| HUNTER
PART ONE - ACT ONE
"THE DEVIL PRINCE" - PART I
(RAPE AND REVENGE)
Written by Tom Lazarus
ACT ONE
FADE IN:
EXT. CONSULATE POOL HOUSE - NIGHT
TIGHT ON ornate sandstone carving.
RAOUL'S VOICE
(a Latin accent)
Thank you so much for coming.
RITA'S VOICE
(nervous)
I shouldn't be out here...
We PULL BACK to reveal arches around an old sandstone
Pool house.
RAOUL'S VOICE
I am glad you came. You are very
beautiful.
RITA'S VOICE
Don't...
We MOVE DOWN the architecture to RAOUL MARIANO, a
handsome athletic six footer who has RITA, a red-haired
young woman in her early twenties, pressed tight against
the pool house.
RAOUL
Then why did you meet me out here?
He runs his hands over her body.
RITA
Don't Raoul. Please don't!
RAOUL
You must be quiet.
His hands move to her neck and caress her. Rita tries to
get away but Raoul presses his body against her, pinning
her even tighter. Rita starts to scream but Raoul quickly
covers her mouth...Rita's eyes go wild. She can't breathe.
Raoul's other hand tears at her blouse, revealing her bare
shoulder. Rita twists out of his grip, tries to scream
again, but he stops her brutally, throws her down onto the
ground and is on top of her in a flash.
CUT TO
INT. SQUAD ROOM - DAY (MAIN TITLES)
THE DIN OF THE SQUAD ROOM at its busiest. TIGHT ON letters
slowly being typed onto the whiteness of police form 5-10.
We PULL BACK to reveal Hunter picking away unhappily, at his
typewriter.
HUNTER
(grumbling)
No one said squat about Five-Tens
or Fifteen-Sevens at the Academy.
Dee Dee's at her desk. She answers without looking up.
DEE DEE
You were probably asleep.
HUNTER
When I die of typer's cramp you'll
be sorry.
DEE DEE
Don't bet on it.
Hunter continues typing unhappily.
ANGLE ON FOUR DETECTIVES
around the coffee table.
DETECTIVE
(the punchline)
...and the guy says, "I don't know
about the other two, but the guy
in the middle's Willie Nelson.
The other three detectives CRACK UP.
ANGLE ON HUNTER
turning to them.
HUNTER
Hey, I'm tryin' to work over here.
DEE DEE
(sarcastic to Hunter)
You'd put a stop to such wit?
The detectives barrage him with a shower of CAT CALLS and
RASPBERRIES.
CAPTAIN
Hunter! McCall!
ANGLE ON THE CAPTAIN
moving out of his office. He's on the edge of frantic.
ANGLE ON THE FOUR DETECTIVES
stifling LAUGHTER and moving back toward their desks.
(END TITLES)
ANGLE ON HUNTER
looking at Dee Dee as the Captain arrives.
CAPTAIN
Your turn in the barrel...sticky
one: DB at the Curaguayan
Consulate.
Hunter pulls on his jacket.
HUNTER
(to his typewriter)
Good-bye.
And as Hunter and McCall both start for the door,
CAPTAIN
Hunter.
Hunter stops and turns.
CAPTAIN
(a reminder)
That consulate's a foreign
country. We're their guests.
EXT. CURAGUAYAN CONSULATE - DAY
PANNING OFF a shiny brass plaque reading: CONSULADODE
CURAGUAY(pronounced, COOR-A-GWY) to Hunter's car driving through
the impressive gates and parking near a black and white unit,
the coroner's wagon and diplomatic-plated Mercedes. Hunter and
Dee Dee climb out. They're impressed. The Consulate is housed
in one of L.A.'s great old mansions.
DEE DEE
Not too shabby.
As they pin their shields on, they move to the BLUECOATS
standing by the front door.
HUNTER
Homicide.
BLUECOAT
'Round back, can't miss it.
INT. POOL HOUSE - SHOWER STALL - DAY
The LAB PHOTOGRAPHER shoots into the shower where
Rita's body lies slumped grotesquely in death. Another
BLUECOAT and a number of burly CONSULATE SECURITY MEN
stand around nervously.
ANGLE ON
Hunter and McCall walking into the pool house with
SENOR SERANCO, the impeccably dressed, graying at the
temples. Deputy Consul General.
SERANCO
Of course, we will cooperate in
every way with your investigations,
as I'm sure everyone involved from
your end will exercise the utmost
discretion.
They stop at the shower.
DEE DEE
Someone sure didn't exercise
discretion here.
Hunter moves in for a closer look but his way is blocked
by a large SECURITY MAN.
HUNTER
(pointing to his
shield)
Easy now.
The Security checks with Seranco then moves out of Hunter's
way.
DEE DEE
Who discovered the body?
SERANCO
One of the housekeeping staff.
DEE DEE
We'll have to talk to everyone in
the consulate.
SERANCO
Yes, of course. A full list of
the staff is being prepared.
OMITTED
EXT. POOL AREA - DAY
Hunter noses around, checking out the basic lay of the land.
OMITTED
HUNTER'S POV
of the pool house.
OMITTED
EXT. POOL AREA - DAY
Hunter continues his tour.
INT. CONSULATE WAITING ROOM - DAY
A gold leaf and rococo room with a parquet floor and fifteen
foot ceilings. Dee Dee sits across an ornate antique desk
from RIO, a good-looking, very frightened young man in his
early twenties.
RIO
I just go in there to clean
up, you know, and she was
there.
(shaking his head)
I didn't do nothin'.
DEE DEE
Did you see anyone?
Rio shakes his head.
DEE DEE
Or notice anything at all?
He shakes his head again. Dee Dee makes a note.
DEE DEE
Thank you very much.
EXT. POOL HOUSE - DAY
Hunter and Seranco walk around the pool.
SERANCO
Have you had any cases with
similar M.O.'s?
Hunter looks down at him curiously.
SERANCO
(smiling self-
consciously)
I must confess I am totally
addicted to your detective shows
on television.
HUNTER
We're going to need to leave
everything as it is until the
lab can get to it.
SERANCO
Yes, of course.
INT. CONSULATE WAITING ROOM - DAY
In an exquisitely tailored suit, Raoul leans into the
doorway.
RAOUL
I am supposed to talk with a
police officer?
DEE DEE
Yes...come in.
Raoul shakes his head and enters. He's confused.
RAOUL
It cannot be.
Dee Dee doesn't understand.
RAOUL
Such a beautiful woman a police
officer? Increible
Dee Dee smiles self-consciously.
RAOUL
In my country all the police women
are...
He motions they are refrigerators, then smiles.
RAOUL
Raoul Amoldo Mariano.
DEE DEE
(checking her list)
Cultural Attache?
RAOUL
Exactly...and you, Senorita, your
name is?
DEE DEE
Sergeant McCall.
RAOUL
I have never met a woman before
with the name "Sergeant."
Dee Dee smiles. She's charmed.
DEE DEE
(back, to business)
Mr. Mariano...
RAOUL
Please...Raoul.
DEE DEE
Raoul...can you tell me anything
about what happened?
RAOUL
I wish I could. Unfortunately, I
went to bed very early last night.
I was exhausted...
(rolling his eyes)
Disneyland with our Trade Minister.
(after a beat, serious)
When I woke...
(shaking his head)
there were police...everything was
happening. From what I've heard,
one of the staff discovered the
body this morning...Do you
know yet who she was?
DEE DEE
Her name was Rita Simons. She
worked in housekeeping.
RAOUL
What a tragedy.
He shakes his head.
DEE DEE
(making notes)
I think that's all for now. Thank
you very much.
RAOUL
Thank you.
He starts for the door, then stops and turns around.
RAOUL
Pardon me...
Dee Dee looks up.
RAOUL
I hope you do not find this...ah...
(searching for the
correct word)
...inappropriate, but have you had
the opportunity to taste our
arroz con polio?
Dee Dee shakes her head.
DEE DEE
I don't even know what it is.
RAOUL
A classic Curaguayan dish...rice and
Spanish safron, black beans, it is
simply sensational.
(moving back
toward her)
There is only one restaurant in all
Los Angeles that knows how to make
a true arroz con pollo: La Casa Rosa.
I must take you there, that's all
there is to it.
DEE DEE
I'm sorry, but it's department
policy not to mix business with
pleasure. Thanks anyway.
RAOUL
(smiling)
Rules are made to be broken, yes?
Dee Dee shakes her head.
DEE DEE
Not by me. I am a police officer.
They both LAUGH.
RAOUL
(seductive)
There is nothing I can say or do to
persuade you?
DEE DEE
No, I'm sorry.
RAOUL
What a shame. A life wasted.
(shaking his head)
Never to experience paradise.
Raoul shrugs then heads for the door. Dee Dee watches him
exit, then continues making notes.
INT. MORGUE - OUTER HALLWAY DAY
THE SOUND OF SOUSA'S "FREEDOM MARCH". It's stirring.
Hunter and Dee Dee enter and open field through the hallway
jammed with stiffs under sheets.
HUNTER
Must be having a sale.
And they push inside.
INT. MORGUE - DAY (SOUSA CONTINUES)
Hunter and Dee Dee pull up to a stop.
REVERSE ANGLE ON
CARLOS, tastefully blood-stained above an in-proqress
autopsy, motioning with his rubber gloves to be quiet.
Hunter and Dee Dee listen to the RESOUNDING CHORUS, then
Carlos lowers his hand.
CARLOS
That part grabs me, you know what
I mean, absolutely and totally
grabs me, shakes me around, and
throws me down.
DEE DEE
We're on the Consulate case,
what've you got?
CARLOS
Bodies stacked up from here to
Pasadena and an M.E. that takes
three hour, six martini lunches,
that's what I got.
HUNTER
Who you kiddin', you love it.
CARLOS
(cracking a smile)
So?
(pointing)
She's in the south wing, just got
here. You've lucked out. Gave her
my legendary thirty second work-up.
No surprises: petechial hemorrhages
in the membrane on the inner
surface of the eyelids indicate she
died by strangulation. There are
obvious signs of sexual assault,
but the M.E.'ll confirm that in
his report. Of course, the neck's
all bruised...
(shaking his head)
sadly)
A bad one.
DEE DEE
(after a beat)
Thanks, Carlos.
INT. MORGUE - OUTER HALLWAY - DAY
Hunter and Dee Dee push through the swinging door.
HUNTER
(undoing his tie)
Friday...I love it.
DEE DEE
Same one this weekend? Is it
Candy? Sweetie? Honey?
HUNTER
(humorless)
Cindy.
DEE DEE
(amused)
Right, Cindy...the astrophysicist?
HUNTER
You goin' on a religious retreat?
DEE DEE
Actually I'm finally going to read
that book I bought. That's
spelled b.o.o.k.
Hunter's not amused.
DEE DEE
(bummed)
Plus, I've got geraniums just crying
to be put in the ground.
They head out.
DISSOLVE TO
INT. DEE DEE'S HOUSE - THE NEXT DAY
CLASSICAL MUSIC PLAYS on the tape machine. Sun streams
in the window. A cup of tea and the remnants of a salad
on the tray on the coffee table. In faded jeans, an
oversized sweatshirt and bare feet, Dee Dee lies back on
the window seat reading. DOOR BUZZER. Obviously not
expecting anyone, Dee Dee puts the book down, moves to the
door, looks to see who it is, then unlocks and opens it.
It's a pimply MESSENGER holding a dozen long stemmed roses,
Dee Dee takes the flowers.
DEE DEE
Hold on.
She moves to her purse, pulls out a dollar and hands it to
the teenager.
MESSENGER
Hey, thanks a lot.
And Dee Dee closes the door.
INT. DEE DEE'S KITCHEN - DAY
The roses in a vase. Dee Dee smiles at the card, puts it
down, then exits. We ZOOM into the card on the counter.
In beautiful script: ALL MY BEST - RAOUL.
INT. DEE DEE'S HOUSE - DAY
Dee Dee puts the vase on the coffee table near the window
seat, picks up her book and settles back down. DOOR BUZZER.
Dee Dee shakes her head and climbs back up.
ANGLE ON DOOR
opening. It's the messenger again with twice as many roses.
INT. DEE DEE'S HOUSE - DAY
Two vases of flowers on the coffee table. Dee Dee smiles,
shakes her head, then sits back down again. She picks up
the book, starts to read for a bit, then: the DOOR BUZZER.
