| HUNTER
"Shoot To Kill"
Written by Terry D. Nelson
ACT ONE
FADE IN
EXT. CITY STREET - SHOPPING DISTRICT - NIGHT (OF DAY #1)
A suburban L.A. version of main street U.S.A. -- various
specialty stores line a prosperous looking street which is
deserted at this late hour. Prominent among the businesses
is a store with a sign reading, "Gillman's Jewelry".
INT. GILLMAN'S JEWELRY - NIGHT
DAVID LANE, stockily built, late-30's, pokes his head out of
a back room, studying the sales area and checking the street
in front. No one in sight. He wears a dark windbreaker,
gloves, and a watch which he checks before returning to the
back room.
INT. GILLMAN'S JEWELRY - BACK ROOM - NIGHT
DOUG ROBERTS, early 30's, is at the door of a safe turning
the combination dial. Like his partner, Roberts wears dark
clothes and gloves. Taped to the door of the safe is an
electronic microphone with wires leading to a battery driven
amplifier no bigger than a Walkman. Roberts wears
headphones and listens to the safe's tumblers as they fall
into place. Lane approaches the safe, stands over Roberts
as he works the combination lock.
LANE
(sotto)
What's takin' so long?
ROBERTS
(sotto)
I can't hear the tumblers.
Lane kneels beside the safe, gestures for the headphones.
LANE
(sotto)
Let me take a whack.
Roberts hands over the headphones. Lane slips them on, turns
the combination lock a few degrees. He hears something and
stops turning the dial.
LANE
(continuing)
Closer than you thought.
Lane turns the safe's door handle and opens it.
THE SAFE
A flashlight beam reveals trays full of watches, rings,
necklaces, earrings, etc.
ROBERTS
(smiles)
We'll make expenses.
LANE AND ROBERTS
begin scooping tray after tray into a plastic bag. When the
last tray is dumped into the bag, Lane ties off the top.
LANE
We're outta here.
Lane stuffs the plastic sack into a gym bag. Roberts peels
the mike off the safe door and drops it, the amplifier and
headphones into the gyro bag.
EXT. GILLMAN'S JEWELRY STORE - REAR ALLEY - NIGHT
Parked in the alley is a small compact car with a badge
decal on the doors. It's a patrol car for a private
security outfit. Inside we find a GUARD, early 60's,
pouring himself a cup of coffee from a thermos. He flicks
on a small portable radio which plays loudly on a call-in
talk show. The guard takes a sip of coffee, notices
something O.C., turns off the radio.
GUARD'S POV - BACK OF GILLMAN'S JEWELRY STORE
Some distance away we see Lane and Roberts climbing down a
fire ladder from the building's roof.
THE GUARD
puts down his cup of coffee, opens the door of his small
patrol car, and hoists himself out. He awkwardly pulls a
gun from his holster.
THE SCENE
as Lane hits the pavement carrying the gym bag. When
Roberts jumps down to the alleyway, the guard steps out of
shadows, pointing his gun at the two burglars.
GUARD
Hey! Hold it right there!
Roberts and Lane exchange a quick glance and without a word
take off at a run in opposite directions. Caught unaware,
the guard doesn't know what to do.
GUARD
(continuing)
Stop!
Roberts dodges around a corner and disappears. The guard
aims at Lane, fires a shot that doesn't come close. Lane
stops running, whirls around, pulls a .38 from under his
windbreaker, fires and hits the guard dead center. He
crumbles to the ground. Lane whirls again, continues
running down the alley and out of sight.
ANGLE - AN APARTMENT WINDOW
overlooks the alley and in it we see the face of a young,
black woman, Darlene Landers. She's witnessed what happened
in the alley and reacts with shock:
CUT TO
EXT. GILLMAN'S JEWELRY STORE - ALLEY - DAY #2
Hunter's car, another detective's car, and an S.I.D. vehicle
sit in the alley.
INT. GILLMAN'S JEWELRY STORE - BACK ROOM - DAY
Through the doorway we can see Hunter standing in the
corridor talking to the witness, Darlene Landers, jotting
down notes on a pad. ED DRAEGER, a veteran burglary
detective in his mid-50's enters the room. Hunter breaks
off with Landers who leaves the area, presumably exiting the
building. Hunter enters the room, crosses to Draeger.
DRAEGER
What'd the wit have to say?
HUNTER
Nothing much...two male
Caucasians, medium height, medium
build, dark clothes. They left on
foot — that's the best she can
do.
DRAEGER
You've got you hands full, Hunter.
This is their third job and they
haven't left much in the way of
evidence except all their jobs
involve places that have a
Security Pack 600 alarm system.
It's a dinosaur, an open
invitation to any burglar.
HUNTER
They always gain entry through the
roof?
DRAEGER
Yeah, they rewire the alarm
circuit on an air conditioning
duct or air vent. It's the same
M.O. every time.
HUNTER
Except last night they killed a
man. Has any of the merchandise
turned up?
DRAEGER
(shakes his head)
That's the crazy part, nothing's
surfaced. The stuff's all small
stones...two, three karats, easy
to fence.
HUNTER
How soon can we get your case
files?
DRAEGER
You'll have 'em A.S.A.P.
OMITTED
EXT. CENTRAL DIVISION - DAY (STOCK)
Establish.
OMITTED
INT. CENTRAL DIVISION - DEVANE'S OFFICE - DAY
Hunter and MCCALL are laying out the case for DEVANE.
HUNTER
There're over 500 stores in L.A.
still using the Securitypak 600
alarm system — 57 of 'em are
jewelry stores.
DEVANE
Why Securitypak 600's?
HUNTER
It's the only alarm system our
suspects have figured out how to
crack.
DEVANE
Better put out a bulletin.
HUNTER
Draeger's already sent one out to
every store using the 600 System.
We'd like some back up for a major
surveillance.
DEVANE
Not a chance. We can't cover 57
stores.
MCCALL
We don't have to. So far the
burglaries have occurred in two
neighborhoods. They appear to be
moving west toward Rampart
Division. There's only 8 jewelry
stores left in that area with
Securitypak alarms.
