HUNTER
"CROSSFIRE"
Contributing writers - Herman Groves, Terry Nelson, Roy Huggins
ACT ONE
FADE IN
EXT. CITY STREET - DAY
Hunter's car drives by.
HUNTER'S VOICE
I don't want anything to do with
it, McCall.
INT. HUNTER'S CAR - TRAVELING - DAY
Hunter's at the wheel with McCall beside him. She has a
glossy magazine open and she's filling in a check list with
a pencil.
MCCALL
Be a sport, big guy. Don't you
want to test...
(holds up magazine)
"Your Personal Love Potential"?
HUNTER
For your information, my "love
potential" goes right off the
scale.
MCCALL
So take the test. What're you
afraid of?
HUNTER
I'm not afraid of some rinky-dink
magazine test.
MCCALL
Look, if you flunk, I won't tell
a soul. I'll consider it
privileged information.
Hunter gives McCall a look and before he can respond we
HEAR:
DISPATCHER'S VOICE
(over radio)
Attention all units, 211 silent
in progress at jewelry store, 4567
Lambert.
Hunter and McCall exchange a look.
HUNTER
Let's take it.
MCCALL
(picks up radio
mike)
This is L-56 - we're rolling on
the 211.
McCall jams the mike back into the cradle. Hunter floors
the accelerator and we're off.
EXT. CITY STREETS - DAY - SERIES OF SHOTS
as Hunter's car dodges through traffic with flashing lights
but no siren.
EXT. ALLEY - DAY
ON the back door of a store. A sign next to the door reads:
"DE FORREST JEWELRY - PLEASE USE FRONT ENTRANCE". The door
flies open and a man named WALLY GRIMES comes out on the
run. He's early 30's, ugly, dark hair and eyes, built like
a linebacker gone to fat. Grimes has an old handkerchief
in his hand which he throws into a trash can. He takes off
down the alley, running toward the street.
EXT. LAMBERT STREET - DAY
Hunter's sedan turns a corner and races down the street.
Just as it passes the opening of the alley, WALLY GRIMES
comes barreling out. He runs down the street in the
opposite direction from Hunter's car.
INT. HUNTER'S CAR - CONTINUOUS
Hunter spots Grimes, slams on the brakes.
HUNTER
I'm on him. Cover the store.
Hunter hurls the car door open, jumps out. McCall slides
behind the steering wheel.
EXT. LAMBERT STREET - CONTINUOUS
McCall PEELS OUT in the car. Hunter runs after Grimes who
is now three quarters of the way down the block.
ON GRIMES
looking overweight and out of shape, running as fast as he
can TOWARD CAMERA. He glances over his shoulder and spots
Hunter, gun drawn, coming after him and gaining fast.
Grimes abruptly veers off and charges down another alley.
EXT. ALLEY - DAY
Grimes PASSES THROUGH SHOT as Hunter enters the alley, gun
drawn, racing after Grimes.
HUNTER
Police! Halt!
ALLEY - ON GRIMES AND HUNTER
as their foot chase continues. Grimes turns a corner, then
stops suddenly, almost losing his balance - it's a dead
end. Hunter rounds the corner, sees that Grimes is trapped,
levels his gun.
HUNTER
Freeze! Police!
Grimes stares at Hunter for a fast, crazy beat - then
charges him like a wild man. Hunter sidesteps and trips
Grimes who falls sprawling to the pavement. Incredibly
enough. Grimes jumps to his feet again, giving Hunter no
alternative but to shoot him or knock him out. Using the
butt of his gun Hunter does just that.
CUT TO:
INT. DIVISION - INTERROGATION ROOM - DAY
CLOSE ON a mug shot of WALLY GRIMES.
ALMA'S VOICE
No, I'm sorry, I didn't see this
man at all.
THE SCENE
McCall is at a table with ALMA PITTFORD, a timid, black lady
in her early 60's. A UNIFORMED OFFICER stands nearby. Alma
looks up from the photo to McCall.
CUT TO:
INT. COURTHOUSE - MEETING ROOM - DAY
Hunter, McCall, and Assistant D.A. Sharon Williams sit on
one side of a table and MICHAEL SNOW on the other. What
we have is a contest between the prosecution and the defense
as to who can out bluff the other.
WILLIAMS
I'll drop robbery in exchange for
a plea of guilty on the assault
and resisting arrest charges.
SNOW
Not acceptable. Sergeant Hunter
used excessive force in arresting
Mr. Grimes. Under the law my
client had a right to defend
himself.
WILLIAMS
It'll never wash with a jury.
SNOW
No? Try this: Wally Grimes is
walking down an alley behind a
jewelry store when a man bursts
from the building and points a
gun at him. My client,
frightened, runs into the street
where...
(nods to Hunter)
...he sees another man with a gun
coming after him. Mr. Grimes
continues running because he
thinks his life is in danger.
(nods to Hunter)
You should've identified yourself
as a police officer, Sergeant.
HUNTER
I did - twice.
SNOW
Any witnesses to that? Did anyone
see Mr. Grimes in the jewelry
store? Any evidence to
substantiate his involvement in
the robbery?
Williams glances at Hunter and McCall, who look back at him
in silence because the answer to all of Snow's questions is
a big NO.
CUT TO:
INT. COURTROOM - DAY
A courtroom packed with defendants, their attorneys, and
prosecutors from the D.A.'s office. All are here for
arraignment hearings which transpire with assembly line
briskness.
The HONORABLE JOSEPH L. CHIN, a distinguished oriental man
in his early 50's, is the presiding judge. There's a
slightly harassed manner to Chin. He probably handles
forty or fifty arraignments each day. Chin reads from an
open folder.
CHIN
People versus Wallace Grimes.
Williams, Grimes and Snow approach the bench. (NOTE:
Grimes is wearing street clothes, but different from the
ones Hunter arrested him in.)
ANGLE - HUNTER AND MCCALL
a UNIFORMED OFFICER OF THE COURT approaches Hunter, taps
him on the shoulder. Hunter looks over and the officer
gestures for Hunter to follow him. Hunter gets up and exits
the courtroom. OVER THIS:
CHIN'S VOICE
Miss Williams, what charges do
the people wish to file?
BACK TO ARRAIGNMENT
WILLIAMS
Your Honor, the District Attorney
has, reluctantly, decided not to
file charges on this case at the
present time.
CHIN
In the absence of any charge,
defendant Wallace Grimes is
ordered released from custody.
CUT TO:
INT. COURT HOUSE - HALLWAY - DAY
Hunter is in a phone booth. He hangs up the phone and
leaves the booth in time to see:
Grimes stops abruptly, squares off on Hunter.
GRIMES
(hot)
You're freaked out, man. I don't
have to take this kinda crap!
I'm gonna file harassment charges
against you!
HUNTER
(cool)
I'm not gonna harass you. Grimes,
I'm just gonna put you away.
Grimes moves in toward Hunter, talks in a low, hard voice.
GRIMES
Mess with me, I'll blow you away!
You got that?
HUNTER
(still cool)
Make sure it's your best shot.
You only get one.
GRIMES
One's all I'm gonna need!
Grimes walks off and we HOLD on Hunter for a BEAT and:
CUT TO:
EXT. HUNTER'S HOUSE - NIGHT
Hunter's car comes to a stop. Hunter climbs out and crosses
to his front door.
CLOSER - THE FRONT DOOR
as Hunter pulls out his house key, opens the front door,
and steps inside.
INT. HUNTER'S HOUSE - LIVING ROOM - CONTINUOUS
Hunter enters, closes the door behind him, freezes.
Something is wrong and he isn't sure what it is. He pulls
out his revolver.
HUNTER'S POV - THE LIVING ROOM
A dim light glows next to the couch, a newspaper is open
and draped over the back of a couch. On the coffee table
we SEE a drinking glass half-filled with Pepsi or Coke.
HUNTER
cautiously crosses the living room, looking for other signs
of an intruder. He notices a faint light coming from the
direction of his bedroom and starts up the stairs.