ANGLE ON DOOR
Getting a little tired of the joke. Dee Dee yanks the door
open. Instead of the messenger...it's Raoul with a dazzling
smile. He hands en even larger bunch of roses to Dee Dee
who's overwhelmed and more than a little charmed.
DEE DEE
You're crazy!
RAOUL
Why thank you.
DEE DEE
How'd you find me?
RAOUL
Not only the police can do
detective work.
(smiling)
I do hope you like roses.
DEE DEE
I adore roses.
RAOUL
It is not business today, correct?
DEE DEE
(smiling)
Correct. Please come in.
INT. LIVING ROOM - DAY (CLASSICAL MUSIC CONTINUES)
Raoul looks around as Dee Dee moves into the kitchen.
Dee Dee enters with the flowers, this time in a white
plastic waste paper basket. Dee Dee puts the new roses
with the others.
DEE DEE
Too much.
RAOUL
Nothing is too much for a woman
as beautiful as you.
Dee Dee looks down at her jeans and sweat shirt.
DEE DEE
Well...
RAOUL
Yes, you are.
And he puts his hands on her shoulders.
DEE DEE
(pulling away)
Wait a minute.
RAOUL
(innocent)
What?
DEE DEE
Thanks for the flowers but...
(overlapping)
We are adults, yes?
DEE DEE
Yes, but I don't want you to get
the wrong idea.
RAOUL
No, no, that is impossible. I
apologize.
And he moves back towards the window. Dee Dee relaxes.
RAOUL
(turning toward her)
Maybe tonight when you are not
doing business you will allow me to
introduce you to the arroz con polio?
DEE DEE
I don't think so.
RAOUL
I insist.
DEE DEE
(shaking her head)
Really...
RAOUL
I will not take no for an answer.
DEE DEE
Hey, look...
RAOUL
Is it me? What is it?
DEE DEE
No, but...
He moves toward her again.
RAOUL
(seductive)
I know you feel what I feel.
Dee Dee stiffens.
RAOUL
The heat...
DEE DEE
(getting angry)
Look...
RAOUL
I want you.
Raoul moves closer.
DEE DEE
Leave right now!
RAOUL
You don't really want that.
DEE DEE
(hard)
Look...
Raoul grabs her arm.
RAOUL
You want me to stay.
Dee Dee tears her arm away.
DEE DEE
(frightened)
Get out of here! Now!
Raoul looks at Dee Dee, then turns and moves for the door.
After a few steps, Raoul spins back around, surprising
Dee Dee. He grabs her and throws her back onto the floor.
Dee Dee fights him off and scrambles away, but Raoul grabs
her hair and yanks her brutally back down.
RAOUL
You want me, don't you?
Dee Dee shakes her head and punches him, knocking him back.
She climbs to her feet and runs toward the front door. She
opens it, but Raoul slams the door shut and presses his huge
body against Dee Dee who slides down, gives him a shot to
the ribs, then while he's doubled over, she escapes toward
the kitchen.
INT. DEE- DEE'S KITCHEN - DAY
Dee Dee races in, knocks into the table which skitters up
against the refrigerator, then heads for the door. She is
about to open it when Raoul grabs her, lifts her up bodily.
and drags her out.
INT. DEE DEE'S LIVING ROOM - DAY
Raoul carries the struggling Dee Dee into the bedroom.
INT. DEE-DEE'S BEDROOM - DAY
Raoul throws Dee Dee down on the bed then pins her down.
RAOUL
I know when I first saw you we'd
be together.
Dee Dee struggles to get free, but can't.
RAOUL
Do not resist, dulce.
(smiling)
It is not a good idea at all...
Dee Dee starts to scream, but he slams her in the face.
We ZOOM into a TIGHT SHOT of Dee Dee's face as she struggles
to get away. But Raoul's got her. As we focus on Dee Dee's
scared-to-death eyes, we:
FADE OUT
END OF ACT ONE
************************************************************
PART ONE - ACT TWO
FADE IN
EXT. DEE. DEE'S HOUSE - LATER THAT DAY
The front door opens. Raoul exits, looks both ways - no
one sees him - then he moves to his white, two-seater
Mercedes and drives away.
INT. DEE: DEE'S BEDROOM - DAY
The CLASSICAL MUSIC tape finally stops. Silence. Dee Dee's nowhere to be seen. WHIMPERING,
then Dee Dee's shaking hand reaches slowly up from the other side of the bed, then her tear-stained
face. With difficulty, she moves to the phone, dials.
HUNTER'S VOICE
Hello.
DEE DEE
(after a beat,
hoarsely)
Hunter...Help me...
HUNTER'S VOICE
Dee Dee! Dee Dee!
There's no answer.
CUT TO
EXT. HUNTER'S APARTMENT - DAY
Hunter-bare-chested in jeans, clutching his shirt, shield and service revolver, flies out the front door, over
camera to his car, jumps in, slaps the cherry on top, and with RUBBER SQUEALING, roars off up the
block.
HUNTER'S VOICE
This is L-56. I need a back-up
unit at 154 Brite Avenue and I
need it yesterday!
EXT. DEE DEE'S HOUSE - DAY
THE BLARE OF A POLICE SIREN. Hunter's car ROARS into view
and SCREECHES to a stop. He jumps out and heads for the door.
As he approaches, he slows, cocks his weapon, then carefully
tries the door...it's open. He waits a beat - nothing
happens - then he cautiously starts in.
INT. DEE-DEE'S HOUSE - DAY
Gun at the ready. Hunter moves through the door-
HUNTER
McCall?!
DEE DEE'S VOICE
(weak)
Hunter...
Hunter moves for the bedrooms.
INT. DEE DEE'S BEDROOM - DAY
Hunter enters.
HUNTER'S POV
Still between the bed and the wall, Dee Dee's resting her
head on the bed. Blood's at the corner of her mouth. Her
left eye's beginning to swell and bruise.
HUNTER
(rushing to her)
Oh, God...
Dee Dee looks up at him with eyes glazed by shock.
HUNTER
Can you get up...?
He touches Dee Dee's arm but she flinches away and moves up
on the bed herself. She pulls the spread around her to
cover her bare legs. Hunter reaches for the phone, lifts
the receiver and dials 911.
HUNTER
(into the phone)
This is Sergeant Hunter, Metro
Police. I need paramedics at 154
Brite Avenue now...Now!
And he hangs up and moves back to Dee Dee.
HUNTER
How long's he been gone?
Dee Dee's too out of it to answer...and it freaks Hunter out
for a second.
HUNTER
(gently)
Tell me what happened?
Dee Dee averts her eyes and doesn't respond.
HUNTER
Who did it?
Dee Dee closes her eyes.
HUNTER
(carefully)
Come on...
Finally; with difficulty:
DEE DEE
That...that guy...from the
Embassy...
HUNTER
The Curaguayan Consulate...?
Dee Dee nods. Hunter tightens.
HUNTER
Which one?
Dee Dee shakes her head, then with difficulty:
DEE DEE
Raoul...
A SIREN APPROACHES.
HUNTER
I'm going to get you to the
hospital.
DEE DEE
No, no...just let me alone.
The SIREN STOPS OUTSIDE.
HUNTER
It's gonna be all right. I'll
take care of everything.
INT. AMBULANCE - DAY
The doors are yanked open and Dee Dee, on a gurney, is
rolled inside. A RADIO CRACKLES in the background.
Carrying a change of clothes for Dee Dee, Hunter's right
in with her along with the PARAMEDICS, and the doors SLAM
shut. Dee Dee's dazed...Hunter takes her hand. This
time she doesn't resist.
HUNTER
Here we go...we'll be there in
a minute.
The ambulance fires up and takes off.
HUNTER
You're doin' great.
But clearly Dee Dee's not...and it tears Hunter up.
EXT. L.A. HOSPITAL - DAY
The ambulance, its mars lights spinning, turns into the
EMERGENCY ROOM ENTRANCE.
INT. EMERGENCY ROOM - DAY
Three PATIENTS waiting. The Paramedics roll Dee Dee in and
park her next to a FAMILY waiting with their SICK GRANDMOTHER.
As the Paramedic helps Dee Dee into one of the plastic chairs,
Hunter moves to the Entry Desk and shows his shield to the
NURSE.
HUNTER
The woman over there's my partner.
NURSE
What do you want me to do, salute?
Hunter stiffens.
HUNTER
She was sexually assaulted.
The Nurse winces.
NURSE
God, I'm sorry. We've got a heart
attack and a motorcycle accident...
bear with me. I'11 get someone
with her right away.
Hunter nods, then moves back to Dee Dee who's been left by
herself and looks very frightened and alone. Hunter sits
next to her.
HUNTER
Nuts in here. Must be a full
moon.
Dee Dee turns and looks at Hunter for the first time, then
after a beat:
DEE DEE
(barely audible)
I thought he was going to kill
me.
HUNTER
No way. You're too tough for
that.
Dee Dee shakes her head. A pair of BLUECOATS enter and stand
ready to assist.
HUNTER
(carefully)
I want to go over this again.
You said "Raoul" did this?
Dee Dee nods. She's shivering.
HUNTER
(rechecking)
Raoul who?
DEE DEE
(after a beat)
From the Consulate...the Curaguayan
Consulate...
DOCTOR'S VOICE
Excuse me.
They turn to see DOCTOR BURNS, a bearded doctor, enter with
ANITA, black, 25, with glasses. He leans down and checks
Dee Dee over quickly.
DOCTOR BURNS
I'm Doctor Burns. I'm your
doctor and this is Anita, your
counselor.
(empathetic)
We're going to take care of you
now.
Anita moves closer to Dee Dee
HUNTER
(shaking with the
doctor)
Sergeant Hunter, Homicide.
(moving across the
room)
She's my partner. Sergeant McCall.
She's been...
(with difficulty,
whispering)
...raped. Make sure you preserve
anything and everything that might
be evidence.
DOCTOR BURNS
I will Sergeant. We're all set
up for this.
(looking over at
Dee Dee)
Anita's the best.
Hunter moves back to Dee Dee and covers her hand with his.
HUNTER
These people here are great. Don't
worry, you'll be safe. They'll
take care of you. Okay? I'll
be back in an hour...guaranteed.
Dee Dee nods, but she still look's dazed. He exits. Anita
holds her hand.
ANITA
It's a terrible, terrible thing
that's happened to you. But
the worst is over...from here
on you get better.
Doctor Burns moves to Dee Dee.
DOCTOR BURNS
Sergeant McCall, how're you doin'?
Dee Dee looks up at him, but doesn't answer.
DOCTOR BURNS
I'm going to have to take a history
first, ask a few questions about
what happened, then check you out,
a pelvic exam, couple other tests.
I'll be looking for any physical
evidence of the attack; blood, hair
anything to help identify the assailant,
I know it's awful, but in the long
run, it's the best thing...and
we'll make it through together,
okay?
Dee Dee closes her eyes.
EXT. VALLEY NEIGHBORHOOD DAY
Hunter's car, its cherry up on its roof, but not on, is
parked in front of a half-washed 1957 turquoise T-Bird.
Hunter's waving a handful of forms at a LATINO DISTRICT
ATTORNEY lady about thirty, in sneakers, running shorts
and a halter, not necessarily in that order.
HUNTER
(finishing up)
Now here're the forms. All you
have to do is sign them where they
say district attorney, okay, and
I'm outta here.
DISTRICT ATTORNEY
(shaking her head)
I think it stinks your partner got
raped, you know that, but I okay
this warrant for that pig's arrest,
there's no judge in town that'll
sign it off and you know it.
HUNTER
That's my problem right?
After a beat, the District Attorney nods.
his pen. She takes it and signs.
Hunter holds out
OMITTED
EXT. BACK YARD - DAY
The JUDGE in swimming trunks sits on the chaise surrounded
by the Saturday papers, reading the warrant.
He takes off his glasses and looks up at Hunter.
JUDGE
The consul will more than likely
ignore this, and if he does...
that's it.
HUNTER
I'll take the chance.
The Judge reaches for his pen.
INT. EXAMINING ROOM - DAY
In an emergency room's chintzy throwaway gown. Dee Dee is
staring out into space. A DOOR OPENING. After a beat, a
NURSE holding a Polaroid camera enters and locks the door.