DEVANE
That we can handle. When're you
going to start?
HUNTER
Tonight.
CUT TO
EXT. PETTIT'S JEWELRY STORE - BACK ALLEY
NIGHT (OF DAY #3)
Six nights later, McCall sits slouched behind the wheel of
her car which is parked thirty or forty yards away from the
back door of "Pettit's Jewelry Store". She stifles a yawn,
checks her watch.
INSERT - MCCALL'S WATCH
which reads 12:45.
BACK TO SCENE
as McCall picks up her radio mike, presses the button.
MCCALL
(into mike)
l-W-157, l-W-153 —
Intercut with:
INT. RAYFORD'S CAR - NIGHT
Parked sixty or seventy yards up the street in front of
Pettit's Jewelry, we find detective RON RAYFORD is
working surveillance with McCall on this particular store.
RAYFORD
(into mike)
Fifty-three here.
MCCALL
Anything out front?
RAYFORD
Dead as my first marriage. We've
been here almost a week. How many
more nights are we going to wait?
MCCALL
I don't know. I'll check with
Hunter.
End intercut:
ON MCCALL
as she radios Hunter.
EXT. DEANNE'S JEWELRY - NIGHT
1-W-156 is parked some distance away from the rear of the
store in a darkened alley.
INT. HUNTER'S CAR - NIGHT
Hunter is slouched down behind the driver's wheel, watching
the store. Hunter's radio comes to life.
MCCALL'S VOICE
(over radio)
l-W-156? l-W-157 —
Hunter picks up his mike.
HUNTER
(into mike)
Go fifty-seven.
Intercut with:
OMITTED
INT. MCCALL'S CAR – NIGHT
McCall sits behind the wheel, mike in hand.
MCCALL
(into mike)
Anything shaking where you are?
HUNTER
Nothing.
MCCALL
No shows all week. You think
they've folded up?
HUNTER
We'll give it a few more nights.
Hang loose.
CUT TO
INT. MCCALL'S CAR - NIGHT - CLOSE ON WRISTWATCH
reading 3:20.
ON MCCALL
squinting in the darkness to read the time. Having done so,
she looks up, notices something O.C.
MCCALL'S POV - REAR DOOR OF PETTIT'S JEWELRY STORE
which is some distance away. In the shadow and gloom we can
barely discern two figures approaching the back door of the
store and stopping. Both men wear dark windbreakers and
gloves. One of them (Lane) carries a gym bag.
MCCALL
reaches for her mike, clicks it on.
MCCALL
(softly into mike)
l-W-153, this's 157 — I've got
two men at the back of the store,
Hold your position.
RAYFORD'S VOICE
(over radio)
Roger, fifty-seven.
MCCALL
Do you copy, fifty-six?
HUNTER'S VOICE
(over radio)
Keep me posted.
McCall replaces the mike in its cradle, pulls her gun from
her purse, keeps her attention drilled on the back door of
the jewelry store.
EXT. PETTIT'S JEWELRY - ALLEY - NIGHT - ON THE REAR DOOR
where we find David Lane and Doug Roberts. Roberts tosses
a rapelling rope with a grappling hook to the roof top. On
the outside of the door, near the top, we find a connector
for the alarm system. Lane cuts into a wire leading into
the connector and tries to jump the circuit with alligator
clips connected to a strand of electrical wire. It's a job
that requires a steady hand and patience. Lane works while
Roberts scans the area, walks further up the alley checking
out the area.
MCCALL
sees him coming, slips lower in her seat, grasps her gun
tighter.
MCCALL'S POV - ROBERTS
as he nears McCall's car. Roberts opens his jacket and we
see a gun tucked into his pants. He approaches McCall's
car, not seeing her, but a threatening figure nonetheless.
Roberts casually rests a hand on the butt of his gun.
ON MCCALL
Knowing she has to do something before Roberts discovers her
presence. She makes a decision, throws open her car door and
jumps out.
THE SCENE
McCall points her gun at Roberts, startling him.
MCCALL
Freeze! Police!
Roberts bolts, running back toward the store, calling Lane.
ROBERTS
Let's get out of here!
Lane grabs his gym bag, takes off with Roberts, both men
running down the alley and away from McCall.
OMITTED
TO MCCALL
as she grabs the radio mike.
MCCALL
(into mike)
156 — they're rabitting. I'm going
after!
INT. RAYFORD'S CAR - NIGHT
Rayford grabs his mike.
RAYFORD
(into mike)
I'll take the front!
INT. HUNTER'S CAR - NIGHT
As he reacts to the urgent voices on his radio.
EXT. PETTIT JEWELRY - ALLEY - NIGHT
McCall, gun drawn, pursues the two suspects, yelling after
them.
MCCALL
Police officer! Hold it!
The two men continue running. Lane suddenly stops by a
fence, throws his bag over, scales it and jumps over as
Roberts continues down the alley. McCall reaches the fence,
makes a quick decision, goes after Roberts.
MCCALL
(continuing)
Stop, police!
EXT. ALLEY - NIGHT
Roberts runs down the darkened alley, dives behind a
dumpster and checks to see his pursuer. McCall enters the
area, staying near cover as she cautiously moves through the
alley. Roberts sees her, aims his gun, fires two quick
shots. McCall ducks behind some wooden crates, as the
bullets slam past her. In the b.g. we hear the wail of
approaching sirens.
MCCALL
Throw your gun out, then step out
where I can see you!
Roberts checks out the situation, sticking his head out from
behind the dumpster where he's hiding. He fires three more
shots at McCall, scampers out into the alley, fires two more
shots.
Roberts turns and runs, McCall aims her gun, gets off a
shot that hits Roberts in the back. Roberts staggers,
almost falls, but manages to run off down the alley. McCall
comes out from behind cover, cautiously goes after him.
EXT. FURTHER DOWN THE ALLEY - NIGHT
Roberts stumbles along, badly wounded. A shadowy form steps
from out of the darkness -- it's Lane. He helps support
Roberts, guides him down the alley.