INT. HUNTER'S BEDROOM - ON TERRI
A nightlight on the bedside table dimly lights the bed, in
which lies a young woman whose blonde hair spills out across
the pillow, only partially concealing a lovely face. Her
bare shoulders give us reason to believe she is not wearing
a nightgown, or anything else.
ON HUNTER
standing in the open bedroom door. He puts the gun back
in its holster, walks quietly to the bed and sits down on
the side she is occupying. The springs creak and Terri
wakes with a start. Her blue eyes are lost for a moment,
then they focus on Hunter and she smiles.
TERRI
Hi, Rick.
(looks past him)
I hope you're alone.
HUNTER
(playful, not
serious)
How'd you get in?
TERRI
With my key, how else? I've kept
it in a nice safe place for all
these years.
HUNTER
Just passing through?
TERRI
Here to stay - that's why I took
the chance. Glad to see me?
Hunter leans down and kisses her, gently but fully.
TERRI
(smiles)
That glad, huh?
HUNTER
So you're here to stay. What
happened?
TERRI
The station fired the News
Director and the new boss fired
me - I don't think he likes
female newscasters.
HUNTER
When did that happen?
TERRI
Three weeks ago - it took me that
long to realize it was time to
come home.
(takes his hand)
Don't look so worried - I can
always get my old job back at
Channel 8.
(a warm smile)
And I'm not making any foolish
assumptions about...us. Coming
straight here from the airport
was just an impulse.
HUNTER
Want something to eat?
TERRI
(languidly)
Ho, I'm not hungry...for food...
HUNTER
Neither am I.
He stands, takes off his jacket, throws it onto the back
of a chair, and begins to pull off his tie as we:
DISSOLVE TO:
INT. HUNTER'S KITCHEN - DAY
Hunter is dressed and ready to leave except for his jacket.
Terri is wearing one of Hunter's t-shirts that comes down
half-way to her knees.
They are making breakfast: Hunter busy with the coffee,
Terri with the toast. Hunter looks at his watch.
CUT TO:
CLOSE ON COFFEE POT
Hunter's hand is re-filling her almost empty coffee cup.
PULL BACK to REVEAL them sitting opposite each other,
breakfast over except for that second cup of coffee. They
smile at each other. Terri sips her coffee. Hunter
glances at his watch again.
TERRI
They got you guys punching a time
clock now?
HUNTER
My partner's picking me up at
8:10. We're meeting someone at
the Santa Monica Pier.
TERRI
Is your partner still Garriman?
HUNTER
No, Garriman retired. This one's
McCall.
The doorbell RINGS.
TERRI
Enter McCall.
Hunter goes to the door and opens it to reveal McCall.
HUNTER
You're early. Come on in.
ON TERRI
as she registers her surprise (and distress?) at seeing that
"McCall" is a woman, and a beauty at that. Terri stands.
ON HUNTER AND MCCALL
We get an equally interesting reaction from McCall as Hunter
leads her toward the kitchen and she takes in this blonde
vision in the cotton t-shirt.
HUNTER
Terri Barnes, Dee Dee McCall.
The two women exchange warmly polite how-do-you-do's and
brief appraisals.
MCCALL
(to Hunter)
I can wait if -
HUNTER
(picks up his
jacket)
No, I'm ready.
(to Terri, as he
crosses to door
with McCall)
I hope you're planning to be here
when I get back.
TERRI
If that's an invitation, I accept.
HUNTER
(at door)
Good.
And he and McCall exit.
EXT. HUNTER'S HOUSE - DAY
McCall's car is parked at the curb behind Hunter's. As they
walk to Hunter's car:
MCCALL
Pretty face, great bod. Did you
flash your badge and promise her
a ride with the siren on?
HUNTER
She's an old friend, McCall.
MCCALL
Which means you must have met her
sometime around happy hour last
night.
HUNTER
Old friend - as in four years.
MCCALL
Oh, that's why you gave her the
shirt off your back. Whatta guy.
Hunter gives McCall a look as she opens the car door and
ducks inside. Hunter gets in, starts the car, takes off
toward the beach highway.
THE CAMERA PANS
away from them and up the street, where we SEE:
A DARK SEDAN
parked at the curb.
CLOSE ANGLE - THE SEDAN
We SEE a man at the wheel. He watches as Hunter's car turns
north at the beach highway.
CLOSER ON THE MAN
His name is CARL REMICK, early forties, well-groomed,
handsome, the kind of man women in their thirties find
interesting and attractive. He starts the car and we HOLD
on it as it rolls down the street and parks across from
Hunter's house.
ON REMICK
as he steps out of the car and hurries across the street.
We see now that he is a tall man with solid shoulders and
a confident way of moving. He is almost too good-looking
to look tough, but we sense that he is tough.
AT HUNTER'S DOOR
Remick rings the bell. After a moment Terri appears at
the door, looks through the glass and sees Remick. From
her reaction we can tell she isn't about to open the door.
TERRI
What do you want!?
REMICK
Let me in and I'll tell you. If
you don't like what I've got to
say, I'll leave. That's a
promise.
Terri thinks about that a moment, then nods, undoes the
lock and opens the door.
INT. HUNTER'S LIVING ROOM - DAY
as Remick comes in.
TERRI
(as she closes the
door)
How did you find me?
REMICK
That chubby little man, the one
who sat beside you on the
airplane? He works for my company
- in security no less.
TERRI
(shocked)
Oh, God...
REMICK
Why did you run? What happened?
TERRI
It was over, Carl, between us.
And I'd lost my job so I decided
to come home.
REMICK
Don't hand me that! You were in
my apartment the night before
last. I heard the door close when
you left.
(a beat)
So did Berruzo. He wants to know
what you heard. He wants to know
why you suddenly left town. So
do I.
Terri turns away, goes to the couch and sits down.
TERRI
It's hard to believe, isn't it?
REMICK
What?
TERRI
That you and I were once
lovers...and friends...
REMICK
(sudden anger)
Cut the crap! You were in my
apartment when Jake and I came
in. We talked, and you stayed
quiet as a God-damned mouse, and
listened!
He walks over and leans down, looming over her ominously.
REMICK
What'd you hear?
TERRI
Carl. Stop trying to sound like
a tough-guy, it doesn't become
you.
(pauses)
You want an answer? Sit down and
I'll give it to you.
Remick seems a bit surprised that he has failed to scare
Terri. He turns and sits down in a chair across from her.
REMICK
Go.
TERRI
Yes. I was there. I was in the
bathroom repairing my makeup when
the two of you walked in. I
didn't want him to know I was
there, so I waited.
REMICK
And listened, right?
TERRI
Yes. I heard enough to realize
you're involved with that creep!
I couldn't believe it - someone
like you, the right schools, the
right money - old money. And
you're sucking up to him like some
Times Square punk.
REMICK
Jake Berruzo's a powerful man,
a rich man, a cultured man. I
like him.
TERRI
Yeah, culture - the kind you buy
at auctions. He's a killer, and
a dealer, coke probably. Where's
he from? Colombia?
REMICK
He's an American citizen, has been
for years. Did you hear him
mention coke?
TERRI
Carl, relax.
(she stands)
If you're doing business with
Berruzo no one could prove it by
me.
(more softly)
And even if I did know something
you'd rather I didn't - which
I don't - I wouldn't say
anything.
(her tone softens)
I don't intend to forget what it
was like between us...for a long,
very sweet year. That's all I
care to remember.
That softens Remick up considerably and he stands.
REMICK
(suddenly warm,
almost pleading)
That's why I'm here, Terri. I
remember us the same way. That's
why, when you just ran like that
I got worried, afraid you might've
misunderstood what we...what Jake
and I were discussing...
TERRI
I didn't run. I'd been planning
to leave from the day I lost my
job.
(softly)
Let's just say a sweet good-bye,
Carl, and remember each other as
friends. Okay?
Remick stares at her for a long while, and for a moment we
feel he will go to her and try to take her into his arms.
REMICK
You slept with him last night,
huh? - whoever lives here?
TERRI
Yes.