ANITA
Dee Dee, we got a tough one.
We've got to record the evidence
of attack for any possible future
prosecution if you decide to go
that way. It won't take too long.
Dee Dee nods and closes her eyes.
NURSE
If you'd just take off the gown...
Acting as if she were in slow motion, she begins to pull
back the gown.
TIGHT SHOT OF DEE DEE
as the Nurse takes a picture. Flash. GRIND. Dee Dee
sits there numbly.
ANITA'S VOICE
I know it's terrible. Just a few
more.
Flash. GRIND.
ANITA'S VOICE
Almost there.
Flash. GRIND. Flash. GRIND.
NURSE'S VOICE
Okay, that's it...thanks a lot.
Dee Dee closes her eyes.
EXT. CONSULATE - DAY
Hunter pressing the doorbell. After a few moments, the
door opens to one of those large security men. Hunter
flashes his shield and pushes past him.
INT. CONSULATE - DAY
Hunter walks into the large entry. Senor Seranco exits
his office with a smile.
SERANCO
Good afternoon. Sergeant. You've
come to tell me you've solved our
crime?
HUNTER
(all business)
You have a gentleman on your staff
named Raoul Mariano?
Senor Seranco's smile fades for a beat, then:
SERANCO
Why don't we step into my office.
INT. SERANCO'S OFFICE - DAY
Centuries old antiques and art from Curaguay all around
his impressive office. Hunter and Seranco enter.
SERANCO
Senor Mariano is our Cultural
attache.
HUNTER
I'd like to speak to him.
(pulling out papers)
I have a felony warrant for Senor
Mariano's arrest.
SERANCO
I believe he's in San Diego on a
Consulate matter. But I can assure
you, he has done nothing.
HUNTER
When'll he be back?
SERANCO
I really couldn't say.
HUNTER
Look, Senor...
SERANCO
Sergeant, please remember... you
are here as our guest.
HUNTER
(losing it)
What the hell's the problem here?
SERANCO
(moving behind his
desk)
I'd appreciate it iJ£ you'd leave.
HUNTER
Where's Raoul Hariano?
Seranco pushes a button on his desk.
ANGLE ON
a door opening and two security men rushing in. A third
fills the doorway.
ANGLE ON
The two security men surrounding Hunter.
SERANCO
Sergeant Hunter, as I'm sure
you already know, it is up to us,
not you or your prosecutors, to
decide how to proceed in matters
involving our own nationals. Senor
Mariano is not subject to arrest or
questioning by you or any other American.
Hunter stares at Seranco. Seranco smiles.
SERANCO
Buenas tardes, Sergeant Hunter.
And Hunter's hustled out.
EXT. L-.A. HOSPITAL - NIGHT
A paramedic ambulance pulls out of the driveway revealing
Hunter helping the slow-moving Dee Dee - in the change of
clothes - over to his car. He puts her in, hooks up her
seat belt, then moves behind the wheel and they take off.
INT. HUNTER'S CAR - NIGHT
Hunter drives. Dee Dee never makes eye contact.
HUNTER
You're doin' great.
DEE DEE
(barely audible)
I owe you one.
HUNTER
Don't worry. I'm gonna collect,
too.
(suddenly tender)
You okay?
DEE DEE
Beats me.
HUNTER
I'm gonna get that scumball...
Dee Dee closes her eyes and shakes her head.
Dee Dee
He's a.diplomat.
HUNTER
I don't, care who he is...he isn't
gettin' away with this.
All Dee Dee can do is shake her head in disbelief. Hunter's
knuckles tighten on the wheel.
EXT. -CONSULATE - NIGHT (THROUGH A WINDOW)
Seranco is berating Raoul, who shakes his head, yells back,
then storms out with a SLAM of the DOOR. Seranco shakes
his head, sits at his desk, then reluctantly picks up the
phone and dials a long distance number. After a beat, he
changes his mind and hangs up.
INT. DEE DEE'S HOUSE - NIGHT
Hunter and Dee Dee enter. Obviously stiff and hurting, when
Dee Dee sees the bedroom, she turns away. Hunter closes
the door, then helps Dee Dee to the couch, picks up her feet
slowly and stretches her out.
DEE-DEE
(after a beat)
I must've worked on a hundred
rape cases...
(shaking her head)
I should've known. I'm so stupid.
Just shows up...flowers...that
smile...unbelievable...I could
get VD!
(closing her eyes)
Or pregnant...
Hunter shakes his head. He doesn't know what to say.
HUNTER
Blanket or something ? *
Dee Dee nods. Hunter pulls an afghan off the window seat and
lays it over Dee Dee's feet.
HUNTER
Want anything?
After a beat. Dee Dee nods.
DEE DEE
This day to be over.
Hunter sits on the coffee table across from her.
HUNTER
I know this is gonna be a bummer,
but you've got to tell me what
happened.
Dee Dee nods. She knows.
DEE DEE
He was at the door. He hustled
me the other day...
(shaking her head)
Can you believe this?
(after a beat)
He seemed real nice...I...I
guess I should've picked up on
it or something... but...
HUNTER
(firm)
Wait a minute. No way is this your
fault.
DEE DEE
(shaking her head
again)
He...I don't know how it started...
(thinking)
I don't know...but I said no and
he grabbed my...no...he had started
to leave...and all of a sudden he
had me...
(closing her eyes)
And...and I tried to get away...
(confused)
and he...
(a long beat)
I thought he was going to kill me.
Dee Dee closes her eyes. Hunter puts his hand on her
shoulder.
DEE DEE
Now what do I do? I mean,
everybody's going to know. What
do I say...
But she can't finish.
DISSOLVE TO
INT. DEE- DEE'S LIVING ROOM - LATER THAT NIGHT
The lights are out. CRYING. Hunter's curled up
uncomfortably in the too-small love seat. MORE CRYING.
Hunter wakes and looks over at the couch.
HUNTER'S POV
Dee Dee sitting up and continuing CRYING. Bare-chested,
Hunter moves next to her.
DEE DEE
I can't close my eyes...! mean...
I'm scared...
(turning to him)
I blew it... I never even suspected
him. Not even for a second. If
I can't trust my own instincts...
HUNTER
He' s the bad guy, not you. Get it
straight, McCall.
DEE DEE
Hunter, I know about rape victims,
remember?
(shaking her head)
I'm in the business. Some women
never recover. You going to
sleep here every night 'cause I'm
scared to be alone?
HUNTER
If I have to.
She shakes her head.
HUNTER
Now go to sleep...you look like
hell.
DISSOLVE TO
TIGHT ON
a Xerox of Raoul Mariano's passport photo. We PULL BACK to
REVEAL Hunter in his car parked across the street from the
Consulate where Mercedes move in and out of the impressive
gates. A white Mercedes two-seater moves out with Raoul
behind the wheel and heads up the block. Hunter's car
moves around the corner and tails it.
EXT. L.A. STREET - DAY
As the Mercedes moves up the street. Hunter's car, out of
nowhere, moves up next to it and cuts it off. Hunter's out
of the car, over to Raoul's car and flashing his shield.
HUNTER
(wired)
Would you step out of the car, sir.
Raoul steps out and pulls out his license and registration.
RAOUL
(mystified)
I wasn't speeding, officer. What'd
I do?
HUNTER
You raped my partner.
Raoul flinches for a moment, then covers.
RAOUL
There must be some mistake. I'm
a dipio...
But Hunter grabs his license and registration.
RAOUL
I don't think you underst...
But Hunter stops him with a wicked punch to the gut. Raoul
doubles over. Hunter grabs him by the tie and smashes him
back up against the car.
Raoul tries to push Hunter away, but Hunter slaps him hard
three times across the face.
HUNTER
You scum-sucking pig...I
should put you down on your
knees and execute you. But I
won't because you're...
(shaking his head)
...protected by international law.
Hunter slaps him even harder a few more times.
HUNTER
Let me tell you something, pal...
From here on in - I'm on your
case...full time. You're gonna
wish...
(He grabs him)
...I had killed you.
FADE OUT
END OF ACT TWO
***********************************************************
PART ONE - ACT THREE
FADE IN
EXT. POLICE STATION - DAY
Hunter in his slept-in clothes, windbreaker and a bristle
of whiskers, moves along the sidewalk, stops, stretches the
kinks out of his back, then moves into the buillding.
INT. SQUAD ROOM - DAY
Hunter weaves through the usual throng of BIMBOS, BUMS and
POLICE PERSONNEL and is about to collapse into his chair...
CAPTAIN'S VOICE
Hunter!
OMITTED
INT. CAPTAIN'S OFFICE - DAY
The Captain waves for Hunter with one hand and is holding
the phone with the other.
CAPTAIN
I will issue a statement to the press
when I deem it necessary, not you...
He slams down the phone.
CAPTAIN
Reporters gotta be the lamest
people on the planet.
(to Hunter)
How's McCall?
HUNTER
Terrible.
CAPTAIN
Anything we can do from here?
HUNTER
Yeah. The man who did it is
Raoul Mariano. See that he
doesn't get away with it.
CAPTAIN
I'm working on that.
The Captain turns to DESMOND, a conservatively dressed man
on the couch.
CAPTAIN
This is Will Desmond, with the
State Department, Office of Security.
Desmond stands and they shake hands.
CAPTAIN
(to Hunter)
I got a call from the Curaguayan
Consul General, one of their
cultural attaches was assaulted
by...
HUNTER
(overlapping)
Streets aren't safe nowadays...
terrible thing.
CAPTAIN
(continuing)
...by a plain clothes police
officer.
DESMOND
We received the same complaint.
HUNTER
(losing it)
That slimeball raped my partner
and he's the odds on favorite
in the rape and murder of that
qirl at the consulate.
CAPTAIN
Hunter, that doesn't excuse behavior
like yours. Until I.A. finishes
a complete investigation, you are
suspended without pay.
HUNTER
You've taken care of me...what are
you going to do about him?
DESMOND
After I gather the facts...
HUNTER
(overlapping)
I just gave you the facts!
DESMOND
If a felony has been committed,
we'll ask the Curaguayan govern-
ment to waive immunity. I can
assure you by end of business
today, we will have expressed our
deepest concern to the Curaguayan
government.
HUNTER
(after a beat)
Don't overreact.
INT. SERANCO'S OFFICE - DAY
Raoul enters, moves to a flush cabinet, opens it, and reaches
in.
INSERT ON HANDS
opening a safe, reaching in and pulling out a revolver.
INT. SERANCO'S OFFICE - DAY
Raoul closes the cabinet, then slips the gun under his jacket.
EXT. HOSPITAL PARKING LOT - DAY
Hunter's car parked outside the Hospital. A couple of
LOOKING-FOR-TROUBLE KIDS lurk about suspiciously.
INT. ANITA'S OFFICE - DAY
Anita sits at her desk. Hunter paces back and forth in
front of her.
HUNTER
What can I do?
ANITA
What does Dee Dee want?
HUNTER
(after a beat)
For me to be there?
Anita nods.
HUNTER
But how?
ANITA
By not pulling back, and you'll
want to... She represents your
helplessness in preventing the
rape. You'll try to distance
yourself from her...
Hunter nods grimly.
HUNTER
(frustrated)
But what can I really do?
ANITA
(after a beat)
You said it...be there for her.
EXT. DEE DEE'S HOUSE - DAY
The door opens. Hunter and Dee Dee exit. She reaches for
the security of his arm then they head for the street.
DEE DEE
I'm too sore.
HUNTER
Tough.
DEE DEE
Hunter!
HUNTER
Let's go.
DEE DEE
(limping)
I hate you for this.
HUNTER
You're too kind.
When they reach the sidewalk. Dee Dee stops.
ANGLE ON
Hunter's car with huge spray-painted graffiti on the door
reading: COP.
HUNTER
A gift from the punks of L.A. Do
you like it? They're doing it on
all the undercover cars.
As they start walking up the street Dee Dee grabs Hunter's
arm for protection.
HUNTER
Piece of cake... I told you.
But Dee Dee's eyes dart about nervously. Scared to death,
she stops, takes her hand off Hunter and starts back. He
accompanies her.
HUNTER
You did great...
Dee Dee doesn't believe him for a second.