LANE
Where's the key?
ROBERTS
(weakly)
In the box on my dresser.
EXT. ALLEY TRASH PILE - NIGHT
Unable to go any further, Roberts sags and Lane lowers him
to the ground near an informal trash heap in the alley.
Lane quickly starts pulling off Roberts' jacket and gloves.
Lane glances nervously up the alley in the direction
Roberts came from knowing the police will be there any
second.
LANE
Don't tell the cops nothing.
You'll be okay, don't worry.
Roberts nods, loses consciousness. Lane takes Roberts' gun,
stands and runs off into darkness.
EXT. ALLEY - NIGHT
McCall moves slowly through the area, looking for her
suspect. She pulls a flashlight from her pocket and sweeps
the ground with it. She finds what she's looking for,
kneels, touches her hand to the ground, and comes away with
blood on her fingertips. Nerve endings taut, McCall
continues moving forward into the alley.
EXT. ALLEY - TRASH PILE - NIGHT
As McCall approaches the trash heap and catches Roberts in
the beam of her flashlight. She hears footsteps running
toward her, whirls around, gun and flashlight raised, to
find Ray ford approaching.
MCCALL
You see the other one?
Ray ford shrugs, mildly out of breath.
RAYFORD
He must have gotten by me.
McCall turns her flashlight beam back to Roberts and as she
does, we:
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
(Sorry to say that I’m missing the first page of Act Two)
MCCALL
She's standing just inside the police tape line, talking to
ALAN DYKSTRA, late 40's slightly heavyset with a crewcut,
and the recently arrived Hammond. The pitch of their
conversation is definitely heated.
MCCALL
Look, Dysktra, I returned shots
fired. Before you indict me let's
finish the search for the weapon.
DYKSTRA
Nobody's indicting you McCall.
Cool down.
MCCALL
Yeah, well it's been a long night.
DYKSTRA
You said you shot the suspect
about 60 yards up the alley.
MCCALL
That's right.
DYKSTRA
How long did it take for you to
get to him.
MCCALL
A minute...maybe less.
Dykstra and Hammond exchange a brief, cryptic look.
HAMMOND
Okay. We'll be in touch.
Dykstra and Hammond, pocket their notebooks and move back
into the alley. McCall walks over to Hunter.
MCCALL
I'm going to go down to the
hospital. If Roberts comes to, I
want to be there.
HUNTER
I'll call you later.
McCall starts off.
MCCALL
Thanks.
CUT TO
EXT. WILSHIRE MEMORIAL HOSPITAL – DAY
To establish.
INT. WILSHIRE MEMORIAL HOSPITAL - CORRIDOR – DAY
McCall talks to a nurse who stands outside of I.C.U.
MCCALL
Let me know when he regains
consciousness. I want to be there
to tape anything he says.
The nurse nods, enters the I.C.U. area, leaving McCall in
the corridor. She turns and starts down the hallway to a
vending machine, adrenaline drained, weary from the long
night she's put in.
ANGLE - MRS. ROBERTS
who is talking to a doctor wearing surgical garb. The
doctor looks in McCall's direction, nods, and walks off.
Mrs. Roberts looks to McCall, approaches her.
MRS. ROBERTS
Excuse me...are you a police
officer?
MCCALL
(nods)
Is there something I can help you
with?
MRS. ROBERTS
My husband, Doug, was shot last
night by an officer.
MCCALL
Mrs. Roberts?
MRS. ROBERTS
Yes, Adele Roberts. Do you know
why he was shot?
MCCALL
Your husband was involved in the
attempted burglary of a jewelry
store on Hudson Street.
MRS. ROBERTS
(shocked)
That can't be true. Doug's never
done anything illegal in his life.
MCCALL
Did he have any reason to be in
that area last night?
MRS. ROBERTS
No. He went to a hockey game with
some friends from work. They
probably went out for a few drinks
afterwards.
(then)
Doug isn't a criminal, he wouldn't
do anything wrong.
MCCALL
Your husband shot at me several
times. He tried to kill me.
It dawns on Mrs. Roberts who she's talking to.
MRS. ROBERTS
(taken aback)
Are you the one who shot Doug?
MCCALL
I'm sorry, he didn't give me any
other option.
Mrs. Roberts seems dazed by what McCall has told her.
MRS. ROBERTS
Why would Doug shoot at you? -- he
doesn't even own a gun.
MCCALL
Mrs. Roberts...
A glint of anger crosses across Adele Roberts' face as she
cuts McCall off.
MRS. ROBERTS
The police are supposed to protect
innocent people...not shoot them
down. I know Doug. You've made a
terrible mistake!
Mrs. Roberts marches off down the hall, leaving McCall
behind.
CUT TO
OMITTED
EXT. GOLDEN AGE ANTIQUES - LOADING DOCK - DAY
A large building with several trucks being loaded and
unloaded. Hunter parks his car nearby, gets out, and goes
to the loading dock where a sign reads "Golden Age
Antiques". Hunter takes some stairs to the loading dock,
stops one of the workmen, talks with him briefly before
moving on.
INT. GOLDEN AGE ANTIQUES - FOREMAN'S OFFICE - DAY
David Lane stands at a work desk, checking off manifest
lists. The office is to the side of the busy loading dock.
Hunter approaches Lane.
HUNTER
David Lane?
Lane breaks off from his work, turns to Hunter.
LANE
Yeah, what can I do for you?
Hunter shows Lane his badge.
HUNTER
Sergeant Rick Hunter -- one of
your men said you're the foreman
here.
LANE
(nods)
This about Doug Roberts?
HUNTER
That's right.
LANE
His wife called me this morning.
What the hell happened?
HUNTER
We talked to his wife. Apparently
he went to a Kings game with some
co-workers last night.
LANE
Yeah, with me and a couple guys
from the loading dock. We hit a
few bars afterwards.
HUNTER
What time did you last see
Roberts?
LANE
About two A.M.
HUNTER
Do you know where he went?