Remick says nothing, looks at her rather emptily a moment,
then turns and walks out.
FADE OUT
END OF ACT I
************************************************************
ACT TWO
FADE IN
EXT. SANTA MONICA PIER - DAY
SPORTY JAMES leans against the pier, fishing pole in hand.
With him are his NEPHEW, age 9, and a NIECE, age 8, both
of whom are also fishing. Because nothing is biting. Sporty
keeps the kids entertained with a story.
SPORTY
Then I feel somethin' tuggin' at
the line. I pull back and it tugs
harder. Next thing I know it
yanks me clean off this pier and
out into the ocean. Turns out
I've got my hook in a humungas
whale!
NEPHEW
(skeptical)
Last time, you said it was a
shark, Uncle Arnold.
SPORTY
Whale, shark...never did get a
real good look at him.
Sporty sees Hunter and McCall coming down the pier, walking
toward him. He leans his pole against the railing.
SPORTY
Couple friends I want to see...
(to Nephew)
I'm leavin' you in charge. If
anything bites, give me a holler.
ANGLE - THE PIER
Sporty crosses to Hunter and McCall who stop nearby. McCall
looks over at the kids with curiosity.
MCCALL
Cute kids. You been keeping
secrets from us, Sporty?
SPORTY
(re: the kids)
My niece and nephew - belong to
my sister, but sometimes I wish
they were mine. Now. How can
I be of ser-vice?
Hunter pulls a mugshot of Wally Grimes out of his pocket
and hands it to Sporty.
HUNTER
Wally Grimes: Held up a jewelry
store and killed the owner. Ever
hear of him?
SPORTY
Yeah, the dude's got a rep for
pullin' small time jobs - smash
and grab mostly. Usually has a
partner.
HUNTER
Yeah, we know. But according to
his rap sheet. Grimes' last
partner is serving 5 to 7 at San
Quentin. There's nothing in our
computer on who he's working with
now - which is why we called you.
MCCALL
This might help, Sporty: A
witness saw a tall man with sandy
hair and light-colored eyes
running from the jewelry store.
SPORTY
I will open some boxes and see
what pops up.
(smiles)
And now for the quid pro quo: A
female acquaintance of mine named
Georgette Willis got herself
bum-rapped for shop liftin'.
Needs someone to straighten things
out.
HUNTER
We'll see what we can do.
NEPHEW (O.S.)
(excited)
Uncle Arnold! Uncle Arnold!
WIDER
to include Sporty's nephew and niece. The nephew is tugging
at his line, trying to reel in a strike.
NIECE
It's a whale, Uncle Arnold, it's
a whale!
SPORTY
Excuse me, got Moby Dick on the
Line!
Sporty rushes over to his nephew and helps him in his
tug-of-war with the fish. Hunter and McCall watch for a
moment, exchange a look.
MCCALL
Uncle Arnold?
Hunter shrugs. He and McCall turn and walk away, EXITING
SHOT. HOLD ON Sporty and his two charges fighting the fish,
all of them excited and having the time of their lives.
CUT TO:
INT. HOTEL ROOM - DAY
Close on phone RINGING. We HEAR a door open: WIDEN to
reveal Carl Remick entering the room. He closes the door,
hurries to the phone and picks it up.
REMICK
Yeah?
(surprise and a
trace of fear)
Jake!
INTERCUT WITH:
INT. L.A. AIRPORT TERMINAL - STOCK - DAY
Establishing.
INT. MERCEDES BENZ - TRAVELLING - DAY
The car is leaving LAX. JAKE BERRUZO, 40's, of Hispanic
descent rides in the front passenger seat, a phone pressed
to his ear. Although he's dressed like any successful
business man, there's something of the predator lurking
beneath Berruzo's too polished surface. The impression is
reinforced by the two big men riding with him. PONCE is
at the wheel of the Mercedes and MANO sits in the back seat.
BERRUZO
(into phone)
I'm just leavin' the airport.
We gotta meet.
REMICK
(surprised)
You're in L.A.?
BERRUZO
Our butts are on the line, pal.
You bet I'm in L.A. What'd the
girl say?
REMICK
It's okay, everything's cool.
BERRUZO
(hard)
Yeah? Tell it to me direct. Meet
me at the warehouse...now.
REMICK
Sure, Jake, but you've got nothing
to --
And that's as far as Remick gets because Berruzo crams the
phone back into the cradle. He launches himself out of the
booth and the formidable trio marches off.
ON REMICK
A flash of anger crosses his face as he slams down the
phone.
CUT TO:
EXT. HUDSON IMPORTS - DAY
A warehouse in the L.A. harbor district with a sign reading;
"HUDSON IMPORTS, INC." Two trucks outside have painted on
their sides: "REMICK'S THE COFFEE YOU WAKE UP TO!" and
"REMICK'S COLOMBIAN CHOICE". Remick's dark sedan pulls up
in front of the place, parking behind Berruzo's Mercedes.
Remick gets out of his car, enters the warehouse with a
quick and determined walk.
INT. HUDSON IMPORTS - WAREHOUSE - DAY
We get the impression of busyness as workers unload bags
of coffee beans from waiting trucks onto wooden pallets.
The pallets are picked up by forklifts and hauled away.
Remick crosses the area and something about him tells us
this is one pissed off guy. He goes to the manager's office
where one of Berruzo's men, Ponce, stands guard. Ponce
knocks on the door, opens it, and Remick enters.
INT. HUDSON IMPORTS - MANAGER'S OFFICE - DAY
Berruzo is pacing the room restlessly. He stops as Remick
enters. Beruzzo nods to Mano who sits in a chair in front
of the desk. Mano takes his cue and exits, leaving his boss
and Remick alone. Remick crosses to Berruzo, anger showing.
REMICK
We've gotta get something straight
between us, Jake, starting now.
You don't order me around like
some errand boy.
Berruzo walks toward Remick, a vague smile on his face,
almost derisive.
BERRUZO
Hey, chill out, amigo, we got a
problem here an' you don' seem
to see that. Which makes me very
nervous, you understand?
REMICK
I told you on the phone, there's
no problem.
BERRUZO
(begins to lose
his cool)
You sure of that, huh? Why?
REMICK
She didn't hear anything we have
to worry about.
BERRUZO
(losing it fast
now)
Oh? That what she told you!'
Right?
REMICK
(voice rising)
I know the girl! I know when
she's being straight with me and
when she isn't.
Berruzo moves to within inches of Remick, all pretense gone:
this is a scared and angry man.
BERRUZO
You know what I hear you telling
me? She was there. She don' deny
that, right? She admits she was
there - just don' hear nothing!
Remick's veneer of toughness is slipping fast. He is
listening, and Berruzo knows it.
BERRUZO
You all of a sudden forget the
subject of our little talk in your
apartment - with her there!?
Remick remains silent, trying to keep Berruzo's anger from
rising further.
BERRUZO
We was discussin' our deal! An'
our deal ain't worth un suplo if
anybody knows about it!
REMICK
We didn't say anything she could
put together!
BERRUZO
You know that? You know we never
mention me buy in' a piece a your
company?
Remick says nothing because he doesn't know the answer.
Then:
BERRUZO
She knows I'm a dealer, right?
So how much brains it take to put
it together! I buy into a fine
ole company that's been importing
coffee from Colombia for sixty
-seventy years!
(pounds finger into
Remick's chest)
The lady's a reporter - you think
she don' put that together!?
REMICK
Jake, listen to me! Even if she
had heard anything, she wouldn't
do a damned thing about it!
BERRUZO
(he's a smart man)
Oh? She say that to you?
REMICK
(he's not smart)
Yeah, she did!
Berruzo stares at Remick, laughs a short nasty laugh, walks
away. A few feet away he turns to face Remick.
BERRUZO
Okay.
(thinking like mad)
That tell me two thing: She did
hear too much.
(stares into
Remick's eyes)
And she prob'ly don' tell nobody
yet.
(a heavy pause)
So we got time to think, to figure
what we do...
REMICK
We don't have to do a damned
thing...
BERRUZO
(smiles)
Maybe you right, Carl.