INT. DEE DEE'S HOUSE - DAY
Dee Dee moves to couch, then breaks into tears. Hunter
puts his arms around her shoulders.
HUNTER
It's perfectly normal to feel this
way.
DEE DEE
For a cop?
HUNTER
Yes, for a cop.
DEE DEE
(shaking her head)
Who's been raped?
(barely audible)
I'm afraid...of everything.
HUNTER
(moving to her)
Hey, this isn't permanent. You'll
be back the way you were in no
time.
DEE DEE
Is that a guarantee?
Hunter doesn't have an answer. Dee Dee begins sobbing,
turns against his chest and lets go. Hunter cradles her
tenderly. WE MOVE into a TIGHT SHOT of Hunter's eyes...
and the cold look of revenge.
EXT. DEE DEE'S HOUSE - DAY
Deep in thought. Hunter moves to his car and climbs in.
After sitting for a few beats, he fires it up and drives
off.
EXT. L.A. STREET - DAY
Hunter drives with traffic.
EXT. HUNTER'S APARTMENT - DAY
Hunter drives up, parks in the street and climbs out.
He's still thinking about Dee Dee. After a long beat, he
locks his car and moves up the walk. When he's about
ten feet from the door -
ANGLE ON RAOUL
jumping out of the bushes without warning. He's got a gun.
ANGLE ON HUNTER
Freezing. Their eyes meet.
HUNTER
Even you won't get away with this.
OMITTED
TIGHT ON GUN
Firing!
ANGLE ON HUNTER
catapulting backwards... then lying motionless, sprawled
awkwardly on the street.
Raoul moves over Hunter's body. He raises his gun to
finish Hunter off, but a car stopping on the street spooks
him and he races off around the corner.
As Hunter tries to climb to his feet but falls back in pain,
we HEAR Raoul's CAR DRIVING OFF.
LONG DISSOLVE TO
INT. EMERGENCY ROOM - DAY
His right shoulder heavily bandaged, Hunter sits on an
examining table looking impatiently at a nervous YOUNG
BLUECOAT taking a report from him.
BLUECOAT
And then what happened?
HUNTER
(touchy)
I got shot, okay?
BLUECOAT
Just once.
HUNTER
That's right.
BLUECOAT
Could you identify the gun?
HUNTER
Get out of here.
BLUECOAT
Sergeant?
HUNTER
Get out of here!
BLUECOAT
(folding up his
notebook and
edging away)
Why don't we do this a little
later.
And the bluecoat exits quickly. Hunter flexes his injured
shoulder - it's real painful - and shakes his head. Big
Bummer.
DEE DEE'S VOICE
We've got to stop meeting like
this.
Hunter turns...and can't help smiling. Wearing sunglasses,
Dee Dee enters.
HUNTER
She walks, she talks...
DEE DEE
(eyeing the bandaged
shoulder)
Cute, what's under there?
HUNTER
A hole...goes in one side and out
the other.
DEE DEE
Prognosis?
HUNTER
Never play the violin again.
Dee Dee waits for the truth.
HUNTER
(serious)
I'll survive...
(suddenly tender)
How 'bout you?
DEE DEE
(unconvincing)
I'll survive.
HUNTER
You 'n me...quite a pair. This
guy assaults you...
Dee Dee tenses
DEE DEE
(correcting, with
difficulty)
Hunter, he raped me.
He looks at Dee Dee deeply, then nods and continues.
HUNTER
He rapes you, shoots me...
(shaking his head)
and he's walkin' around free.
Makes me puke.
DEE DEE
Captain said you were suspended...
Hunter nods.
DEE DEE
(continuing, shaking
her head)
That you assaulted...
(quieter)
...Raoul?
HUNTER
Took all I could do not to kill
him, then he nails me.
DEE DEE
You know there are no witnesses.
It's your word against his.
Hunter shakes his head unhappily.
DEE DEE
I spoke to whatever his name was
from the State Department.
(shaking her head)
I loved him.
HUNTER
Had to keep remembering he was
on our side.
DEE DEE
(suddenly lost)
What are we going to do?
HUNTER
Hey, this isn't the end of the
world here.
But Dee Dee's not sure.
DISSOLVE TO
INT. PHYSICAL THERAPY - DAY
Hunter's chin deep in a whirlpool working out his shoulder.
DISSOLVE TO
OMITTED
INT. ANITA'S OFFICE - DAY
Her cheeks tear-stained, Dee Dee yells angrily as she paces
in front of Anita.
DISSOLVE TO
INT. PHYSICAL THERAPY - DAY
Hunter works out with weights.
DISSOLVE TO
INT. ANITA'S OFFICE - DAY
Anita sits across from Dee Dee who's wiping away her tears.
DISSOLVE TO
INT. PHYSICAL THERAPY - NIGHT
In a deep sweat, Hunter's doing push-ups.
DISSOLVE TO
INT. ANITA'S OFFICE - DAY
Anita's on the couch. Dee Dee stands at the window. After
a long beat. Dee Dee turns and returns to the chair. She
looks shaken. Anita puts her hand on Dee Dee's to comfort
her.
DISSOLVE TO
EXT. SANTA MONICA MOUNTAINS - SUNSET
TIGHT ON tennis ball. A GUNSHOT. Dirt's kicked up a foot
away.
ANOTHER GUNSHOT. Dirt's kicked up on the side of the ball.
We DOLLY BACK on the deserted housing pad. MORE GUNSHOTS -
we stop at Hunter, barechested with only a small bandage on
his shoulder, in jeans and a shoulder holster, working on
his firing. He SHOOTS again...and still he misses. Hunter
turns his back on the ball, reloads, closes his eyes and
just stands there for a moment, then he opens them again.
HUNTER'S POV (STOCK SHOT)
A red-tailed hawk glides smoothly on the thermals, looking
for his next victim.
HUNTER
whipping around, drawing and FIRING!
ANGLE ON THE TENNIS BALL
jumping in the air. GUNSHOT. The ball jumps again.
GUNSHOT. And again...until the gun's empty.
ANGLE ON HUNTER
reloading...he's on a mission.
FADE OUT
END OF ACT THREE
*************************************************************
PART ONE - ACT FOUR
FADE IN:
INT. CAPTAIN'S OFFICE - DAY
Hunter stands in front of the Captain.
HUNTER
Talk to me about the big fat
zero we've gotten from your
friends at the State Department.
CAPTAIN
For one thing, they're not
my friends and they said these
things take time.
HUNTER
Yeah, right.
Hunter turns and heads for the door.
CAPTAIN'S VOICE
Hunter I...
Hunter stops and turns back.
CAPTAIN
I'm on 'em, believe me.
Hunter nods, turns and exits.
INT. SQUAD ROOM - DAY
555-2420 handwritten on a piece of paper. DIALING.
Hunter speaks softly into the phone.
OPERATOR
Consulado de Curaguay.
HUNTER
Raoul Mariano, please.
OPERATOR
I'm sorry, Senor Mariano's
is no longer here.
HUNTER
(after a beat,
winging it)
'This is Appel Jewelers...we've
finished repairing his watch.
OPERATOR
If you'll just deliver...
HUNTER
(overlapping,
aggressive)
Hey, wait a minute. Who's gonna
pay me? This some kind of rip-off?
OPERATOR
Sir, Senor Mariano has been
recalled to San Pablo. If you
bring the watch by, I'm sure we
can arrange payment.
HUNTER
Thank you very much.
INT. SQUAD ROOM - DAY
In jeans and a t-shirt Hunter stands with the detectives
around the briefing door.
HUNTER
Hey, Vinnie...
ANGLE ON DETECTIVE ONE
moving away from the coffee table.
HUNTER
We know you're not putting in any
coffee money, Vinnie, we all
know it.
Vinnie looks to see if there's general agreement. It's
about half and half.
VINNIE
Hunter, I always put money in.
HUNTER
(shrugging in
disbelief)
Whatever you say.
And Hunter heads off.
VINNIE
Hey, you can't just make an
accusation like that...
The Captain joins them.
CAPTAIN
See you in a week. Hunter, and
take care of that shoulder.
HUNTER
(rubbing his
shoulder)
Physical therapist said fishing
was the perfect therapy... I'm
hoping my insurance is gonna pay
for this whole little escapade.
(a beat)
I may never come back.
CAPTAIN
Don't build up my hopes.
INT. DEE DEE'S HOUSE - LATER THAT DAY
Dee Dee sits across from Hunter. Hunter is smiling.
HUNTER
You'd love Miguel. He's San
Marcos' most colorful fishing
captain. He's got this beyond
broken down boat, like out of
"African Queen" or something.
(smiling)
But that sucker knows where the
fish are.
Dee Dee smiles and shakes her head.
HUNTER
(suddenly tender)
Hey, is my leaving okay?
DEE DEE
(tough)
No sweat.
HUNTER
Yeah?
She smiles and nods. They look at each other a little
unsurely, then Hunter puts his arms around her, hugs her
comfortingly, then moves to the door and exits. Dee Dee
double locks it after him. Suddenly alone, she doesn't
look quite so tough.
EXT. HOT DOG STAND - NIGHT
Carl and Paulie, flower children turned dealers at middle
age, eat dogs 'n' fries and brew.
CARL
I'm tellin' you, Paulie, it's a
monster...
Suddenly Carl stops. Paulie, sitting across from him
doesn't understand.
PAULIE
What?
But in a flash Carl's off his stool and scrambling away.
Paulie whips around.
PAULIE'S POV
on Hunter descending. Paulie just escapes Hunter's grasp
and, knocking over a table and chairs, hurtles the half
wall and takes off. Hunter's right behind him.
HUNTER
Paulie, wait!
EXT: PARKING LOT - NIGHT
Paulie races between the cars. After a zig-zag chase,
Hunter dives over the hood of a car and snares him.
PAULIE
I ain't done nothin' man, I'm
clean.
HUNTER
Relax, Paulie, this isn't a bust.
PAULIE
(cowering)
What do you want?...I'm tellin'
ya I'm clean. I've been clean
for a couple years. Ask anybody.
HUNTER
Paulie, be cool. I just need to
play a little "Where Are They Now?"
Catching his breath, Paulie looks at Hunter suspiciously.
HUNTER
You used to fly bales out of
South America, didn't you?
PAULIE
I don't know nothin'.
HUNTER
Hey, Paulie, I don't remember you
bein' so wired.
PAULIE
Hey, you come bustin' in on me...
HUNTER
Just renewin' old acquaintances.
Paulie, relax...
(after a beat)
I need a plane in Curaguay, in
San Pablo.
(after another beat)
It's not police business, it's
personal. Okay?
After a beat Paulie nods.
PAULIE
There was a guy...I haven't heard
from him for a couple years...he
flew out of Curaguay.
(smiling)
Sweet buds.
(thinking)
Jimmy Cracklin!
(laughing)
He took a lotta heat for that
name I'll tell ya.
HUNTER
Where do I find him...
PAULIE
(laughing)
Nearest cathouse.
Hunter waits.
PAULIE
Used to hang out at a gringo bar.
the U.S.A. Bar in San Pablo, but
now who knows.
HUNTER
Thanks, Paulie.
(helping Paulie up)
I owe you one...
STOCK SHOT
A HUGE 747 LIFTS OFF
STEWARDESS' VOICE
Welcome to Flight 212 non-stop
from Los Angeles, California to
San Pablo, Curaguay. Our
estimated flight time, eleven
hours.
As she repeats it in Spanish, we:
DISSOLVE TO
EXT. POLICE STATION - DAY
Dee Dee parks on the street, climbs out of her car, looks
around hesitatingly, then moves inside.
INT. SQUAD ROOM - DAY
Noticeably tight. Dee Dee enters, takes a deep breath,
then starts out across the room. Lots of eyes are on her
and she knows it. A LATINO DETECTIVE smiles.
DETECTIVE
Nice havin' you back, McCall.
Dee Dee smiles. Detective One holds out his hand.
DETECTIVE ONE
Good to see you.
Dee Dee shakes hands and noticeably relaxes.
CAPTAIN'S VOICE
McCall!
INT. CAPTAIN'S OFFICE - DAY
Dee Dee enters- The Captain's handing a stack of files to
a bluecoat.
CAPTAIN
Thank you. Finer. Good job.
The bluecoat smiles and exits.
CAPTAIN
How you feelin', Sergeant?