LANE
Said he was going home.
HUNTER
Where'd you go?
LANE
I was with Art and Brad -- they
dropped me at my apartment.
HUNTER
What kind of person was Roberts?
LANE
Doug seemed like a nice guy,
quiet, real decent -- it's a shame
something like this had to happen.
HUNTER
What are the names of the two
other men who went to the game
with you?
LANE
Art Jardine and Brad Ellman —
want to talk with 'em?
HUNTER
Yeah, I'd like to do that.
CUT TO
INT. GOLDEN AGE ANTIQUES - DAY
Hunter stands on a loading dock talking to ART JARDINE and
BRAD ELLMAN. Both workmen are in their mid-20's. We get
the impression that Jardine and Ellman are on their very
best behavior. If anything, they are just a touch too
polite. This attitude is not overlooked by Hunter.
JARDINE
We heard about Doug, really
radical. Is he going to be okay?
HUNTER
Last I heard he was out of
surgery. That's all I know. Were
you close friends?
JARDINE
Sure, Doug was a bud. Brad and I
got him hooked on going to hockey
and basketball games.
HUNTER
Any idea what Roberts might've
been doing behind a jewelry store
on Hudson Street at three-twenty
in the morning?
JARDINE
Not here --
Ellman cogitates, pipes up with a response that seems a
touch pre-rehearsed.
ELLMAN
Doug said he was having trouble
with his truck. Maybe it broke
down.
(Well, shoot! A page is missing here, too.)
HUNTER
(into mike)
William-56 -- run the following
names through C.I.C. -- David
Lane, Art Jardine, and Brad
Ellman.
DISPATCHER'S VOICE
Roger, fifty-six --
Hunter closes the car door, starts the engine and drives
off. Adjust angle to find David Lane standing on the dock,
clipboard in hand. As Hunter's car rolls away, Lane catches
the attention of Jardine and Ellman. Lane nods toward the
building and the two men follow him inside.
CUT TO
EXT. CENTRAL DIVISION – DAY
Establishing.
INT. CENTRAL DIVISION - CONFERENCE ROOM - DAY
McCall is seated on one side of a table, Dykstra and Hammond
on the other. Between them is a tape recorder. The two men
handle McCall with a detached professionalism that is not
antagonistic, but cuts her little if any slack.
DYKSTRA
How many shots did the suspect
fire?
MCCALL
Seven.
DYKSTRA
How many shots did you fire?
MCCALL
One. I hit the suspect in the
upper torso.
HAMMOND
Are you sure?
MCCALL
Yes — when I found him, he had a
bullet wound in his back.
HAMMOND
No, I meant are you sure it was
the suspect you hit?
The question jars McCall, she was unprepared for it.
MCCALL
Yes, I'm positive.
Dykstra leans forward.
DYKSTRA
What were the lighting conditions
in the alley?
MCCALL
Dim, there was a street lamp
burning some distance away.
DYKSTRA
Could you clearly see the
suspect's face?
MCCALL
No, he was in silhouette.
DYKSTRA
Then you couldn't have been 100%
sure it was the suspect you were
firing at.
MCCALL
(mildly defensive)
He was shooting at me. I saw the
flash from his gun...and I
returned fire.
HAMMOND
(pushing)
But when you found the man you
shot, he wasn't armed. He wasn't
even dressed the same as when you
first observed him. How do you
explain that?
MCCALL
(pushing back)
You saw that alley. There's
hundreds of places to stash a gun
and clothes.
HAMMOND
An army of cops couldn't come up
with anything. We've got to
ask ourselves how a severely
wounded man travels 60 yards and
hides a gun, a jacket, and a pair
of gloves so we can't find them?
All in less than a minute?
MCCALL
Roberts wasn't alone in that
alley, he had a partner. Maybe
the partner circled around, found
Roberts wounded in the alley and
took his gun.
Hannnond and Dykstra exchange looks.
DYKSTRA
We'd like to believe that,
Sergeant, but we have to find
evidence to support your story
and right now we don't have any.
McCall glances from Hammond to Dykstra, feeling boxed in by
her inquisitors. Dykstra detects McCall's tension, reaches
over, clicks off the tape recorder.
DYKSTRA
I know it's tough, but we either
ask the hard ones now or we ask
'em later.
McCall understands the position of the two officers. She
untenses a notch and slowly nods.
MCCALL
I know. Go ahead.
Dykstra turns the recorder back on.
CUT TO
OMITTED
EXT. FLEA MARKET - DAY
An open lot serves as an informal market for street
merchants. Among the diverse items for sale we see several
racks of clothes.
SPORTY JAMES is going through the racks as McCall
approaches. The two talk but don't really make much eye
contact while searching the rack for clothes.
MCCALL
Anything interesting?
SPORTY
The lint in my pocket is more
interesting than what's on this
rack.
MCCALL
Thanks for the meet.
SPORTY
For my lady of the badge it's
always a pleasure. Pick a more
interesting shop next time, okay?
MCCALL
Sure.
SPORTY
So what can I dig up on the street
for you?
MCCALL
A fence who might have moved some
jewelry.
SPORTY
How much?
MCCALL
Two - two hundred and fifty
thousand right out of the display
cases of three stores.
The two move away from the rack to a tie counter, away from
other shoppers.
SPORTY
What's my time frame?
MCCALL
As soon as possible.
SPORTY
I'll start smelling around right
after I buy that little beauty
right there.
He indicates a tie in the case.
OMITTED
ANGLE - ON TIE
An animal that looks like some kind of a rodent is painted
on it.
MCCALL (VO)
Would you call that an armadillo
or a rat?
BACK TO SCENE
SPORTY
I think it's relatively obvious.
MCCALL
Yeah. Thanks, Sporty. I'll be in
touch.
SPORTY
Me too. Later.
McCall leaves. After a beat, Sporty flags a clerk.
SPORTY
(continuing)
Excuse me, my man. That little
thing on the tie down
there...armadillo right?