(nods)
Maybe you right...
(smile widens)
Let's go have some dinner, talk
about the coffee importing
business. Okay!?
He steps over to Remick, puts his arm around his shoulder,
walks with him to the door as we
CUT TO:
EXT. CITY STREET - DAY
We're in a rough section of L.A. Porno book stores and
girlie bars dot the neighborhood. A few hookers work the
area.
ANGLE - SIDEWALK
with Wally Grimes walking down the street, looking perfectly
at home in this hell-hole.
ON HUNTER
on the same sidewalk some thirty yards behind, keeping a
steady eye on Grimes.
GRIMES
continues walking, seemingly oblivious to Hunter. He enters
a fleabag hotel.
HUNTER
spots Grimes going into the hotel, quickens his pace a bit
to catch up. He reaches the entrance of the hotel,
cautiously looks in the doorway and, seeing nothing that
disturbs him, enters.
INT. FLEA BAG HOTEL - LOBBY - DAY
There's no one in the lobby. The furniture looks like stuff
Goodwill wouldn't even take. Hunter slowly walks into the
area, looks around. No sign of Grimes. A hallway leading
off from the lobby catches Hunter's interest. He walks over
to it.
FOLLOWING HUNTER
as he walks to the hall, passing by an ancient, wooden
telephone booth. The doors of the booth are shut and a
hand-made sign has been hung on it reading: "OUT OF ORDER".
As Hunter passes by, the doors on the booth suddenly fly
open. Wally Grimes leaps out and hits Hunter on the head
with a sap. Hunter takes the blow, staggers, moves out of
the way as Grimes takes another swing at him.
THE FIGHT
It's a vicious little battle with Grimes wielding a sap that
could maim or kill a man if it strikes the right area.
Hunter dodges the sap, catches Grimes in the face with a
fist. Grimes lurches back, then comes in again, wanting
to crack Hunter's head open.
Hunter finds an opening, lays into Grimes with a quick
combination of punches. Grimes staggers back, hits a chair
and goes toppling over. Hunter is on him in a flash,
pinning him facedown on the floor and cuffing him. Hunter
picks up the sap, shoves Grimes toward the front entrance.
Grimes begins to yell.
GRIMES
You ain't gonna hold me five
seconds! You're on my case with
no probable cause! That's
harassment!
Hunter gives Grimes a shove toward the door as we
CUT TO:
INT. HUNTER'S HOUSE - NIGHT
The lights are on in living room and kitchen and Terri is
pacing the living room floor looking like a lovely, patient
housewife whose husband is late for dinner. She is wearing
a silk Chinese hostess gown. She stops pacing suddenly as
she hears a SOUND and runs to the door.
As Terri peers out (sees Hunter, we will soon realize) and
opens the door.
Hunter comes in, looking her over with warm approval as she
closes the door behind him, smiles at him, and reacts to
two bruises on his face.
TERRI
(touching bruises)
What happened to you?
HUNTER
(grins)
A 148. You look gorgeous, where'd
you get that?
(meaning the gown)
TERRI
Out of my suitcase. What's a 148?
Hunter takes Terri into his arms and kisses her. She pulls
back after a sweet moment, gives him a smile, and kisses
him. After the kiss:
TERRI
I hope you haven't had dinner.
HUNTER
I was planning to take you out.
She takes his hand and pulls him toward the kitchen.
INT. KITCHEN - NIGHT
During the dialogue that follows we will SEE at the
appropriate time:
1) A beautiful salad in a large bowl (the dressing not yet
on it);
2) Eight luscious pieces of asparagus seen through saran
wrap on a plate;
3) A small thermos bottle;
4) Two salmon steaks;
5) A covered pan with steam curling out lightly, slowly.
TERRI
We are not eating out: salad's
all ready, just waiting for the
dressing.
(indicates thermos)
I made some Hollandaise sauce,
which I put in here to keep it
hot - so we can pour it over
these
(indicates
asparagus)
which will take 4 or 5 minutes
to cook - the water's ready and
waiting.
(opens
refrigerator)
And here we have: ta-da!
(as Hunter looks)
two salmon steaks. I'll broil
'em for about five minutes on each
side, then add some rice pilaf,
which is in the oven. So we do
not have to leave this house to
have dinner.
Hunter grins at her, kisses her again.
TERRI
(as she pulls back,
a bit
breathlessly)
Let's not start something we can't
finish.
HUNTER
Good thinking, I'll take a fast
shower instead.
And as he starts away:
TERRI
What's a 148?
HUNTER
Resisting arrest; not me, the
other guy. That's why I'm late.
And he goes on down toward his bedroom to take that fast
shower.
CUT TO:
CLOSE ON TWO CANDLES
Camera pulls back to reveal a small, cloth-covered table
in the living room. Terri and Hunter sit facing each
other, drinking coffee, the dinner over and undoubtedly far
superior to any neighborhood restaurant fare. Hunter is
wearing a fresh shirt and slacks, no jacket.
HUNTER
You know...when you took off for
New York so suddenly, I thought
I'd never see you again.
TERRI
Really? Why?
HUNTER
I figured someone with more sense
than I have would nail you.
TERRI
Rick...didn't you ever guess why
I took off so "suddenly"?
HUNTER
You told me it was a wonderful
job opportunity.
TERRI
I was doing very well right here.
(pauses)
I left because I thought it might
shock you into realizing you
didn't want me to leave.
HUNTER
I already knew I didn't want you
to leave.
TERRI
Then you should have told me so.
HUNTER
I couldn't.
TERRI
(puzzled)
Why couldn't you?
HUNTER
Most of my friends are street
cops, and I've seen what happens
to their marriages.
TERRI
(laughs)
If only half of them last, that's
about average for California.
HUNTER
It isn't how long they last, it's
what they're like: A street cop's
wife never knows for sure when
he's coming home or if he's coming
home. It's a lousy life for a
woman, Terri, a lot of cop's
wives have told me so.
TERRI
I know what you mean: When it
got to be after eight o'clock
tonight and I still hadn't heard
from you...Yeah, I understand...
(takes his hand)
But I gave up the idea of being
your wife a long time ago.
(smiles)
In fact, I found an apartment
today, it'll be ready for me by
Friday.
HUNTER
Meanwhile you're staying here.
TERRI
If you want me to.
HUNTER
I do.
(smiles)
I'm not even sure I'll let you
go on Friday.
He stands and takes her hand.
TERRI
(grins)
I've got to clean things up first.
HUNTER
We'll both clean things up in the
morning.
He pulls her to her feet and Terri blows out the candles
as we
CUT TO:
On a dark sedan parked 60 feet up and across the street,
INT. THE CAR - NIGHT
At the wheel sits Ponce. His eyes are on:
HUNTER'S HOUSE - HIS POV
As the lights go off in the living room, then in the
kitchen.
INT. THE CAR - NIGHT
Ponce looks at his wristwatch, sits back as if to get
settled in for the night.
CUT TO:
INT. SQUAD ROOM - DAY
McCall is at her desk typing a report. Hunter ENTERS SCENE,
looking glum. He sits at his desk.
MCCALL
Don't tell me: Grimes made bail.
HUNTER
(nods)
If we ever get in trouble, McCall,
let's hire Mike Snow.
Hunter's phone rings and he picks it up.
HUNTER
Homicide, Hunter.
INTERCUT WITH:
INT. PHONE BOOTH - DAY
Sporty James is seated in his chair at Kirby's Shoe-Shine
Stand.
SPORTY
Is this the Sergeant Hunter who
made Georgette Willis a free
woman? My sincere and eternal
thanks to you and Sergeant McCall.
Now, I've got something for you.
Hunter looks over to McCall, mouths the name "Sporty".
McCall nods.
HUNTER
Shoot.
SPORTY
Got a line on Grimes's partner,
a kid named Conrad Bleeker.
HUNTER
(nods to McCall)
Conrad Bleeker.
ON HUNTER AND MCCALL
McCall immediately picks up her phone, punches in a number.
Hunter continues talking with Sporty.