DEE DEE
A lot better, sir, thank you.
CAPTAIN
(awkward)
Terrible thing...I'm sorry.
Dee Dee nods and averts her eyes.
CAPTAIN
You can take as much time as you
want comin' back.
DEE DEE
I'm back.
Captain's surprised.
DEE DEE
Creeps out there stopped killing
each other?
The Captain smiles, then suddenly gruff:
CAPTAIN
Stop wastin' time, Sergeant, and
get to work.
Dee Dee smiles and exits.
INT. SAN PABLO INTERNATIONAL AIRPORT - DAY
A flock of travelers move through the busy terminal.
Looking tired and a little disoriented, Hunter moves up
to a rental car booth.
HUNTER
Excuse me...
The young woman ATTENDANT smiles and shakes her head.
ATTENDANT
No hablo ingles, Senor. Lo siento
mucho.
Hunter smiles and moves on. He motions to a uniformed
YOUNG MAN to help him, but he's ignored. An elderly
PERUVIAN WOMAN bumps into Hunter, knocking the suitcase
out of his hand.
HUNTER
Sorry...
The old woman smiles a coca-stained smile and continues
toward the gates.
EXT. SAN PABLO AIRPORT - DAY
Now clutching a pocket dictionary, Hunter exits and is
immediately surrounded by four PRE-TEEN STREET KIDS in
t-shirts, shorts and running shoes. BOY ONE pushes the
smaller boys away.
BOY ONE
Esta buscando un guia,
Senor?
Hunter doesn't understand.
BOY TWO
Cualquier cosa que quiere,
Senior. . .Soy su hombre.
Hunter waves for a cab, but it roars by him.
HUNTER
(to dispatcher,
straight from the
dictionary)
Yo ness-ce-see-tow un tak-see?
But the Bell Captain's helping a well-dressed cosmopolitan
couple and ignores him.
IGNACIO
Hey, dude.
Hunter turns. It's the smallest of the boys...but the
smartest.
IGNACIO
(proud)
Cadillac Seville. Bruce
Springsteen.
HUNTER
You been seein' too many American
movies, kid...
(pointing to a
cab whizzing by)
I need a cab...
IGNACIO
No problem.
And Ignacio moves out into the street.
ANGLE ON
a cab heading straight for Ignacio who waves his arms
wildly. The cab doesn't slow. Ignacio plants his feet.
He's not moving.
The cab SCREECHES to a stop inches in front of Ignacio
who runs around the side, opens the door and motions
grandly for Hunter to get in.
INT. CAB - DAY
Hunter smiles at the ballsy Ignacio.
DRIVER
Adonde, tipo iisto?
IGNACIO
(to Hunter)
Wanna party?
HUNTER
(shaking his head)
Hotel, hotel.
Ignacio gives Hunter a quick Dunn and Bradstreet then;
IGNACIO
Al Hotel San Pablo, pronto...
o no te dare propina.
The driver gives Ignacio a dirty look then floors it.
IGNACIO
(holding his hand
out to shake)
Ignacio Fortuna Mutaco...
HUNTER
Richard Farragut McPherson.
And they shake.
IGNACIO
Senor McPherson, you lucky dude,
you know that?
HUNTER
Yeah, I bet.
IGNACIO
I show you San Pablo you never
forget.
HUNTER
(exhausted)
I just want a hotel and a soft bed.
EXT. SAN PABLO HOTEL - DAY
The cab pulls up and lets Hunter and Ignacio out.
HUNTER
Hey, thanks.
And Hunter gives Ignacio a few small bills. Ignacio
counts it, then bows in appreciation.
HUNTER
See ya 'round.
IGNACIO
Hasta la vista, Senor McPherson.
And Hunter enters the hotel.
INT. SQUAD ROOM - DAY
A PRISONER grapples with two OFFICERS before he's subdued
and roughly hustled out. Dee Dee pours herself a cup of
coffee then heads toward her desk.
ANGLE ON
Moving in from the street, Detective One puts his hand
gently on her shoulder. Dee Dee flinches away from the
touch, drops her coffee. Her eyes are wild with fear,
her face drained of color. When she registers Detective
One, she sags in relief.
DETECTIVE ONE
What? What's wrong?
DEE DEE
Sorry...
DETECTIVE ONE
(confused)
No, I'm sorry...really.
They both lean down to clean it up.
DETECTIVE ONE
Can I get you more coffee?
DEE DEE
Think I'm jumpy enough.
And she moves to her desk and sits. Her hands are shaking
so much she puts them into her lap. A WOMAN DETECTIVE
moves to her.
DETECTIVE
(concerned)
You okay, honey?
DEE DEE
(sarcastic)
I'm great.
DETECTIVE
Anything I can do?
DEE DEE
I'm fine, really, thanks.
The Detective nods. Clearly Dee Dee isn't. The Detective
reluctantly moves away. After a beat. Dee Dee looks down;
her hand's trembling. Dee Dee shakes her head, stands,
moves to Hunter's Rolodex, fingers through the messy,
handwritten cards until she finds the one she's looking
for, then looks around.
HER POV
On the Captain's office...it's empty.
BACK TO SCENE
She walks across to the Captain's office, enters and closes
the door behind her.
INT. CAPTAIN'S OFFICE - DAY
DIALING. Rolodex card reading: MIGUEL'S FISHING SAN
MARCOS - 011-525-555-5465.
MIGUEL'S VOICE
Si bueno?
DEE DEE
(into phone)
I'm looking for Rick Hunter.
MIGUEL
Soy Miguel.
DEE DEE
Do you speak English?
MIGUEL
Si, yes...
DEE DEE
I'm looking for Rick Hunter.
MIGUEL
Yes, yes...not here. No esta
aqui.
DEE DEE
When'll he be back...?
MIGUEL
Not, here... not here... estupida.
DEE DEE
Rick Hunter's not there?
MIGUEL
That is right, Senorita. Not
here...long time not. Since six,
seven months.
And the telephone's slammed down. Dee Dee hangs up the
phone slowly. Her eyes blink with thought... then she
realizes Hunter's gone to Curaguay to get Raoul and she
can't believe it.
INT. SAN PABLO HOTEL - DAY
Big city. Hustle bustle. In a white sport shirt, shorts
and running shoes, Hunter enters the lobby and puts on his
sunglasses. The first thing he sees...Ignacio
IGNACIO
What's shakin', dude ?
Hunter moves toward the door. Ignacio's with him step
by step.
IGNACIO
Looking for a good time? No
problem.
HUNTER
Thanks, I can handle it.
RENTAL ATTENDANT'S VOICE
Senor McPherson?
The ATTENDANT hands keys to Hunter, who nods and moves
out the door.
INT. CAR - DAY
Hunter slides behind the wheel and fires it up. Ignacio
jumps in the passenger side.
IGNACIO
I be official guide...no charge.
Hunter looks at him.
IGNACIO
(explaining)
We pals, dude.
Hunter smiles and pulls away from the hotel.
HUNTER
Hey, where'd you learn American?
IGNACIO
U.S. Air Base, you know, "Death
From Above."
HUNTER
Right.
Ignacio runs his hand over the dashboard.
IGNACIO
Classe alta.
(turning to Hunter)
What you wanna do? I know San
Pablo...
(pointing to the
back of his hand)
Like back of hand.
And he turns on the radio and tunes it into AMERICAN ROCK.
Hunter studies him, then:
HUNTER
Ig...
Ignacio smiles at the nickname.
HUNTER
I have important business, some-
thing valuable to protect.
(in movie Spanish)
Comprendes?
Ignacio nods.
HUNTER
I'm going to need...
(carefully)
a gun.
Hunter pantomimes shooting a handgun. Ignacio lights up.
IGNACIO
Uzi? .357 Magnum? M-16?
Bazooka?
HUNTER
A pistol.
IGNACIO
Pistola. No problem.
HUNTER
But not from a store, no license,
no big deal?
Ignacio understands perfectly. He motions for money.
HUNTER
You don't buy the gun. You
just take me to it okay?
IGNACIO
Okay.
INT. SQUAD ROOM - DAY
In a hurry, the Captain beelines, head down, across the
squad room. Amazingly, everyone in his path just manages
to jump out of the way before they're steamrolled.
DEE DEE'S VOICE
Captain?
The Captain pulls up. Dee Dee joins him.
CAPTAIN
I've got fifteen seconds, McCall.
DEE DEE
(tentative)
I think you were right, sir...I...
I do need a little more time off.
I'm having flashbacks.
The Captain doesn't understand.
DEE DEE
(shaking her head)
Involuntary flashes of what
happened...my heart starts beating
fast, I get rushes of adrenalin,
of fear. I'd like to take a week
sick leave.
CAPTAIN
(softening)
Smart decision, McCall. Be at
your best. Take as much time as
you want.
(sympathetic)
And get better, huh? We need you
around here.
(turning toward his
office)
Terwilliger, I want to see you!
EXT. SAN PABLO - THE OTHER SIDE OF THE TRACKS - DAY
Too loud SPANISH MUSIC, poverty. People in the streets.
Hunter's rental car parks at the curb. Hunter and Ignacio
climb out, then Hunter follows the boy into a small cafe.
OMITTED...
INT. HALL - DAY
SPANISH MUSIC O.C. Ignacio leads Hunter through the dingy
hallway.
They stop and Ignacio KNOCKS at a door. The dingy hallway's
so small Hunter has to crouch down. Ignacio smiles up at
him.
HUNTER
Right, I know, no problem.
The door opens and SENOR, an old man with a patch over his
eye and years of machining grease under his split finger-
nails.
IGNACIO
(very respectful)
Buenos Dias, Senor.
INT. SMALL ROOM - DAY
Senor motions Ignacio and Hunter in. A wary Senor never
takes his eyes off Hunter. He motions them to sit in the
small room lit by candles and a few amber bulbs. He sits
behind the workbench crowded with tools and gun parts;
barrels, chambers, triggers.
IGNACIO
Senor, mi amigo quiere una
pistola.
Senor nods, reaches for Hunter's hands and looks at them.
Then he looks into Hunter's eyes. When Hunter meets his
studious eye head on, Senor smiles a gold-toothed smile
and disappears behind a curtain. Hunter looks down at
Ignacio who motions everything's fine. Senor moves out
behind the curtain carrying two bundles wrapped in cloth.
He lays them down on the work bench and unwraps the first:
a machine grey 9MM semiautomatic shines in the amber light.
Hunter waits for the second. Senor unwraps the second -
it's a gigantic .45 short... Hunter points to it...Senor
smiles, and motions that Hunter can pick it up. Hunter
does, checks the chamber like a pro, then hefts it...Senor
smiles...as does Ignacio...as does Hunter.
Iggacio struts out like early Cagney and climbs into the
car with Hunter.
INT. CAR - DAY
As Hunter drives away, Ignacio hefts the giant .45 short
with a proud grin.
IGNACIO
Classe alta; classe altisima.
INT. DEE DEE'S HOUSE - NIGHT
A handwritten list of airlines. The first three are crossed
out. PULL BACK to reveal Dee Dee on the phone in her living
room. That look of strength and determination is on its
way back.
DEE DEE
(into phone)
Sergeant McCall, Badge Number two-
fifty-seventeen. Call back the
Metro Division, Captain Wyler if
you want to verify...yes...
official police business...Rick
Hunter...leaving L.A., I don't
know the destination, on the
twenty-first or second. No, I
don't. Thank you.
She doodles as she waits.
INSERT ON DOODLE
It's a figure. It's agitated, angry, jarring. Dee Dee
crosses it out quickly. The nightmare isn't over yet.
DEE DEE
Yes?
She writes: FLIGHT 212 SAN PABLO 21ST.
DEE DEE
Thanks a lot. Thanks a lot.
When's your next flight to
San Pablo?
TO BE CONTINUED-
FREEZE FRAME
FADE OUT
END OF ACT FOUR
*************************************************************
PART TWO - ACT ONE
DISSOLVE TO
FADE IN
RECAP OF PART I
EXT. SAN PABLO - DAY (STOCK)
A sweeping panorama of the city sprawling under the southern
sky.
TITLE: SAN PABLO, CURAGUAY
EXT. SAN PABLO STREET - DAY
A tropical day. BLARING MUSIC from the bars compete for
customers. The sidewalk's filled with strollers. Hunter
and Ignacio move around the corner then Ignacio points to
the U.S.A. BAR.