As the clerk shakes his head, and Sporty cringes,
CUT TO
EXT. FLEA MARKET - DAY
as McCall approaches her car. Her radio is already
crackling.
DISPATCH (VO)
l-William-1-57, respond.
McCall hurries to get the radio.
MCCALL
(into mike)
57 - go.
DISPATCH (VO)
Your suspect has regained
consciousness at Wilshire
Memorial.
MCCALL
Roger, dispatch. I'm on the way.
McCall jumps in her car and takes off.
CUT TO
OMITTED
INT. WILSHIRE MEMORIAL HOSPITAL - CORRIDOR -
NIGHT (OF DAY 4)
Ron Rayford waits outside a door leading to the I.C.U.
area. McCall appears in the hallway, hurries toward him.
MCCALL
How is he?
RAYFORD
Doctor says he doesn't have long.
Better get in there.
INT. WILSHIRE MEMORIAL HOSPITAL - I.C.U. AREA - NIGHT
Roberts lies in a bed, barely conscious, his wife by his
side, holding his hand and sobbing. Behind her are some
relatives, a father, an aunt and uncle. Also in the room is
a doctor, and a couple of nurses. Roberts is hooked up to
various monitors and life support equipment. Roberts'
condition is obviously grave -- he's a man with moments to
live and he knows it. McCall enters the room, takes in the
situation, crosses to the doctor who stands in a corner of
the room. She confers with the doctor in hushed tones,
moves to Roberts' bed. Mrs. Roberts looks up and recognizes
McCall, gives her a look of blame. McCall pulls a small
cassette tape recorder out of her pocket.
MCCALL
Mr. Roberts — can you hear me?
MRS. ROBERTS
(low and angry)
What are you doing? Leave Doug
alone. Haven't you done enough to
him already?
MCCALL
I'm sorry, Mrs. Roberts, I have to
talk with him.
(turns to Roberts)
Mr. Roberts -- ?
Doug Roberts slowly opens his eyes and with great effort
moves his head to look at McCall. He gives her the
questioning look of a person who is disoriented.
MCCALL
(continuing)
Mr. Roberts, I'm a police officer.
I'd like to know what you were
doing in the alley when you were
shot. Were you going to break
into that jewelry store?
Without moving his head, Roberts darts a look at his wife.
She nods her head and Roberts looks back to McCall. Roberts
speaks in a raspy, weak voice, devoid of energy.
ROBERTS
I don't know what you're talking
about.
Roberts freezes for a moment, clutches his wife's hand.
ROBERTS
(continuing; to his
wife)
I love you...
Roberts' final breath escapes from him and his head lolls
slightly to one side. One of the life monitors begins to
emit a constant, unfluctuating tone. Mrs. Roberts releases
a sob of anguish as the doctor and the nurse step forward to
the bed. McCall backs away, stunned by what she's heard.
McCall leaves the I.C.U. area and crosses to where Ron
Rayford is standing. Mrs. Roberts and her family soon
emerge from the room. Mrs. Roberts is being supported by
her father and she is crying. The family starts to leave
when Mrs. Roberts spots McCall and stops.
MRS. ROBERTS
Are you satisfied now? You killed
him. You killed an innocent man.
(a knot of anger)
I won't rest till you get what you
deserve! You won't get away with
this!
Tears overtake Mrs. Roberts' anger. A fresh sob racks her
body. Her father ushers her off down the corridor, the
other relatives following. McCall stands there for a
moment, stunned by the events. Rayford gives her a look of
concern. Off McCall's total bewilderment:
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
EXT. CENTRAL DIVISION - DAY #5
Establish.
DEVANE'S VOICE
I'm sorry, McCall, but this isn't
my idea.
INT. CENTRAL DIVISION - DEVANE'S OFFICE - DAY
Devane sits on a corner of his desk talking with McCall who
stands before him.
DEVANE
You know the routine, you've been
reassigned to administrative
duties.
The news stings, but McCall takes it stoically.
MCCALL
For how long?
DEVANE
Until the investigation's over.
Devane pauses, sensing McCall's hurt.
DEVANE
(continuing)
Look, McCall, you know where I
stand, but this isn't up to me.
It's up to the brass and you know
how they are -- all they believe
in is covering their tail.
Hunter enters the office carrying several sheets of paper.
DEVANE
(continuing)
What've you got?
HUNTER
I just got the rundown on Lane.
He blew into L.A. from Miami about
six months ago. He's a fence and
a burglar -- three arrests, two
convictions. There's a rumor he
may've killed his last partner,
but no proof.
DEVANE
What about Jardine and Ellman?
HUNTER
Both have rap sheets -- small time
punks. The only one with no
record was Roberts.
DEVANE
Can you bring 'em in?
HUNTER
Got nothing to hold 'em on. I'm
going to take their lives apart --
including Roberts'. I want a
warrant to check out their phone
records and a 24 hour a day tail
on all of 'em. Maybe they'll blow
it and lead us to the jewels.
DEVANE
Call Ernie Fowler in the D.A.'s
office and tell him what it's
about -- he knows how to get a
warrant as fast as anybody. Go
ahead and set up surveillance.
MCCALL
If there were four of 'em, how
come only two pulled the jobs?
HUNTER
They worked in shifts. One pair
pulled the job -- the other pair
created the alibi.
EXT. GOLDEN AGE ANTIQUES - DOCK - DAY
David Lane crosses the loading area, catches the eye of Art
Jardine and signals him to meet in back. Jardine grabs Brad
Ellman's attention and together they follow Lane.
INT. GOLDEN AGE ANTIQUES - STORAGE AREA - DAY
The place is stacked high with boxes, crates, and furniture.
Lane finds a secluded place as Jardine and Ellman arrive.
Jardine and Ellman look nervous as hell.
JARDINE
You think Roberts told the cops
about us before he died?
LANE
Just relax, they have no case on
us.
ELLMAN
Not yet.
LANE
I've got a fence lined up. What
we don't have is the jewelry.
JARDINE
We should never have let Roberts
stash the stuff.