HUNTER
Nicknamed Connie, huh?
MCCALL
(into her phone)
This is McCall, Homicide. I want
the rap sheet of a Conrad Bleeker,
nickname "Connie"...
HUNTER
(repeating)
About twenty years old...no
address.
MCCALL
(off Hunter; into
phone)
...approximately 20 years of age,
no current address...
INTERCUT:
SQUAD ROOM AND PHONE BOOTH
SPORTY
(into phone)
I hear Bleeker and Grimes like
to hang out at a place called the
"El Zarape" over in Venice. And
that's all she wrote.
HUNTER
Thanks, Sporty, you're a
full-service friend.
END INTERCUTTING
ON HUNTER AND MCCALL
as Hunter hangs up the phone.
MCCALL
(into her phone)
Good. On the double.
FINN'S VOICE
Hunter! Captain wants to see you
in his office.
Hunter looks off at Finn, back to McCall, shrugs.
HUNTER
(to McCall)
Wish me luck.
CUT TO:
INT. DEVANE'S OFFICE - DAY
Devane is pacing angrily as the door opens and Hunter steps
in. Before Hunter has the door closed Devane is laying into
him:
DEVANE
What in hell is this, Hunter!?
Mike Snow's filing a complaint
against you, and us, claiming you
violated Wally Grimes's civil
rights!
HUNTER
(calmly)
That figures.
DEVANE
What happened?
HUNTER
We gotta find Grimes's accomplice
or they'll both skate free. I
was tailing Grimes.
DEVANE
Get to where the problem starts.
HUNTER
Grimes walked into a fleabag hotel
on Spring. I followed him in and
he jumped me.
(pauses)
Cuffing him required the use of
force, but not excessive force.
DEVANE
Why in hell would he jump you!?
HUNTER
I don't know.
DEVANE
Grimes jumping you makes no sense,
and Snow's gonna make the most
of that fact!
HUNTER
(flaring a little)
Charlie, it doesn't have to make
sense! - Grimes isn't playing
with a full deck!
Devane is silent, thinking over Hunter's version of the
story and realizing it sounds clean and he has to go along
with it.
DEVANE
Hunter, watch out for this guy,
please? He could end up making
you look like the homicidal
maniac.
HUNTER
(nods)
Yeah.
He turns and leaves.
as we FOLLOW Hunter back to
MCCALL'S DESK
She hangs up the phone as Hunter enters the scene.
MCCALL
Grimes again?
HUNTER
(nods)
Mike Snow's filing a complaint:
I violated Grimes's civil rights.
(grins)
Otherwise, everything's
hunky-dory.
MCCALL
Glad to know there's a bright
side.
(picks up sheet
of notes)
Conrad Bleeker is 20 years old
with a juvenile record dating back
to age 14 but no felony arrests
since he turned 18 so there's no
picture in the files and no
current address.
Hunter looks as if a ten-ton door had just closed on him.
He sits down heavily, ready to call it quits.
MCCALL
looks at him, seeing the frustration and defeat in his face.
MCCALL
Hey, how about having dinner at
my place tonight? We can watch
one of those TV cop shows where
everything always works out in
the end.
HUNTER
Thanks, partner, but I promised
to take Terri out tonight.
Tomorrow okay?
MCCALL
Sure.
(a beat)
Is it serious between you two?
HUNTER
(after a long beat)
I like her a lot, McCall. I think
you would too.
(smiles)
I used to think she wouldn't be
able to take the heat of being
a cop's wife...Now, I don't
know...Maybe she can...
On McCall's thoughtful expression we
CUT TO:
INT. RESTAURANT - NIGHT
Hunter and Terri are in a booth in this dimly lit, quiet
restaurant. They are finishing dinner, drinking coffee,
having some fresh fruit for dessert.
TERRI
By the way, what're you doing
around eight thirty tomorrow
morning?
HUNTER
(grins)
You got something in mind?
TERRI
(laughs)
I want to show you my new
apartment - it'll take a half
hour at the most.
HUNTER
No.
TERRI
(surprised, but
still smiling)
No? Why not?
HUNTER
I plan to talk you out of it.
I want you to stay right where
you are.
Terri looks at him, studies his face, wondering how serious
he is about this.
HUNTER (CONT'D.)
Let's see how it works for both
of us. Maybe you're an exception.
(grins)
Who knows, you might thrive on
being a street cop's wife. Let's
find out.
Terri looks almost ready to cry. She puts a hand on his
and:
TERRI
Rick, I'm worried about only one
thing: I came back and, well,
I just kind of moved in on you
without giving you a chance to
say anything about it. I
shouldn't have done that.
HUNTER
(smiles)
If I hadn't liked it, I'd've said
so.
TERRI
Let's do this: I'll take the
apartment for a month or two, and
if everything's great, then we'll
try it together. Okay?
Hunter answers by kissing her gently as we
CUT TO:
EXT. RESTAURANT - NIGHT - FRONT ENTRANCE
as Hunter and Terri come out. A VALET takes Hunter's
parking stub. Suddenly we HEAR TIRES SCREECHING. Hunter
and Terri look in the direction of the sound.
A BLUE CAR
rips past the restaurant, going right to left (putting the
driver on the near side in re Hunter and Terri). We cannot
see who is behind the wheel. The muzzle blast of a revolver
flashes from the driver's window. We HEAR ONE GUNSHOT.
HUNTER AND TERRI
as Terri is hit. She falls and Hunter catches her, lowers
her to the sidewalk.
HUNTER
(to Valet)
Call 911! Get an ambulance!
Hunter kneels beside Terri. Blood seeps through the front
of her blouse where a bullet has torn into her. Hunter
looks stunned. He looks off at:
THE VALET
Standing at an outside wall phone, talking rapidly to the
911 operator.
BACK TO HUNTER
as he cradles Terri in his arm, his face anguished.
FADE OUT:
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
EXT. RESTAURANT - NIGHT
The flashing red lights of emergency vehicles and patrol
units wash the area. Police officers, paramedics, and the
M.E., BARNEY, are on the scene. A gurney carrying Terri's
sheet-covered body is loaded into the coroner's wagon. The
crime scene boys do their jobs as curious onlookers stare
from behind a police line.
ON HUNTER
as Finn approaches him.
FINN
Nobody got a good look at the
shooter, we've got nothing.
HUNTER
That's all right Ambrose, I know
what he looks like.
Hunter turns and hurries toward his car. Finn stands
looking surprised.
FINN
Hunter!
Finn starts toward Hunter's car but Hunter drives off,
leaving Finn wondering; he's sure Hunter heard him. Barney
steps up beside Finn and both look at Hunter's rapidly
disappearing car.
BARNEY
Where's he off to in such a hurry?
FINN
I don't know, and I don't like
it.
A CAR
with gumball flashing pulls up and Finn recognizes McCall's
car. McCall gets out and runs toward:
as McCall enters to them.
MCCALL
Where's Hunter?
FINN
(worried)
He just drove off. I don't know
where he was going, but he's in
one hell of a hurry to get there.
MCCALL
(to Barney)
Dispatch said the victim was
Terri Barnes and she's dead.
Is it true?
BARNEY
(nods)
She must've been someone pretty
special, judging from the way
Hunter took it.
MCCALL
She was. What happened?
FINN
Car drove by, guy fired one shot
and it hit her.
MCCALL
Hunter was the target?
FINN
They were standing arm in arm,
so the shot missed him by a
fraction of an inch.
BARNEY
(to McCall)
Odd thing, though. She was hit
right in the heart.
MCCALL
And there was only one shot?
FINN
Yeah.
MCCALL
It doesn't figure. If Hunter was
the target there'd have been
another shot, wouldn't there?
FINN
Hey, the guy was alone in the car
and driving fast. He took his
best shot, and missed.
MCCALL
Is it possible she was the target?
FINN
Possible. Not probable.
MCCALL
You know where Hunter's going,
don't you? He's going after Wally
Grimes!
FINN
(sudden alarm)
If you're right we better pick
up Grimes before Hunter does!