IGNACIO
There, Senor. U..S.A. Bar.
HUNTER
Thanks. See ya around.
IGNACIO
Tomorrow? What time?
HUNTER
(handing him a
few bucks)
No...this is it, it's over, fini.
Thanks for everything. Bye.
And Hunter heads into the bar.
INT. U.S.A. BAR - DAY
JACKSON BROWNE FROM THE JUKE. Photos of America. American
beer displays... it could be Tulsa. The sound of Americans
talking baseball and centerfolds. Hunter sits at the end of
the bar. DUFF, the Bartender, a twenty-year too old surfer.
DUFF
(shitkicker)
What'll it be?
HUNTER
(relieved)
American.
Duff smiles.
HUNTER
Have you noticed everyone around
here speaks Spanish?
DOFF
Buddy, we speak pure U.S.A. here.
Hunter smiles and lays a twenty on the bar.
HUNTER
(loving it)
Beer, cold and American.
Duff moves to the freezer. TERI, a just-over-the-hill
stew sits with her friend BABS two stools from Hunter.
TERI
We know every good lookin' American
in San Pablo...except you.
(holding out her
hand)
Teri Trelawney.
Hunter turns and they shake.
TERI
And this is my friend Babs.
(PAGE 3 IS MISSING)...
HUNTER
Where can I find him?
DUFF
In a lot better bar than this.
Hunter waits for more. It's gonna be a long wait. Teri
jumps in.
TERI
I know about that guy - he's
major trouble: raped some girl a
couple years ago, wife committed
suicide. Papers said it was
murder...front page stuff. The
papers down here call him "El
Principe Diablo"...The Devil Prince.
But who's gonna arrest him?
Daddy's Internal Security Chief...
a real sonuvabitch, too. Torture
squads, people disappearing, the
whole shot.
HUNTER
You know where he lives?
Teri shakes her head. Hunter turns to Duff.
DUFF
In the Colonia District on Huego
Street, I think.
HUNTER
You "think"?
DUFF
That's right.
After a beat. Hunter stands.
HUNTER
(to Teri)
Thanks.
(to Duff, re the
twenty dollars)
That's to pay for her tab.
(PAGE FIVE MISSING)
HUNTER
With my money.
IGNACIO
I have lots of money already.
I save all I don't give to...
(softer)
Mi madre...
(pointing)
There.
THEIR POS
a huge adobe mansion behind a high wall. It's a fortress
designed as a house. MARIANO in gleaming brass is on the
gate.
TIGHT ON HUNTER
studying it. Tough one.
HUNTER
Okay, Ignacio...
(handing him cash)
See ya 'round.
IGNACIO
You 'spect me to walk all way
back?
HUNTER
Quit the con...it's only three
miles.
IGNACIO
(shaking his head)
Senor...no money for the bus?
Hunter shakes his head and hands him another dollar.
HUNTER
(affectionately)
Now get outta, here, you little con
man.
IGNACIO
Si, Senor, si.
DISSOLVE TO
EXT. RAOUL'S HOUSE - LATER THAT DAY
The gates swing open and a lead car filled with burly
security types with radio wires in their ears leads a
limousine with GENERAL MARIANO, a distinguished man in a
quasi-military uniform out onto the street. As they ROAR
past, we HOLD ON Hunter surveilling the house from around
the corner. He doesn't follow.
INT. RENTAL CAR - DAY
Hunter's .45 short and a pair of binoculars on the passenger
seat. Hunter's scrunched down behind the wheel. He checks
the rear view mirror.
ANGLE ON REAR VIEW MIRROR
A security vehicle is stopping right behind his car.
ANGLE ON HUNTER
whipping around in his seat.
HUNTER'S POV
on the three large security men climbing out.
ANGLE ON HUNTER
sliding the gun under the seat, then opening the door and
climbing out.
The LEADER of the men steps forward. His hands caress his
baton. The other two men have their guns trained on Hunter.
LEADER
Step out of the car, Senor
McPherson.
HUNTER
What's the problem...I'm an
American citizen.
LEADER
(bad English)
Passport, Senor.
(PAGE 8 IS MISSING)
Hunter's first to reach it. But as he grabs it and turns
to the security men, the Leader punches him. The gun goes
flying and Hunter returns the punch. The Leader's down.
Hunter decks one of the other men, then delivers a lethal
kick to the other's groin. Hunter tenses for the next
assault, but the security men are savaged. Hunter races
for his car and hops in.
ANGLE ON SECURITY MEN
leveling guns.
ANGLE ON HUNTER
taking off in his car.
ANGLE ON SECURITY MEN
FIRING!
ANGLE ON HUNTER'S CAR
The back window SHATTERS but Hunter makes it around the
corner and away.
INT. U.S.A. BAR - LATER THAT DAY
"SYMPATHY FOR THE DEVIL" on the juke. Much of the same old
crowd, minus Teri. There's LAUGHTER and GOSSIP in the air.
ANGLE ON HUNTER
entering. He looks like shit. He moves to the bar but
doesn't sit...it looks like it'd be too painful. When
Duff sees him he flinches, but it's too late because with-
out warning. Hunter reaches across the bar, grabs him by
the collar of his shirt and drags him back over the bar
so they're face to face.
HUNTER
(barely audible)
Look you poor excuse for a human
being, someone's got a big mouth
around here. It's between you
and your lady friend...
(like ice)
...I'm bettin' it was you.
And he tightens the shirt around Duff's neck.
DUFF
(strangling)
Hey, man, I had to. You don't
understand. I live here...I
gotta get along.
Hunter looks at him with disgust then throws him back across
the bar.
HUNTER
Jimmy Cracklin get thirsty?
DUFF
(eager to please)
Matter of fact he did.
And Duff takes a card off the cash register and hands it to
Hunter, who puts it in his pocket and starts for the door.
HUNTER
One more question. You work here
or own the place?
DUFF
Own it.
HUNTER
Good.
And he picks up a stool and heaves it over the bar into the
mirror and glasses. As the bottles and glasses cascade
shattering down. Hunter exits.
DISSOLVE TO
EXT. SAN PABLO HOTEL - NIGHT
Hunter exits with his suitcase and traveling bag and looks
around. Sure enough, Ignacio appears from nowhere.
HUNTER
I've been looking for you.
PAGE 11 MISSING
ANGLE ON JIMMY
moving out to meet Hunter
BACK TO SCENE
JIMMY
Jimmy Cracklin.
They look at each other cautiously, then shake hands.
JIMMY
Where do you know Paulie from?
HUNTER
He was witness to a murder I was
workin' on.
JIMMY
A cop.
HUNTER
But this boogie's personal. I
understand you've got wings. I'm
gonna need a lift out of here,
over the border to Colombia.
How much?
JIMMY
(after a beat)
Why should I trust you?
HUNTER
'Cause I'm a big payday. How
much?
JIMMY
Just you?
HUNTER
(nodding)
But I'm not talkin' Downtown
Airport. There's a chance it'll
be swarming with cops. The
operative word here is "discreet".
JIMMY
(having second thoughts)
So you're gonna have heat on you?
HUNTER -
No, I'm a big payday 'cause you're
gonna help me avoid the heat.
JIMMY
(thinks that over)
I got a strictly illegal chopper
stashed about a hundred and fifty
miles from here, you get to the
chopper and we're in business.
HUNTER
Just point the way. How much?
JIMMY
A grand...
It's Hunter's turn to study Jimmy. Jimmy meets his look.
JIMMY
You gimme the money...I'll get
yout outta the country.
HUNTER
(pulling out his
traveler's checks)
I'll give you a thousand in
traveler's checks...they're good.
JIMMY
I know they're good...'cause if
they aren't...
(smiling)
I won't be there.
Jimmy looks over the checks.
JIMMY
Hey man, these aren't signed!?
HUNTER
That's right. I'll sign 'em in
the chopper.
After a beat Jimmy nods, hunkers down and unfolds a map.
INSERT ON
In the middle of the map is a red pencil circle.
TIGHT ON JIMMY
JIMMY
Here it is.
TIGHT ON HUNTER
HUNTER
I'll be there the day after
tomorrow.
EXT. COLONIA DISTRICT - THE NEXT MORNING
Cars line the street near the Mariano mansion. Down the
street there's a funky van, two motorcycles, but no
Hunter.
ANGLE ON A SLEEK PANTERA
driving to the gates, waiting while they swing open -
Raoui is driving - then pulling in.
INT. FUNKY VAN - DAY
Hunter sips coffee, eats a pastry and looks out the crack
in the curtains.
HUNTER'S POV
The gate at the Mariano mansion remains closed.
DISSOLVE TO
INT. SMALL CAMPER - NIGHT
Hunter sits looking unhappily out the curtains.
HUNTER'S POV - NIGHT
A car moves down the street with its lights out, then stops
behind a truck across from Hunter's camper. The figure
scrunches down behind the wheel.
TIGHT ON HUNTER
competition.
INT. SMALL CAMPER - NIGHT
Hunter pulls out his .45 short, slides across to the
passenger side, quietly opens the door, crawls out and
disappears into the darkness.
EXT. COLONIA DISTRICT - NIGHT
Almost invisibly. Hunter moves along a high hedge, crosses
the street in the shadows, then moves toward the other car.
He ducks down as he reaches the truck then, without a sound,
moves up the side of the car, past the rear door, to the
open window...to Dee Dee!
DEE DEE
I've been expecting you.
HUNTER
(in disbelief)
What in hell are you doing here?!
DEE DEE
How else did you expect me to find
you? No "Hunter" went through
customs. I had no other place to
look.
HUNTER
Well, you better look for the
airport...'cause I want you on
the next plane out of here.
Dee Dee shakes her head.
DEE DEE
No...not until I stop you.
Hunter turns away.
DEE DEE
(her voice trembling)
You...you can't kill Raoul.
Lights on the road.
HUNTER
Duck.
They both duck down as a Security vehicle on patrol rolls
by. A flashlight beam plays over the cars. The vehicle
drives on.
HUNTER'S VOICE
Let's get out of here.
EXT. PALMA PARQUE - NIGHT
Magnificent palms. Hot. People lie on the grass trying
to keep cool. ROCK MUSIC booms out of ghetto blasters.
Hunter and Dee Dee walk slowly past the fountain jammed
With SQUEALING KIDS.
DEE DEE
Hunter, you're a cop. You can't
act outside the law.
HUNTER
What law? In the U.S., one rape,
one rape and murder and one
attempted murder. Here in
Curaguay he raped a girl and his
wife was a very questionable
suicide. And that's what we know
about, the tip of the iceberg...
'bout time someone melted him down.
ANGLE ON HUNTER AND DEE DEE
walking under the strings of lights into the park.
DEE DEE
(shaking her head)
Hunter...
HUNTER
(overlapping)
Hey, this guy's the one outside
the law, not me.
DEE DEE
You think I haven't thought of
blowing the guy away myself...
You know how many times I've
wanted to... no one wants revenge
more than me. But we took an
oath remember, when they gave us.
our badges?
(pleading)
I want this all to end, now,
right now.
HUNTER
You're not his only victim.
Dee Dee shakes her head.
DEE DEE
Let it go, Hunter, please.
HUNTER
You think this guy Mariano's
raped his last woman? Committed
his last murder? He's probably
just getting started. This guy's
a plague...
DEE DEE
(agitated)
There must be something else we
can do...
(thinking out loud)
We could go to his father - he's
head of Internal Security down
here - and confront him, you
know, threaten him with goin' to
the press.
HUNTER
McCall, what press? This is
Curaguay.
DEE DEE
Maybe his father doesn't know what
a...a pig Mariano is. Maybe he'll
listen to one of his son's victims.
Hunter's not convinced.
Hunter's not convinced.
DEE DEE
(upset)
But you can't just assassinate
him!
HUNTER
(seeing her distress)
I guess you could try going to his
father.
Relieved, Dee Dee smiles. At least for now she's talked
him out of it and can relax. They sit on a brick wall.
HUNTER
You doin' okay?
DEE DEE
(nodding)
The weird thing is, every time I
start feeling like my old self,
I have one of these flashbacks.
Knocks me for a loop. It's as
if someone turns a movie on in
my brain...like I'm not in
control...like I'm...crazy or
something.
