom, dimly lit. We also hear voices, a man
and a woman laughing, whispering. Suddenly we HEAR a light
switch and the scene is now bathed in light as Zack Sherman
and Miss Bee enter the shot from under the camera.
Zack and Miss Bee are euphoric, drinking, dressed in light
evening wear. Zack takes her drink, puts it down, puts his
down, takes Miss Bee into his arms and begins kissing her
on the lips and neck.
MISS BEE
Hey, we don't need all this light,
baby - we know each other's
bodies by heart.
Zack ignores her, picks her up and half-tosses her onto the
bed.
MISS BEE
Hooo-eeee!
And Zack falls into the bed beside her. They kiss, caress,
their passion rising. She begins to undress him,
frantically.
HUNTER AND MCCALL
watching the screen.
MCCALL
I think we got an X-rated movie
here. Hunter.
HUNTER
Recognize the stars?
MCCALL
Zack Sherman and Miss Bee.
HUNTER
She told us she hadn't seen him
in a year. She lied.
INSERT - TV SCREEN
Zack slips off Miss Bee's dress: just a flash of gleaming
skin.
HUNTER AND MCCALL
MCCALL
I don't feel comfortable watching
This, Hunter. I feel like a
peeping torn.
HUNTER
(riveted)
Me too, but somebody's gotta do
It.
As McCall turns and walks away.
HUNTER
How about fixing some popcorn?
MCCALL
Hunter!
HUNTER
It's evidence, McCall.
(beat)
I'll give you a blow-by-blow
description.
McCall throws a pillow at him. Hunter ducks it and laughs
as a SCREAM comes over from the TV set.
MISS BEE'S VOICE
Don't. Please!
Hunter and McCall turn to see...
INSERT - TV SCREEN
Zack is slapping Miss Bee's face. She covers her face and
continues to SCREAM.
ZACX
Shut up, woman! You love it and
you know it!
Miss Bee is crying now, fighting back desperately.
ZACK
You always liked it rough! You
miss it now, don't you?
MISS BEE
Please! Pleeaasse! Stop it!
ON HUNTER AND MCCALL
ZACK'S VOICE
You got sick of sleepin' with the
fat man, huh? Remember how it
used to be when Zack was your main
man, right!?
(slap)
Ain't that right!
BACK TO SCREEN
Miss Bee tries to get up and escape. He catches her and
throws her back on the bed. She rolls across it, grabs a
heavy marble ashtray off the night stand and wields it in
an arc that connects with the side of Zack's head. He falls
onto the bed unconscious, blood trickling from his temple.
She raises the ashtray and bashes his skull with it again.
HUNTER AND MCCALL
stare at the screen in silence.
INSERT - THE SCREEN
SOBBING and exhausted, Hiss Bee drops the ashtray and stands
for a moment of horrified reaction to what has happened,
then spins and picks up the bedside phone. She punches out
a number, waits, then:
MISS BEE
Mr. Marikos, please, it's Miss
Bee.
(pause)
Yes, I'll wait.
In the sudden silence of the bedroom and the room we are
in with Hunter and McCall we HEAR a sound.
HUNTER AND MCALL
both turn, alert, listening. ANOTHER SOUND. A door at the
rear of the house slowly opening?
Hunter and McCall exchange a glance, get their weapons out
and move quickly to positions on either side of the door
that opens to the rear of the house.
A SUDDEN CRASH OF GLASS causes Hunter and McCall to spin
toward
FRONT DOOR (A WINDOW)
Solly is there, gun FIRING as
HUNTER
FIRES Solly out of action.
MCCALL
FIRES through the open door to the rear of the house.
INT. CORRIDOR
Sam Marikos and Rook are there, FIRING toward the open door
to the living room.
Their fire is returned and they take cover in: the door
to the kitchen (Marikos) and the door to the bedroom (Rook).
SILENCE
MCCALL'S VOICE
One of your men is dead! You
wanta try for two?!
(pause)
Throw your guns through this door,
Now!
ON MARIKOS
He looks toward
ROOK
in the door to the bedroom, gun ready.
ON MARIKOS
MARIKOS
(whispers)
Solly must've got Hunter - let's
get her!
INT. THE CORRIDOR
as Rook steps out, gun pointed toward the open living room
door. Now, seeing that it's safe, Marikos steps out. They
look at:
THE OPEN LIVING ROOM DOOR
Nobody there. SILENCE.
MARIKOS'S VOICE
(points gun)
I got a better idea, lady-cop.
You throw in your gun!
INT. LIVING ROOM - DAY
ON MCCALL
MCCALL
No deal!
INT. CORRIDOR - DAY
ON MARIKOS AND ROOK.
Both are high on over-confidence now and, guns pointed, move
toward McCall.
SUDDENLY HUNTER APPEARS BEHIND THEM and levels his gun.
HUNTER
(cold and quiet)
Freeze right there and lower your
guns.
Rook, apparently a conscientious hired hand, spins and FIRES
but Hunter has FIRED first and Rook goes flying backward.
MCCALL
steps into the open door, gun aimed.
MARIKOS
drops his gun and his hands go up like a jack-in-the-box.
MARIKOS
Don't shoot!
HUNTER
Call for an ambulance, McCall,
and some back-up.
He has reached Marikos, pats him down.
HUNTER
We saw the tape, Mr. Marikos -
what'd you do with Zack Sherman's
body?
MARIKOS
My lawyer's name is Jake Richie.
He's in the book.
HUNTER
I'll bet he is.
As we HEAR McCall calling for an ambulance and back-up,
Hunter handcuffs Marikos and we
FADE OUT
END OF ACT FOUR
TAG
FADE IN
INT. DEVANE'S OFFICE - DAY
Devane is pacing, talking to someone (Hunter and McCall)
off scene.
DEVANE
I don't like it, don't like it
at all. We gotta find Zack
Sherman's body.
THE SCENE
HUNTER
Why? Marikos's boy, Solly, got
killed, which makes Marikos guilty
of murder-one, and the D.A. says
the verdict's as good as in.
DEVANE
But what about her? Miss, uh -
(looks at report)
- Miss Bee? No body, no case
- that film doesn't say she
killed Zack Sherman. She's gonna
skate free.
Neither McCall nor Hunter says a word.
DEVANE
Why do I get the feeling you two
don't care if she gets off?
MCCALL
We saw the tape, Captain. She
fought back. If she killed him
it was an accident.
DEVANE
If? We know she killed him!
McCall and Hunter are silent again.
DEVANE
So she gets off...
MCCALL
What did she do - besides defend
herself?
DEVANE
I'll tell you what she will do,
if that body shows up - she'll
do time.
HUNTER AND MCALL
Silent again.
DEVANE
You've got no idea where Zack
Sherman's body is, huh?
HUNTER
Yes, we do, Charlie. We think
he's buried out in the desert,
right beside Russian Louie.
DEVANE
Where's that?
HUNTER
Nobody knows.
ON DEVANE
He is not a happy man, and on his look of pure frustration
we
FADE OUT
THE END
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