Finn starts away but McCall stops him.
MCCALL
I want to check something out,
will you help me?
FINN
Check what out?
MCCALL
I'll explain in the car.
And the two of them head for McCall's car, climb in and take
off, gumball still flashing.
EXT. CITY STREET - NIGHT - ON "EL ZARAPE"
A lighted sign identifies the place. It's a watering hole
for low-lifes who filter in and out of the establishment. A
few tough customers loiter near the entrance.
EXT. CITY STREET - NIGHT - ON HUNTER'S CAR
as it glides to a stop, some seventy feet away from the bar.
Hunter looks the place over, settles back in the front
seat, waits.
CUT TO
EXT. RESIDENTIAL STREET - HUNTER'S HOUSE - NIGHT
McCall pulls up in her car with Lt. Finn riding shotgun.
They get out and walk toward the house as McCall gets out
a key.
FINN
Got your own key, huh?
MCCALL
Hunter's my partner, Ambrose.
We watch out for each other.
McCall stops short, peers at the house.
Finn stops walking, follows McCall's gaze.
THEIR POV - THE HOUSE
with the windows darkened. The beam of a flashlight washes
one of the windows. Someone's inside.
MCCALL AND FINN
as they exchange a quick look. They pull out their guns.
FINN
Give me ten seconds to get around
back.
Finn moves off into the dark, heading toward the rear of
the house. McCall cautiously approaches the front door.
HUNTER'S HOUSE - FRONT PORCH
as McCall creeps up the steps, gun ready.
HUNTER'S HOUSE - BACKYARD
Finn positions himself near the back, gun ready.
HUNTER'S HOUSE - FRONT DOOR
McCall quietly slips Hunter's house key into the lock. She
gathers herself for a moment, turns the key, opens the door
and throws it open. McCall crouches by the doorframe, using
it as cover. She points her gun and yells.
MCCALL
Police! Freeze!
We HEAR A CRASHING SOUND, then SEVERAL GUNSHOTS. The
doorframe near McCall splinters.
Finn hears the gunshots, crouches back into the shadows just
in time to see
HUNTER'S HOUSE - BACK DOOR
as it flies open and two men blast out of the place.
FINN
Police! Hold it!
The two open fire on Finn
THE SCENE
who tries to return fire, but is nailed down. The two men
begin to make good their escape when they hear:
MCCALL'S VOICE
Drop 'em!
ANGLE - INCLUDING MCCALL
who is in the back doorway, her gun pointed directly at the
still shadowy intruders. For a moment it looks like the
men might whirl and fire at her.
MCCALL
Don't try it!
The two men freeze.
FINN
Put 'em down!
The men drop their weapons.
MCCALL
Hands behind your heads! Now!
McCall gestures with her gun and the two men comply. With
her free hand, McCall feels the wall by the inside doorway,
searching for the porchlight switch. She clicks it on and
we get a clear view of the two men for the first time; Ponce
and Mano, Berruzo's men. They squint into the bright light,
looking at McCall, who approaches them.
Finn comes up from behind the men, slaps his cuffs on Mano.
McCall tosses Finn her set of cuffs and he puts them on
Ponce. This accomplished, Finn quickly frisks both men as
McCall holds her gun on them.
MCCALL
You're under arrest. What were
you after in there?
Both men stare at her stonily. It's obvious they aren't
about to say one word. McCall and Finn exchange a look as
he finishes patting down Ponce. Finn has found something
in Ponce's outside pocket, but we can't quite see what it
is.
FINN
No wallets, no I.D.'s, nothin'.
Except these...
Finn holds up a set of car keys on a ring.
FINN
I'll give odds they're driving
a GM car and it's parked no more'n
two or three blocks from here.
TIME CUT TO:
INT. HUNTER'S HOUSE - BEDROOM - NIGHT
FLASHING LIGHTS from police cars shine through the window.
We HEAR the chatter of POLICE RADIOS in the B.G. The room
is in disarray. While it's obvious the dresser drawers and
closets have been tossed. Hunter's things are relatively
untouched. The major focus of the search seems to have been
Terri Barnes's suitcases which lie on the floor. Her
clothing has been scattered about and the suitcase linings
have been ripped out. McCall kneels by the suitcases, pokes
through the debris of Terri's things. Finn enters the
room, looks around.
FINN
Really did a number.
McCall continues looking through Terri's belongings.
MCCALL
Hunter's stuff they went easy on,
but Terri's things they ripped
apart. She was the target here,
not him.
CUT TO:
EXT. RESIDENTIAL STREET - NIGHT
Headlights blaze INTO CAMERA and we ADJUST ANGLE to find
McCall's car rolling slowly down the street. We SEE a
number of cars parked. Among the domestics, there's a mix
of GM and non-GM makes. We get the idea that finding the
car that matches the keys will take time.
INT. MCCALL'S CAR - TRAVELING - NIGHT
McCall drives as she and Finn check the cars parked along
the curb. Finn is on the radio.
FINN
(into radio mike)
What's the status of that APB on
Hunter?
DISPATCHER'S VOICE
Nothing yet, L-57. He is not
responding.
FINN
Keep on it! Patch him through
to me if he responds. L-57 out.
(hangs up mike)
MCCALL
(spots parked car)
There's one.
McCall stops her car along side a vehicle that might match
the keys, a nearly new GM model. Finn gets out.
EXT. RESIDENTIAL STREET - CONTINUOUS
Finn goes to the car, tries the keys in the door lock. It
doesn't budge. Finn looks to McCall, gets back into her
car.
FINN
Next.
McCall slowly drives off as we:
CUT TO:
OMITTED
EXT. EL ZARAPE - NIGHT - ON HUNTER'S CAR
Hunter is slouched down behind the wheel of his car
watching El Zarape. He suddenly sits up as he notices
something down the street.
EXT. EL ZARAPE - FRONT ENTRANCE - NIGHT
CONRAD BLEEKER walks along the sidewalk heading toward the
entrance of the bar. He's tall, has sandy-colored hair, and
walks with a loose limbed gait that suggests an adolescent
inside a man's body. Bleeker enters El Zarape.
HUNTER
gets out of his car and walks toward the bar.
INT. EL ZARAPE - NIGHT
A dark, smoky, seedy bar that stinks after stale beer.
Hunter enters, looks the place over, sizing up the various
patrons scattered around the barroom. He sees Conrad
Bleeker at the end of the bar, sitting by himself.
Hunter, standing at the opposite end of the bar and unseen
by Bleeker, goes over to the BARTENDER and sits on a stool.
Hunter pulls out his badge and flashes it so only the
bartender can see.
HUNTER
The guy sitting at the end of the
bar - he a friend of Wally
Grimes?
The bartender turns to look, but Hunter stops him.
HUNTER
You don't have to look - you
know who I'm talkin' about.
The bartender turns back to Hunter, nods. Hunter gets up,
walks to the other end of the bar where Bleeker is sitting,
approaching him from off his shoulder, out of his direct
line of sight.
HUNTER
Hey, Connie!
Bleeker turns around, expecting to see an acquaintance.
Instead he finds Hunter standing there. For a moment it
looks like Bleeker might bolt and run, but Hunter puts a
hand on his shoulder, pressing him back on his bar stool.
HUNTER (CONT'D)
Stay where you are, Connie, I
wantta talk to you.
Bleeker thinks better of running. Hunter pulls out his
badge, holds it up in front of Bleeker. The kid looks
scared.
HUNTER (CONT'D)
You're Conrad Bleeker, a friend
of Wally Grimes.
BLEEKER
So?
HUNTER
Where's Grimes?
BLEEKER
I don't know. You check his
address, over on San Luis?
HUNTER
He's not there. He's hiding
someplace and you're gonna tell
me where.
BLEEKER
I told'ja, I don't know where he
is.
Hunter grabs Bleeker by the front of his shirt, almost
jerking the kid off his bar stool.
HUNTER
You aren't listening, Connie, I'm
looking for Grimes and you can
help me. You wanna talk here?
(nods O.S.)
Or in the alley out back, it's
up to you.