HUNTER
(lightening it up)
Why should you be different than
the rest of us?
She LAUGHS.
DEE DEE
Hey, listen, you helped a lot...
Thanks for being there...and
thanks for being my friend.
(smiling)
I remember you...
They look at each other... they're old friends.
OMITTED
INT. HOTEL BATHROOM - NIGHT
Gun parts all over the counter. TIGHT ON hands expertly
cleaning the .45 short with a make-shift kit. We PULL BACK
to REVEAL Hunter working on the gun and in the background,
asleep on the couch under a light blanket, Dee Dee. A
KNOCK at the door.
INT. HOTEL ROOM - NIGHT
Hunter moves to the door, opens it and motions for Ignacio
not to make a sound, then he motions him inside. Ignacio
enters, sees Dee Dee on the couch, moves over to inspect
her then he turns to Hunter and, man-to-man, winks. Hunter
ignores the sexism and motions to the bathroom.
INT. HOTEL BATHROOM - NIGHT
Hunter unfolds Jimmy's map as quietly as possible.
INSERT
Jimmy Cracklin's map. Hunter points to the two red lines.
HUNTER
Can you get me there?
IGNACIO
No problem.
HUNTER
How long?
Ignacio leans over the map.
IGNACIO
One day and half. Tough roads...
(shaking his head)
...very tough.
END ACT ONE
*************************************************************
PART TWO - ACT TWO
FADE IN
EXT. SAN PABLO - DAY
A RIOT of horns, cars, trucks and gridlocked commuters
yelling at the top of their lungs about the ancestry of
the drivers in front of them. Dee Dee and Hunter exit the
hotel. Hunter looks around and shakes his head.
HUNTER
When I need that little...
Dee Dee freezes.
CUT TO
FLASHBACK (SLOW MOTION)
Extremely tight on Raoul coming at her.
CUT BACK TO
TIGHT ON DEE DEE
She's white, perspiring, breathing heavily. Hunter moves
to her.
HUNTER
(concerned)
Sit down.
She sits and catches her breath.
HUNTER
Flashback?
She nods.
IGNACIO'S VOICE
What's shakin', dude?
HUNTER
(to Ignacio)
Hold on.
(to Dee Dee)
You okay?
Dee Dee nods, she's recovered.
HUNTER
Scary stuff.
Dee Dee nods.
HUNTER
Okay?
She nods.
HUNTER
I'm going to go to the U.S.
Embassy and see if I can rattle
their cage a little.
DEE DEE
(to Hunter)
Be nice to them.
HUNTER
Me? Of course. Say "hello" to
General Mariano for me.
Dee Dee smiles and hails a cab.
EXT. COLONIA DISTRICT - DAY
Across the street and up the block from the Mariano mansion
Ignacio leans down at the curb trying to fix his bike. He
keeps glancing over at the gates. When a Mercedes drives
out, Ignacio checks it out, then goes back to his bike.
Raoul's Porsche drives out and heads up the street. He's
alone.
ANGLE ON IGNACIO
climbing on his bike, peddling up the block.
ANGLE ON HUNTER
in a new rental car, as Ignacio rides by, pulling out after
Raoul.
EXT. SAN PABLO BOULEVARD - DAY
Cars move easily. Hunter tails Raoul's Porsche.
PAGE 3 MISSING
SECURITY OFFICER
SenOrita, please come with me.
And he escorts her through the double doors.
EXT. INDUSTRIAL DISTRICT - DAY
The Pantera moves down the deserted street.
OMITTED
EXT. GOVERNMENT BUILDING (STAIRWELL) - DAY
A SECURITY MAN escorts Dee Dee up the curving stairway
and away.
EXT. OIL FIELD - DAY
The Pantera parks at the edge of the open field.
HUNTER
Out, dirtbag! And if you feel like
makin' a run for it, give it a try.
Please.
Raoul is careful as he opens the door. Hunter gets out the
other side.
RAOUL
Touch me and you'LL never leave
Curaguay alive.
And Hunter does touch him...he walks around the front then
slams Mariano up against the car, frisks him and comes up
with a revolver.
HUNTER
(pocketing the gun)
Move!
And Hunter shoves him away from the car.
RAOUL
Please. I give you money.
But Hunter pushes him out into the field.
MISSING PAGES 24 AND 25
GEN. MARIANO (Cont'd)
(and he smiles)
... she say no, but she mean yes.
(LAUGHING to the
Colonel, then turning
back to Dee Dee)
You were with Raoul, si? The
question to me: How much you say
no...
(smiling again)
but really mean yes?
Dee Dee's whole body is shaking.
DEE DEE
Your son raped me, dammitall!
He almost killed me!
The General shrugs. He's become bored with the subject.
Dee Dee stares him down.
DEE DEE
General, I misjudged you and I
misjudged your country. I didn't
believe the stories about this
place. I thought I'd find a man
concerned with justice and doing
the right thing for his son, but
instead I find a man as vicious
and corrupt...
General Mariano's absolutely expressionless face stops her.
The General turns away then moves on. Colonel Bragia
quickly falls into step.
ANGLE ON DEE DEE
Watching them and shaking her head sadly.
EXT. OIL FIELD - DAY
The field is desolate, its black and grimy grasshoppers
pump anonymously in the background. With his gun trained
on Raoul, Hunter shoves him toward a spot where some
empty oil barrells have been left.
RAOUL
You can't just kill me...like this
... in cold blood.
HUNTER
Yeah? Am I forgettin' something?
Isn't that what you tried to do to
me back in L.A.? But you can stop
sweatin', you're in luck...'cause
in America we don't kill people
in cold blood, we like to play
fair, give a guy a chance.
Hunter pulls Raoul's revolver out and places it on a
barrel.
HUNTER
Now you got a chance, a nice fat
chance.
Raoul eyes the gun.
RAOUL
No! Escuchame! Tu no puedes
hacer esto... no... no!
Raoul eyes the gun again.
HUNTER
Go on... be a hero.
RAOUL
So you can kill me?
(edging away from
the gun)
I won't do it... no... never!
Hunter shrugs, pulls out his gun and levels it.
HUNTER
Then you can eat it eyes open.
RAOUL
I can pay you anything! Anything!
En el nombre de Dios, hare lo
quo tu quieres.
Hunter spins and rolls.
Raoul FIRES! And misses.
Hunter comes up FIRING!
Raoul's hit.
Hunter FIRES AGAIN...and AGAIN...and AGAIN.
Raoul lays stretched out very dead.
TIGHT ON HUNTER
staring down at the lifeless Raoul.
HUNTER
(mouthing the words)
Works for me.
And he turns and starts out. As he reaches the door a MAN
and WOMAN, attracted by the gunfire, peek in. When they
see Hunter's gun they flee.
INT. HOTEL ROOM - DAY
Dee Dee looks out the window. She's wired. She turns
when she hears A KEY IN THE DOOR. Hunter rushes in, goes
to the closet and pulls out two suitcases.
HUNTER
Pack! We're getting out of here.
DEE DEE
What happened? Where've you been
and what happened?
HUNTER
Will you pack!
Hunter grabs his suitcase.
DEE DEE
You killed him, didn't you?
HUNTER
Yeah, McCall, I killed him...
Now lets get out of here!
Dee Dee runs over and starts packing her suitcase.
EXT. FLEA BAG HOTEL - COURTYARD - DAY
Carrying their bags. Hunter and Dee Dee move quickly down
stairs, across the courtyard and out toward the street.
EXT. FLEA BAG HOTEL - DAY
Hunter and Dee Dee rush out of the hotel. Hunter looks
around.
HUNTER
When I need that kid...
Then as always, Ignacio appears from nowhere.
IGNACIO
Que tal, Senor?
HUNTER
(rushed)
I want you to get my friend
to the airport, pronto.
IGNACIO
No problem.
Dee Dee's shaking her head.
DEE DEE
Problem. We're partners,
remember?
HUNTER
(moving down the
street)
I don't want you involved in this.
DEE DEE
(going after him)
Hunter, I'm involved!
SIRENS In the distance.
HUNTER
We don't have time to argue.
DEE DEE
Than let's go.
Hunter studies her a beat, then nods.
IGNACIO
I go too, Senor.
Hunter stops.
HUNTER
Hey, Iggy, it's gettin' a little
hairy, you know what I mean? You're
a terrific little kid...take care
of yourself, okay? Si?
IGNACIO
But Senor, I show you the
way...without me, you get lost.
The SIRENS get closer.
IGNACIO
(warning)
The fast sand, Senor, quicksand,
alligators, big snakes...
HUNTER
(squeezed)
Okay, come on!
And, they rush for the rental car.
ANGLE ON INTERNAL SECURITY VEHICLES (GOVERNMENT SQUARE) - DAY
moving up the street.
ANGLE ON HUNTER'S CAR
pulling around the corner and stopping behind a few cars
blocked by two frantically waving POLICIA who stop traffic
for a line of speeding Internal Security Jeeps racing
toward the hotel. Hunter, Dee Dee and Ignacio scrunch down
and turn away from the Policia.
OMITTED
INT. HUNTER'S CAR - DAY
Dee Dee turns to Hunter.
DEE DEE
(troubled)
Hunter...tell me what happened.
HUNTER
I walked away from him. I'd
finally faced it - I was bein'
a damned vigilante. So I let
Mariano go, I let him live. Then
the stupid idiot tries to shoot
me in the back.
(looks at Dee Dee)
I guess I knew he would.
DEE DEE
I'm glad he's dead.
WHISTLES
The Policia wave for the traffic to resume.
MISSING THE LAST TWO PAGES OF ACT TWO
*************************************************************
PART TWO - ACT THREE
(THIS ACT IS PIECED TOGETHER FROM TWO APPARENTLY DIFFERENT VERSIONS OF THE SCRIPT, AND I CAN'T MAKE A LOT SENSE OF SOME OF IT. I HOPE YOU DO BETTER. THE TWO PAGES BEFORE THIS ARE MISSING.
And he does.
DEE DEE
(troubled)
What happens when we get back?
HUNTER
Same old thing...cops and robbers
in Lotus land.
DEE DEE
Like nothing happened?
HUNTER
(nodding)
Like nothing happened.
Dee Dee studies him, then,
DEE DEE
You don't have diplomatic
immunity. They'll extradite you.
HUNTER
McCall, this is Curaguay. What-
ever they're going to do to me,
they got to do it now. They
can't afford to go public with
this 'cause they don't want the
truth to come out. If we can
just get across the Border,
they'll forget all about me.
DEE DEE
(dryly)
That's all, just get across the
border?
OMITTED
EXT. COUNTRY ROAD - DAY
Surrounded by three Jeeps, Colonel 3ragia studies the map
then gives instructions to his officers.
COL. BRAGIA
Usamos el camino del rio.
Hunter's car turns in and stops at the old gas pump.
Everyone gets out and stretches. The old man sleeps away.
A beautiful teenaged GIRL exits the store wearing a
ROLLING STONES t-shirt, a simple cotton skirt and, of
course, running shoes. She's clearly annoyed at being
pulled away from her show.
GIRL
Si? Gasolina? Aceite? Agua?
Que?
IGNACIO
(Mr. Big)
Todo la plata no nos importa.
The girl gives Ignacio a tip-to-toe once-over, scowls, then
goes over to the pump.
Hunter's on the pay phone.
HUNTER
Jimmy?
INT. U.S.A. BAR - DAY (INTERCUTS WITH GAS STATION)
MUSIC'S BLARING. Jimmy's very drunk.
JIMMY
Yeah? Speak up, wilya?
Hunter doesn't like the sound of it.
HUNTER
This is McPherson. I'm on my way.
JIMMY
Who the hell is this?
HUNTER
McPherson...Mister a thousand
bucks.
JIMMY
Oh, yeah. We a go?
HUNTER
We're a go. I'm on my way.
JIMMY
I'll be there in two hours.
Hunter hangs up, moves to Ignacio, looks over at the girl,
down at him and winks.
HUNTER
(man-to-man)
Not bad.
Ignacio shrugs...he wouldn't give her the time of day.
Hunter picks up a scuffed-up baseball lying near the pumps,
takes a few steps away then throws it to Ignacio. Ignacio
catches it. He's a natural. He throws it back, and like
generations of men and boys before them, they have a catch.