LANE
One guy reduces the risk of
exposure -- you wanted all of us
waltzing in there with that
suitcase?
JARDINE
Yeah, but a security locker --
how'd we let him talk us into that
one?
LANE
‘Cause there's dishonest people
out there who steal things -- like
suitcases full of hot jewelry.
The only thing we didn't figure on
was Roberts getting killed.
ELLMAN
Hey, it's no big deal -- we just
go in and get our stuff, right?
LANE
Brad, it's a security locker --
you know what that means? You've
got to have a key.
JARDINE
Roberts tell you where he put it?
LANE
Yeah, right before he died. It's
in his house.
JARDINE
So what do we do, go to Roberts
place and ask his old lady if we
can pick it up? No thanks —
LANE
I'm going to Roberts' house all
right, but I'm not asking anyone
for nothing --
Lane gives Jardine and Ellman a level gaze, but doesn't
elaborate.
CUT TO
OMITTED
EXT. ROBERTS' HOUSE - DAY
We see Mrs. Roberts leave the front door of her house, walk
to her car, get in and drive off.
ANGLE - LANE'S VAN
is parked up the street from the Roberts' house. Lane is by
himself in the vehicle watching Mrs. Roberts depart.
INT. ROBERTS' HOUSE - MASTER BEDROOM - DAY
Close on a photograph in a silver frame sitting on top of a
dresser. In the photo we see a wedding photo of Doug
Roberts and his wife, Adele. Pan off the photo to:
ANGLE - WINDOW
where we see David Lane standing on the outside. He takes a
razor and slices through the screen on the outside of the
window. This quickly accomplished, he takes a jimmy, wedges
it underneath the window and pries it open. Lane pulls
himself through the window and into the house. Follow as he
hurriedly walks over to the dresser.
OMITTED
ON LANE
as he pulls open drawers in a jewelry box sitting on top of
the dresser. He quickly scans what's inside of the drawers,
but doesn't find what he's looking for. He looks frustrated
-- an idea occurs to him. Follow as he takes the jewelry
box over to the bed, turns it upside down and opens the
drawers again. Cheap, junk jewelry falls quietly to the bed
as Lane checks the bottom of each drawer. The middle drawer
has what he's looking for.
INSERT - JEWELRY BOX DRAWER
Taped to the bottom is a key and a plastic I.D. card with
Doug Roberts' photo on it. The I.D. card reads "Western
Security Vaults" and below that is Roberts' name.
BACK TO LANE
who tears the key and the I.D. off the drawer. He looks at
the I.D. with a puzzled expression that soon turns to one of
worry. Lane pockets the key and the I.D., hurries back to
the window and climbs out and away.
CUT TO
OMITTED
EXT. KIRBY'S SHOE SHINE STAND - DAY
Sporty James sits in one of the chairs on the stand doing a
crossword puzzle. On the chair next to Sporty is a sign
that reads: "Closed". Hunter approaches the stand, climbs
up, takes the sign off the seat and sits next to Sporty.
HUNTER
Where's Kirby?
SPORTY
The Caribbean. First vacation the
man's had in fifteen years. He
wanted me to check his store to
make sure everything's all right.
I thought McCall was taking this
meeting.
HUNTER
She's dug in on other things.
What've you got?
SPORTY
What I've got is plenty of
nothin'. I've made a touch with
every fence I know in the city.
No one, and I mean no one, has
seen the tiniest carat of the
merchandise Sergeant McCall
mentioned to me.
HUNTER
This merchandise is small stuff,
it's perfect for fencing.
SPORTY
Man, I have earned my PHD in
talking to fences on this one. I
don't know what to tell you. I
feel like I've let McCall down.
Hunter thinks this over for a second.
HUNTER
Maybe you found something and
didn't even know it.
SPORTY
Like what?
Hunter starts to stand from his chair.
HUNTER
I'll tell you later.
Hunter steps off of Kirby's stand. Sporty looks perturbed.
SPORTY
Hey, you aren't gonna keep me
hangin' on this?
HUNTER
You've been a big help.
SPORTY
What'd I find out?
HUNTER
(as he walks away)
Thanks, Sporty.
Sporty calls after Hunter as he continues walking away.
SPORTY
Come back here, Hunter, I want to
know what it is I found out.
Don't leave me like this. Come
on, man, give me a clue.
And as Hunter disappears from view. Sporty throws up his
hands and looks disgusted.
SPORTY
(continuing)
I am not gonna sleep a wink
tonight.
CUT TO
OMITTED
EXT. GOLDEN AGE ANTIQUES - DAY
Lane pulls to a stop near the loading dock in his van.
Jardine and Ellman see him and jump down off the loading
dock, hurry to the van and climb inside. The van rolls out,
heads for a street where it makes a turns and blends in with
traffic. Camera pans to a car sitting further up the street
from Golden Age Antiques.
ANGLE - CAR
We find two detectives, Ron Rayford and BOB ROSWELL sitting
inside the car, watching Lane depart. Roswell is in the
driver's seat, starts the car, and pulls out to follow Lane.
As the detectives' car also blends into traffic.
CUT TO
INT. ROBERTS HOUSE - LIVING ROOM - DAY
McCall enters the house, sees a uniform officer talking with
Mrs. Roberts in the kitchen. The officer finishes his
conversation, walks away toward the back of the house.
McCall heads toward the kitchen.
INT. ROBERT'S HOUSE - KITCHEN - DAY
Mrs. Roberts pours herself a cup of coffee as McCall enters
the kitchen.
MCCALL
Mrs. Roberts?
MRS. ROBERTS
Yes — ?
Mrs. Roberts turns to find McCall standing in the kitchen
doorway. She freezes for a moment, not certain what to do.
MRS. ROBERTS
(continuing)
What do you want?
MCCALL
I was hoping you might be able to
tell me more about your husband.
Mrs. Roberts smiles tightly to herself.
MRS. ROBERTS
Like what? How he told me about
all the burglaries he committed
and all the money he stole? Is
that what you're hoping for?
MCCALL
No, I don't expect he ever said
anything like that.