BLEEKER
(begins to fold)
Hey, I got no hassle with you.
What if I do know where he is?
Then what?
HUNTER
I'm in a hurry, Connie. Where
is he?
BLEEKER
I'm not sure where he is, but
there's this hooker, Courtney
McQueen, does special duty. Wally
spends a lot of his time at her
place.
HUNTER
Where's that?
Bleeker digs into his pocket, pulls out a rumpled, dirty
square of paper with an address on it, hands it to Hunter.
BLEEKER
Wally wrote it down, case I needed
to get hold of him.
Hunter scans the paper, stuffs it in his pocket, stands. He
pulls Bleeker to his feet.
HUNTER
Stand up.
BLEEKER
Hey, get your hands...
HUNTER
(cutting in)
Move it.
Hunter shoves Grimes to the back of the bar where the
restrooms and a payphone reside.
INT EL ZARAPE - BACK HALLWAY - NIGHT
Bleeker looks panicked as Hunter shoves him down the hall.
He starts to protest, but Hunter spins him around, pulls out
his cuffs, slaps them on Bleeker's skinny wrists.
BLEEKER
Hey, what's goin' on here?! I gave
you what you wanted!
HUNTER
In case you don't know, Conrad,
you're wanted on a murder rap.
You and Grimes're gonna burn for
that jewelry store job.
BLEEKER
Hey, man, you got some bad stuff!
I don't know 'bout any hold-up.
HUNTER
Good. That means when we put you
in the line-up, our witness won't
point you out.
Bleeker all too suddenly remembers the woman he bumped into
while running out of the jewelry store. If he looked scared
before, he looks petrified now.
BLEEKER
I gotta right to a lawyer!
HUNTER
Sure, you do. Then you got a
right to die for murder one.
OMITTED
Hunter reaches for a payphone hanging on the wall.
CUT TO:
EXT. EL ZARAPE - NIGHT
As an unmarked Metro police car comes to a stop in front of
El Zarape, Hunter comes out from the bar holding Bleeker by
one of his handcuffed arms. They cross to the police car
as DETECTIVE DON RAYFORD gets out from behind the wheel.
Hunter puts Bleeker in the back of the car, then crosses to
Rayford.
HUNTER
His name's Conrad Bleeker. Take
him in and book 'im for murder.
RAYFORD
You woke me up in the middle of
the night for this?
HUNTER
I got a special situation here,
Don. You're the only one who
knows where I am and I gotta keep
it that way. I'm counting on you.
RAYFORD
You qot it
Rayford gets into his car and drives off, taking Conrad
Bleeker. As Hunter crosses back to his car:
CUT TO:
McCall's car cruises slowly down the street with McCall and
Finn looking for late model GM vehicles. They see a nearly
new, dark blue GM van parked by the curb.
CLOSER
as Finn jumps out of McCall's car, tries the keys he got
from Ponce in the door of the van. The key fits, the lock
turns, and Finn opens the door. He looks over to McCall
and they exchange a little look of triumph. Finn crosses
to the front of the van, looks at the plates, walks back
to the open door of McCall's car.
FINN
One, Z-A-0, 435.
McCall picks up the radio mike and clicks it on.
MCCALL
(into mike)
L-57 requesting DMV check on one,
Zebra Adam Mary, four-three-five.
INT. HUNTER'S CAR - NIGHT
He's cruising along, driving through a trashy residential
area, but no gumball, no siren.
INT. MCCALL'S CAR - MIGHT
Finn is back inside the car with McCall.
DISPATCHER'S VOICE
L-57, come in, please.
MCCALL
This is L-57, go ahead.
DISPATCHER'S VOICE
(over radio)
L-57, one. Zebra Adam Ocean,
four-three-five, blue GMC
van registered to Hudson Imports,
15 Water Street, San Pedro. No
wants.
McCall exchanges a look with Finn.
MCCALL
(into mike)
Anything on Hunter?
DISPATCHER'S VOICE
No reports on the APB.
MCCALL
Patch me through to Captain
Devane...
Finn reacts, seeing his career go down the tubes.
FINN
McCall, you don't go shaking the
Captain outta bed at five a.m.!
MCCALL
I do when my partner's life and
career are on the line.
DISPATCHER'S VOICE
Stand by, L-57...
INTERCUT WITH:
INT. CAPTAIN DEVANE'S HOUSE - KITCHEN - NIGHT
Devane picks up a RINGING wall phone. He's wearing a
bathrobe and in one arm he's carrying his cat. Harry.
DEVANE
'Lo.
MCCALL
Captain, this is Sergeant McCall.
Sorry to wake you up.
DEVANE
You didn't - been up with Harry
- he had a fur ball and wasn't
feeling so hot...seems to be okay
now. What's up?
MCCALL
I've got an emergency situation
- it's about Hunter. I'd like
to talk to you - in person.
DEVANE
Meetcha at division in a half
hour.
END INTERCUTTIN
ON DEVANE
as he hangs up the phone, scratches Harry on the head.
CUT TO:
EXT. TRASHY RESIDENTIAL AREA - NIGHT
FOLLOWING Hunter's car until it pulls over to a curb, parks,
headlights blinking off. Hunter gets out of his car and
looks around the neighborhood which is dead still. He walks
off, heading toward a particular address some three quarters
of the way down the block.
EXT. COURTNEY MCQUEEN'S APARTMENT - NIGHT
It's a seedy bungalow court, built in the late 40's. Hunter
goes to Courtney McQueen's apartment, looks it over. The
curtains are drawn, the windows dark, no sound from within.
He goes to the mailbox and checks the name.
INSERT - MAILBOX
in the pale light from a streetlamp we SEE a peeling
dymolabel reading: "C. MCQUEEN".
BACK TO HUNTER
as he crosses to Courtney McQueen's front door, knocks at
the door. No response. He knocks again, nothing, then
tries the doorknob. It's locked. It doesn't appear that
anyone's home, so Hunter leaves the porch and walks back
toward his car.
CUT TO:
INT. DEVANE'S OFFICE - NIGHT
McCall is making an impassioned request to Devane who sits
behind his desk.
MCCALL
They tore Terri Barnes' luggage
apart looking for something. I'm
positive they're tied into her
murder and I don't think Wally
Grimes had a thing to do with it.
We've gotta get word out to Hunter
before he...
DEVANE
(cutting in)
McCall, you know him as well as
I do. Hunter's not the type to
blow someone away - not even
Wally Grimes.
MCCALL
Captain, in any other situation
I'd agree with you 100%. But
Hunter was talking about marrying
Terri Barnes - and if he thinks
Grimes pulled the trigger
tonight...
(pause)
...I just don't want to take the
chance we're wrong.
Through Devane's office windows or open doorway, we SEE a
BOOKING SERGEANT leading Conrad Bleeker through the squad
room. Bleeker, who is clearly identifiable, goes unnoticed
by McCall and Devane.
DEVANE
We've got an APB out and dispatch
is calling him on every channel
- not a heckkuva lot more we can
do.
MCCALL
What about putting every available
officer in Metro out on the
streets looking for him?
Devane studies McCall for a beat.
DEVANE
That serious, huh?
McCall nods.
DEVANE
(reaches for phone)
Okay.
CUT TO:
EXT. TRASHY RESIDENTIAL STREET - NIGHT
Hunter sits behind the wheel of his car watching Courtney
McQueen's place. Something down the street catches his
attention.
HUNTER'S POV - COURTNEY MCQUEEN'S BUNGALOW APARTMENT
A dented old jalopy pulls to a stop in front and stops. The
headlights die and the car door opens. Courtney McQueen,
a tall black woman, steps out wearing a brief mini-skirt,
white boots, and a low-cut peasant blouse. She walks across
the street and enters the apartment Hunter checked earlier.
A light goes on in the window.
HUNTER
watches the apartment. The cheese has arrived, now all he
needs is the rat.