Dee Dee walks out of the store with another bottle of water,
then stops and smiles.
DEE DEE
(reluctantly)
We gotta hit the-road.
Hunter moves over to the store, lays the ball down and looks
into the open door.
HUNTER'S POV
on the fuzzy TV, SPANISH LANGUAGE NEWSCASTER, then:
NEWSREEL FOOTAGE OF THE WAREHOUSE
the scene of Raoul's murder. There's a ton of emergency
and Policia vehicles and general bedlam.
HUNTER
(turning to Dee Dee)
Probably plottin' to overthrow
the world.
DEE DEE
(whispering)
Isn't this pretty dangerous for...
And she motions to Ignacio. Hunter shakes his head.
HUNTER
(whispering back)
If they catch us, I'm going to say
we kidnapped him. They won't do a
thing with him.
(reluctantly)
Besides we can't find the airstrip
without him.
IGNACIO'S VOICE
You better believe it.
Dee Dee looks at Hunter who smiles.
105A EXT. VALUZAT RANCH - DAY
The heavyset man continues snoozing.
JEEPS O.C.
The man wakes and looks left.
Jeeps barreling toward him. He makes a late move to flee
but the Jeeps power-slide to a stop, troops rush out and
grab him. They hold the man as Colonel Bragia walks to
him.
In the background, the teenaged girl silently escapes the
rear of the store and runs for safety in a shed.
Colonel Bragia faces the man, who tries to cringe away, but
the troops won't let him.
COL. BRAGIA
El norteamericano alto paro aqui
para gasolina, no es verdad?
The heavyset man nods his head vigorously, although he has
no idea what Bragia is talking about.
EXT. COUNTRY ROAD - DAY
The rental car flies over camera up the road.
Hunter drives. Dee Dee's next to him.
DEE DEE
(in disbelief)
You gave this guy Jimmy a thousand
dollars in traveller's checks?
Hunter, all he's got to do is
sign your name and he's on the
beach in Rio.
IGNACIO
Senor, please...
HUNTER
Okay, Iggy.
And Hunter pulls off the road and into deep woods for shade.
EXT. COUNTRY ROAD - DAY
Ignacio bursts out of the car, and disappears into the woods,
The SOUND of a CAR.
ANGLE ON IGNACIO
Much relieved, rejoining them. He's about to speak, but
Hunter puts his hand over his mouth.
THEIR POV
Two Internal Security vehicles ROAR by.
ANGLE ON HUNTER
letting Ignacio go.
HUNTER
Ever get the feeling we're being
chased?
DEE DEE
(scared)
What makes you think that?
IGNACIO
(proud)
If not for me...they get us.
HUNTER
We owe you one.
IGNACIO
(making a note)
I remember that, Senor.
And they move for the car.
DISSOLVE TO
EXT. ROAD - DAY
The road has gotten worse. The rental car moves past a run-down, old Studebaker with two bales of hay sticking out of the trunkless back. A goat has his head out the back window. Hunter's car does a 180° and starts back after it.
INT. CAR - DAY
Dee Dee's hot and unhappy.
DEE DEE
No way am I going to ride in that
thing.
HUNTER
(testy)
They gotta know what we're driving
by now. We'll all ride in that
thing.
EXT. ROAD - DAY
The car moves up next to the Stude and Hunter motions him off the road. They park and head over to the old car.
HUNTER
(over the above)
I'll trade him this car for that.
DEE DEE
You gonna say, "Hey mister, you
wanna buy a rented car? Whatya
doin'. Hunter, rippin' off the
peasants?
Hunter shoots her a dirty look, then gives the run-down Studebaker the once-over.
HUNTER
(to Dee Dee)
The car plus two hundred American...
a fortune for that piece of junk.
Ignacio approaches the OLD MAN who sits a little bewildered-looking in the Stude. They start whispering in Spanish.
DEE DEE
You really trust that kid?
HUNTER
(sarcastic)
Of course!
Ignacio moves back to Hunter.
IGNACIO
Big problem...no deal.
HUNTER
What's he want?
IGNACIO
Your car and...five hundred
American dollars.
DEE DEE
(whispering to
Hunter)
Can I ask where you're getting all
this money?
HUNTER
Out of the bank. Every penny I had.
DEE DEE
I did the same thing. I've got
another thousand if we need it.
HUNTER
(grins)
Well, like you said, McCall, we're
in this together.
(then reluctantly
to Ignacio)
Three hundred, no more.
And he hands three hundreds to Ignacio who moves back to the
old man - more whispering - and again Ignacio returns.
IGNACIO
Problem.
Hunter waits.
IGNACIO
He say four hundred, and he toss
in the goat.
Dee Dee stifles a smile.
HUNTER
(in a hurry)
Okay. Okay, and he can keep his
goat!
DEE DEE
No, we need the goat, and his hat,
too.
(to Hunter)
Great disguise, huh, Hunter?
Ignacio checks with Hunter who nods. Ignacio and the old
man reconvene. The old man looks over curiously at the
odd gringos then turns back to Ignacio and the deal's made.
EXT. COUNTRY ROAD - DAY
Colonel Bragia's vehicle leads two others. When they reach
an intersection, they stop. Colonel Bragia looks at a map
then speaks into a walkie talkie.
COL. BRAGIA
Bloquen el camino en todos los
caminos secundarios.
The second Jeep turns left, the other turns right.
EXT. OTHER ROAD - DAY
The Studebaker, goat and all, moves along.
EXT. ROAD - DAY
The bewildered old man sits behind the wheel of the rental
car as if it were the Space Shuttle.
OMITTED
MISSING PAGE (I THINK)
DEE DEE
(after a beat,
determined)
I'm gonna recover from this whole
thing a hundred percent...a
hundred and ten percent.
Hunter looks over at her and smiles, then we:
DISSOLVE TO
INT. PICK-UP - DAY
Hunter's driving now and the hat looks terrific on him,
too. Dee Dee's riding shotgun and studying the map.
HUNTER
I love drivin' this truck. When
I was a kid I had a fifty-two
Mere convertible...
(smiling)
...with turnpike cruiser skirts,
nosed and decked...
(stopping)
Hello.
HUNTER'S POV
A Policia blockade across the road.
EXT. ROAD - DAY
The pick-up comes to a stop.
INT. PICK-UP TRUCK - DAY
For the first time Ignacio's scared.
DEE DEE
Hunter?!
He floors it!
EXT. POLICIA ROAD BLOCK - DAY
The Policia beGin to take notice as Hunter's truck picks
up speed. Then they panic and scatter!
INT. PICK-UP - DAY
Hunter grips the wheel.
HUNTER
Hold on.
EXT. ROAD BLOCK - DAY
Hunter barrels through the road block, sending chicken cages
and barricades flying in splinters. Chickens SQUAWK around
wildly.
INT. PICK-UP - DAY
The windshield's shattered, the front end's banged up but
they're still cookin' as they take off up the road. Dee Dee
takes a chicken from Hunter's lap and hands it back through
the window.
HUNTER
(patting the dash)
These suckers are made like tanks.
EXT. ROAD - DAY
Colonel Bragia yells at the even more bewildered old man.
After getting nothing, the Colonel turns away angrily.
EXT. ROAD - DAY
The pick-up flat out ROARING up the road.
INT. PICK-UP - DAY
Hunter whips the truck around a corner.
EXT. DIRT ROAD - DAY
The pick-up flies down the one-lane road.
EXT. MAIN ROAD - DAY
The Policia reach the mouth of the dirt road then head in.
But all the old man does is shake his head. Barely able
to control his temper, the Colonel turns away angrily.
EXT. RIVER - DAY
The Studebaker's flat out ROARING toward us along the base
of the cliffs. Suddenly the radiator pops and starts over-
flowing. They pull to a stop and get out. Hunter hands
Dee Dee the gun then opens the hood. Ignacio brings the
water bottle.
HUNTER
We're going to have to let her
cool.
Ignacio moves toward the water. Hunter and Dee Dee sit on
a grassy bank.
HUNTER
I wonder how far behind us they
are?
DEE DEE
If they're setting up road blocks...
(shaking her head)
You know, the weird thing...maybe
it's Raoul being dead...or being
frightened for my life again...
I don't know...but that whole
ugliness in L.A. , you know, it's
fading...
(looking back over
her shoulder)
I guess I've got what's happening now
to think about, not yesterday.
HUNTER
Nice to have you back, McCall.
Dee Dee smiles.
HUNTER
(checking the car)
Let's try it now.
(MISSING THE LAST TWO PAGES)
*************************************************************
PART TWO - ACT FOUR
(THIS PART MAKES MORE SENSE THAN THE LAST ONE, BUT THERE'S A LITTLE BIT WHERE IT'S EVIDENT THAT TWO DRAFTS ARE MIXED TOGETHER. BUT READ IT IF YOU EVER WONDEREDWHAT BECAME OF IGGY).
FADE IN
EXT. DIRT ROAD - DAY
The stand off: Hunter, Dee Dee and Ignacio versus three
Policia officers.
INT. PICK-UP - DAY
Hunter talks out of the corner of his mouth to Ignacio.
HUNTER
Another fine mess you've gotten
us into.
EXT. DIRT ROAD - DAY
The Policia looking at each other unsurely.
INT. PICK-UP - DAY
Ignacio whispers out of the corner of his mouth.
IGNACIO
They're deciding if they are
brave men.
HUNTER
Takin' too long.
And Hunter leaps out of the pick-up, rolls and comes up with
his .45 short leveled.
HUNTER
Too late, I win.
The soldiers throw their arms in the air.
HUNTER
Tell them not to try anything.
Ignacio does. Dee Dee moves over to the Jeep.
DEE DEE'S ANGLE INTO THE JEEP
Food, gas and automatic weapons.
DEE DEE'S VOICE
They've packed everything but
lunch.
Hunter incapacitates the pick-up, then everyone climbs in
the Jeep and they ROAR away leaving the Policia stranded.
DISSOLVE TO
EXT. COUNTRY ROADS - DAY (MONTAGE)
The Jeep drives deeper into the back country.
DISSOLVE TO
EXT. BACK COUNTRY ROAD - DAY
The jeep moves over the rise in the road, then brakes.
REVERSE ANGLE
A two-block town.
HUNTER'S VOICE
We can't risk going through a
town.
INT. JEEP - DAY
Ignacio shakes his head.
IGNACIO
Only other way...there.
?????????????
IGNACIO
No problem...I'm a tough dude, si?
Hunter shakes his head, pulls out his wallet then leans
down...Ignacio looks away.
HUNTER
Sorry kid.
Hunter tries to give him one last tip. But Ignacio won't
take it. Hunter looks away...this isn't easy. Hunter
stands.
HUNTER
(to Dee Dee)
Let's go.
And he starts away.
DEE DEE
What if the Security Police get
him?
Hunter stops and glances over at her.
DEE DEE
Aiding and abetting a homicide,
accessory before and after the
fact, fire arms violations...
Big trouble.
HUNTER
There's no way we can get him
in the country. No way.
Hunter starts away.
DEE DEE
You know, Hunter, Ignacio's
escaping persecution, bodily harm,
incarceration...
(smiling)
I bet he qualifies under our
immigration laws as a political
refugee.
Hunter breaks into a smile.
HUNTER
Works for me.
They put a rope on the goats, take a last look at the
Studebaker which is settling even lower, then they start
trekking downstream through the swampy marsh. After a
short march, they stop at the sound of an AIRPLANE.
ANGLE ON A TINY CESSNA
flying low over the trees toward them.
Hunter and Dee Dee exchange concerned looks.
ANGLE ON THE PLANE
flying closer...ifs khaki colored and flies the Curaguayan
Security Police colors.
ANGLE ON HUNTER AMD DEE DEE
Hunter's yelling.
HUNTER
Run!
ANGLE ON PLANE
As a bomb EXPLODES with a flash and smoke.
ANGLE ON HUNTER
grabbing Ignacio and diving for cover in the high weeds.
EXPLOSIONS!
Dee Dee dives for cover. The goats break free and disappear
forever into the brush.
EXPLOSIONS!
The plane dips lower over them.
The car's rocked by an EXPLOSION!
Dee Dee struggles through the marshlands.
ANGLE ON HUNTER
HUNTER
Come on!
And they scramble to their feet and struggle through sand
and high weeds away from the river |