Mrs. Roberts suddenly turns to McCall, holding her coffee
cup.
MRS. ROBERTS
Damned right he didn't. Because
he didn't do any of those things.
(mounting anger)
You have a lot of nerve walking
into this house uninvited.
MCCALL
I'm sorry, Mrs. Roberts. Maybe
I'd better leave.
Mrs. Roberts puts her coffee cup down on the drainboard with
a noisy clatter.
MRS. ROBERTS
Not before you hear what I have to
say.
(gathers herself)
Doug was a fine man who never hurt
anyone in his life. You've taken
him from me and I can never
forgive you for that. I'm going
to make sure you pay and pay and
keep on paying for what you've
done.
MCCALL
Is there anything else?
MRS. ROBERTS
No. From now on I intend to let
my attorney do my talking — in
court.
McCall remains calm, and relays the following to Mrs.
Roberts with a mounting sense of strength and certitude.
MCCALL
All right, Mrs. Roberts, but
there's something I want you to
hear too. Whether you like it or
not, your husband was a criminal.
He tried to kill me and I know
that as certain as I'm talking to
you right now. I'm a good cop and
I do a good job -- and I'm not
going to let you or anyone else
take that away from me. Go ahead
and sue the department, sue me,
sue anyone you want...but that
isn't going to stop the truth from
coming out. I didn't want to kill
your husband -- but it isn't my
fault that he died.
Mrs. Roberts turns to the sink again, her back to McCall
MRS. ROBERTS
You want to take everything —
even his memory.
McCall takes a step toward Mrs. Roberts.
MCCALL
Believe me, I'm sorry any of this
happened...
MRS. ROBERTS
(cutting in
sharply)
Get out —
McCall takes the order like a slap. She knows there's no
getting through to Mrs. Roberts. McCall turns, briskly
walks out of the kitchen. Tighten on Mrs. Roberts, the
anger in her eyes fed by her sense of righteousness and
pain.
CUT TO
EXT. WESTERN SECURITY VAULTS - DAY
A low slung, modern building with concrete walls. A sign
over the front identifies the business. The front door
opens and David Lane leaves the building, heading for a van
parked up the street.
THE VAN
as Lane approaches and slides behind the driver's wheel.
Also in the van are Art Jardine and Brad Ellman.
INT. VAN – DAY
Lane slams the van's door shut.
LANE
They gave me the whole sales
pitch. It's like I thought.
You've got to have an I.D. badge
with your picture on it before
they let anyone have access to
their private vault.
ELLMAN
We risked our necks for that
stuff, now we can't even touch it.
JARDINE
Hey, we're not blowing off a
million bucks.
ELLMAN
(re: Western
Security Vaults.)
That's not a breadbox like those
jewelry stores. They got more
protecting that place than a
Securitypak 600.
LANE
That doesn't mean it can't be had.
All we have to do is get inside.
JARDINE
Let me see that I.D. card.
Lane pulls the I.D. card with Roberts' photo out of his
pocket and hands it to Jardine who examines it.
JARDINE
(continuing)
I know where we can take care of
this -- piece of cake.
Lane likes what he's heard, starts the van.
LANE
Let's go —
EXT. STREET – DAY
The van pulls away from the curb.
EXT. ROSWELL AND RAYFORD'S CAR - DAY
Parked further up the street we find Roswell and Rayford
watching the van. Roswell is behind the wheel and starts
the engine, takes off after the van as we:
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
EXT. CENTRAL DIVISION - DAY
Establishing.
INT. CENTRAL DIVISION - DEVANE'S OFFICE – DAY
Hunter and McCall stand before Devane who looks frustrated.
DEVANE
How's the surveillance going on
Lane and his bunch?
HUNTER
Lane, Jardine, and Ellman are
cruising around in Lane's van.
Roswell and Rayford are on 'em —
the other tails are cooling their
heels till the three of 'em split
up.
DEVANE
What about the jewelry? -- has any
of that turned up?
HUNTER
Not at any fence in L.A.
DEVANE
Is it being shipped out of town?
HUNTER
Maybe, but Lane used to be a fence
-- he knows that's risky. I think
he's holding the stuff, waiting to
sell the whole lot in one deal.
DEVANE
Then he skips town and heads for
parts unknown --
MCCALL
We're still working on the toll
calls Roberts, Lane, Jardine, and
Ellman made. Maybe we'll get
lucky.
CUT TO
EXT. STREET - RAUNCHY BUILDING - DAY
Late afternoon. Lane's van is parked in front of a ratty
looking building in a run down industrial park.
EXT. ROSWELL AND RAYFORD'S CAR - DAY
We find Roswell and Rayford watching the van from a
considerable distance away. Their interest stirs as:
RAUNCHY BUILDING
Jardine comes striding out of the building, hurrying to the
van. He climbs in as Lane starts the engine, pulls out and
away into traffic.
ROSWELL AND RAYFORD'S CAR
The detectives swap a look as Roswell starts the engine of
his car and follows after the van a discreet distance
behind.
OMITTED
INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM
NIGHT (OF DAY #5)
McCall is at her desk, on the phone.
MCCALL
(into phone)
You sure about that?
(listens)
Can you meet us there, say in
fifteen or twenty minutes?
(listens)
Great. Thanks —
Hunter enters the room.
MCCALL
(continuing)
I just got hold of a company
called Western Security that
Roberts made several calls to.
The manager recalls a man matching
Roberts' description renting a
private vault about a month ago.
Hunter's phone rings and he grabs it.
HUNTER
(into phone)
Homicide, Hunter.
Intercut with:
INT. PHONE BOOTH – NIGHT
Bob Roswell stands inside the booth talking to Hunter.
ROSWELL
(into phone)
This's Roswell -- we lost 'em, but
don't worry. I think I know where
they're going.
HUNTER
Tell me about it.
ROSWELL
They went to a place called
Western Security this afternoon.
Later on they hit a little shop on
the southside that turns out fake
I.D.'s. When we lost 'em, it
looked like they were headed back
to Western Security.
HUNTER
What's the address?
ROSWELL
7908 Slater Blvd. We're going
there now.
End Intercut:
ON HUNTER
HUNTER
See you there.
Hunter slams down the phone.
HUNTER
Looks like they're on their way to
Western Security now.
Hunter takes off for the door.
MCCALL
(calling after)
Keep me posted, okay?
HUNTER
All the way!
With that Hunter strides out the door and is gone. McCall
sits at her desk, shrugs, folds her hands and looks
frustrated with her desk-bound status.
CUT TO
OMITTED
EXT. WESTERN SECURITY VAULTS – NIGHT
We find Lane's van parked in front of the place.
INT. WESTERN SECURITY VAULTS - GUARD DESK - NIGHT
Close on a plastic I.D. card — identical to the one Doug
Roberts had with one major exception; Art Jardine's photo
has replaced Roberts'.
THE SCENE
Art Jardine holds the card up in front of a guard at the
front desk. Behind him are David Lane and Brad Ellman. The
guard finishes studying the card, nods the three men
through. They start off toward the vault area.
INT. WESTERN SECURITY VAULTS - CORRIDOR - NIGHT
Lane, Jardine, and Ellman walk down a hallway. Jardine
still has the I.D. in hand.
JARDINE
(re: I.D. card)
Told ya -- worked like a charm.
Jardine pockets the I.D., continues walking along the
corridor with his two partners.
INT. WESTERN SECURITY VAULTS - VAULT ROOM - NIGHT
Inside the room we see security lockers lining the walls.
Lane, Jardine, and Ellman enter the area and begin checking
the numbers on the lockers. Ellman finds the locker they're
looking for.
ELLMAN
Three-eight-seven -- over here!
Lane hurries over to him, taking the key he took from the
Roberts' house from his pocket. Lane slides the key into
the locker and turns it -- the locker door opens.
ANGLE - SECURITY LOCKER
where we see a suitcase sitting inside. Lane reaches into
the locker and pulls the suitcase out.
(There’s a page missing here)
HUNTER
Jardine and Ellman might be inside
— check it out!
Hunter goes after Lane, gun drawn, running at full speed.
EXT. ALLEY - FOOT CHASE - NIGHT
Hunter races after Lane who charges down the alley, dodges
behind some buildings. He notices a stairway running to a
second floor door. Hauling the suitcase with him. Lane
clatters to the top of the stairs, tries the door and finds
it securely locked. Lane notices a first floor roof jutting
out from the side of the building. He hauls himself over
the stair railing and scampers onto the roof, hurries to a
ladder which runs to the top of the structure. Lane climbs
the ladder, taking the suitcase with him, awkwardly tugging
it along.
CUT TO
INT. WESTERN SECURITY VAULTS - VAULT ROOM - NIGHT
Roswell and Rayford, guns drawn, cautiously enter the vault
room and immediately spot Ellman and Jardine. Roswell goes
to Ellman and Rayford goes to Jardine. Both detectives
check their man for a pulse.
ROSWELL
This one's a goner --
RAYFORD
Mine's still alive. Call an
ambulance.
As Roswell hurries from the room.
CUT TO
EXT. ALLEY - NIGHT
Hunter arrives in the alley where Lane ran up the stairway.
He scans the tops of the nearby buildings for a glimpse of
Lane.
OMITTED
HUNTER'S POV - BUILDINGS
The area looks deserted. Suddenly we see Lane pop up from
behind the lip of a building. He points a gun directly at
camera.
ON HUNTER
as he lurches back behind a corner of a building. A shot
explodes and a bullet richochets off the wall where Hunter
was standing.
HUNTER
Give it up, Lane!
Lane responds to the command with two more shots.
LANE
stands, runs along the edge of the building he's on, heading
toward the rooftop of an adjacent building. If Lane can
make it to the next roof, he might have a chance at escape.
THE SCENE
as Hunter comes out from cover, trains his gun on Lane.
HUNTER
Hold it right there!
Lane whirls around and is about to fire again, but this time
Hunter is the first to shoot. The slug hits Lane in the
midsection, throwing him off balance. He totters on the
edge of the building for a moment, then falls to the
alleyway below.
HUNTER
leaves cover, hurries over to:
LANE
lies sprawled and dead. Tilt up to Hunter as he approaches
the dead man. We hear approaching sirens in the distance.
As Hunter holsters his gun:
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. CENTRAL DIVISION BUILDING - DAY #6
Establish.
INT. CENTRAL DIVISION - HOMICIDE SQUAD ROOM - DAY
McCall is at her desk working as Hunter enters the room and
makes a beeline for his partner's desk.
HUNTER
Just got back from the
hospital...Art Jardine's not only
gonna pull through, he's already
started talking to the D.A.
Hunter sits behind his desk.
MCCALL
(impatiently)
What'd he say?
HUNTER
After you shot Roberts, Lane found
him in the alley and took his gun,
jacket, and gloves. He tried to
make Roberts look like an innocent
so we wouldn't tie him back to
Lane and the others.
McCall looks relieved.
MCCALL
That's good news for a change.
Devane heads toward Hunter and McCall with an urgency in his
step.
DEVANE
I just got off the phone with the
Chief —
(extends his hand
to McCall)
-- welcome back, Sergeant, you're
off the desk and back in the
field.
MCCALL
(shakes with
Devane)
Thanks, Charlie —
(including Hunter)
— both of you, thanks for
standing by me on this one.
DEVANE
Anytime
Devane heads back to his office. McCall gives an
appreciative look to Hunter who's riffling through some
papers on his desk. He talks without looking up:
HUNTER
Are you gonna do something mushy
now, like ask me out to lunch,
tell me what a great partner I am,
and thank me for pulling your
biscuits out of the fire?
MCCALL
(pause)
Not unless you want me to.
Hunter ponders it for a moment, looks up to McCall.
HUNTER
Sure, let's go --
As Hunter stands and off McCall's surprised look:
FREEZE FRAME
FADE OUT
THE END
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