FADE OUT:
END ACT THREE
*************************************************************
ACT FOUR
FADE IN:
INT. DIVISION - ON LT. FINN'S DESK - DAY
Early morning, 6:15 a.m. Finn is asleep, head resting on
his desk. He snores with a soft rasp. McCall ENTERS SHOT,
hurrying to Finn's desk, her eyes glued on a pad of paper
where she's written notes.
MCCALL
Hey, Ambrose...!
Finn wakes up with a start, jerking himself up from the
desk. McCall is too engrossed in her notes to notice.
MCCALL (CONT'D)
I got it! Hudson Imports is a
staid, old, respectable company
founded in 1909. And you know
what they import?
Finn looks at this energetic and obviously excited woman
through bleary eyes. He shakes his head.
MCCALL (CONT'D)
Coffee! From Colombia! They own
"Remick's Colombian Choice"!
The information doesn't quite register with Finn, who is
still groggy.
FINN
(grumpy)
I'll take some with cream.
MCCALL
Just what I had in mind, let's
go.
And she's on her way, followed by Finn.
CUT TO:
INT. HEADQUARTERS - BOOKING AREA - DAY
Early morning, 6:20 a.m. Conrad Bleeker has finally
completed the booking process. He stands by a pay phone
near the booking desk in mid-conversation. An OFFICER
stands guard in the E.G. giving Bleeker the privacy to which
he has a legal right. Bleeker grips the receiver like it's
a lifeline. The kid looks scared.
BLEEKER
(shaky)
Wally, I don't know how to get
a hold of Mike Snow. Will you
call him for me? I got busted.
GRIMES
(over phone)
Okay, Connie. Just keep your
mouth shut. I'll call him right
now.
BLEEKER
(quietly)
Hunter arrested me. I told him
about Courtney. He's prob'ly at
her place waitin' for you.
GRIMES
(over phone)
Thanks, Connie, you done the right
thing. Don't tell 'em squat down
there. I'll call Snow. You got
nothin' to sweat.
CUT TO:
EXT. HUDSON IMPORTS - DAY
Hudson imports is open for business with a couple of loading
bay doors open and trucks parked inside. Berruzo's
Mercedes is parked in front of the place.
INT. MCCALL'S CAR - DAY
The car is parked 70 yards or more away from Hudson Imports.
McCall is behind the wheel looking through binoculars. Finn
gets on the radio.
The radio crackles to life.
DISPATCHER'S VOICE
L-57, 1 Lincoln William Henry,
545, Mercedes 420, registered
to Luxury Rentals on Wilshire.
Vehicle is rented to a Jake
Berruzo. No wants.
FINN
(into mike)
Any word on Hunter?
DISPATCHER'S VOICE
Nothing yet...
Finn looks over to McCall who shakes her head.
CUT TO:
EXT. STREET - ON HUNTER'S CAR - DAY
Early morning. Hunter reclines in the front seat of his
car, watching Courtney McQueen's place. The light of day
reinforces our earlier impression that this is a low-rent
neighborhood. Hunter checks his watch, stretches a bit,
then continues the wait.
CUT TO:
OMITTED
INT. DEA - STEVENS' OFFICE - DAY
MICHAEL STEVENS picks up his ringing phone.
STEVENS
Stevens.
INTERCUT WITH:
INT. MCCALL'S CAR - DAY
MCCALL
(into mike)
Mike, this is Sergeant McCall,
Metro P.D. I'm investigating a
murder and a guy named Jake
Berruzo just came into the
picture. Ever heard of him?
STEVENS
Hell yes, he's a mover and shaker
in the coke trade, works outta
New York City.
MCCALL
Anything you can bust him on?
STEVENS
Wish there was. Berruzo stays
behind the scenes...way behind.
We've been on his tail for three
years and haven't even come
close.
MCCALL
Mike, I have probable cause to
hold Berruzo for questioning in
a homicide. How'd you like to
meet him face-to-face?
STEVENS
I'd like that. Where are you?
DISSOLVE TO:
EXT. STREET NEAR HUDSON IMPORTS - DAY
CLOSE ON the front tire of a car as it rolls to a stop.
ADJUST ANGLE to find Michael Stevens at the wheel of the
cars. Stevens picks up the radio mike, presses the talk
button.
STEVENS
L-57, this is D-84. Over.
INTERCUT WITH:
INT. MCCALL'S CAR - DAY
McCall talks into the mike, with Finn peering at Hudson
Imports through the binoculars.
MCCALL
I'm reading you D-84. What's
your position?
STEVENS
I'm about a hundred yards west
of Hudson Imports.
MCCALL
Let's roll. We've got two back
up units going in with us. Let's
roll.
McCall starts the car as Finn tosses the binoculars on the
seat, puts the cherry flasher on the roof. McCall throws
the car into gear and hits the accelerator.
INT. HUDSON IMPORTS - SERIES OF SHOTS - DAY
McCall's car and two unmarked units roar down the street
and, along with Stevens' car, come to a TIRE SCREECHING
stop in front of the warehouse. McCall, Finn, Stevens', and
four Metro Vice cops jump from their respective units.
Their weapons, including a couple of shotguns, are out and
ready.
IMT. WAREHOUSE - SERIES OF SHOTS - DAY
The workers inside the place are startled by the sudden
influx of police. The plain clothes officers shout AD LIB
orders, "FREEZE! POLICE! HOLD IT! HANDS UP!" etc., and
the workers immediately comply. The plain clothes officers
take the workers into custody.
McCall, Finn, and Stevens spot the door to the manager's
office, and march toward it. Berruzo, having heard the
disturbance, suddenly flings the door open. He stands there
looking startled with Remick behind him. Both men hurry
out into the warehouse area.
BERRUZO
What's going on!
MCCALL
(flashes badge)
L.A. Metro Police.
BERRUZO
You can't come bus-tin' in here...
MCCALL
(cuts him off)
We're investigating the murder
of Terri Barnes.
Remick stares at McCall with stunned disbelief, turns
suddenly to Berruzo as he realizes who ordered the killing.
REMICK
(to Berruzo)
You lousy, stinking...
And before McCall or anyone else can move to intercede,
Remick attacks Berruzo, hitting him in the face, grabbing
him by the throat and choking him. It takes Finn and
Stevens to pull Remick off of Berruzo. McCall keeps a gun
trained on Berruzo who holds onto his bruised throat.
BERRUZO
I wantta call my lawyer.
McCall takes this all in, exchanges a look with Finn and
Stevens. They know exactly how they're going to play this
one.
CUT TO:
EXT. STREET - ON HUNTER'S CAR - DAY
Establishing.
INT. HUNTER'S CAR - DAY
Morning sun floods into the car. Hunter sits behind the
wheel, yawns, looks toward Courtney McQueen's place. A
GUNSHOT EXPLODES and the side driver's window of Hunter's
car shatters as a bullet tears through, missing him by
inches. Hunter drops down on the seat for cover, opens the
passenger door, and tumbles out of the car.
EXT. HUNTER'S CAR - DAY
Another GUNSHOT and the windshield spider-webs. Hunter
ducks down behind the car for cover, tries to get a line
on his attacker's position. A GUNSHOT erupts from a
building across the street. Hunter FIRES back.
Wally Grimes appears from behind cover, takes TWO quick
SHOTS at Hunter, then runs for his life, disappearing behind
the building.
HUNTER
comes out from behind his car, chases Grimes.
THE CHASE
The shoot out and chase take us through a seedy neighborhood
populated with rundown apartments and ramshackle houses.
Grimes runs at full tilt, but no matter how fast his legs
pump, he cannot elude Hunter. Grimes stops to fire his gun
at Hunter who ducks behind a building, returns fire. Grimes
continues running with Hunter in pursuit.
EXT. HUDSON IMPORTS - DAY
A couple of black and whites, lights flashing, are now also
parked in front of the warehouse with uniformed officers
sealing off the place. McCall, Stevens, and Finn come out
of the warehouse with Remick and Berruzo, both of whom are
handcuffed and in custody. We HEAR the dispatcher's voice
coming from McCall's car.
DISPATCHER'S VOICE
L-57, come in please. L-57,
respond.
McCall crosses to her car, reaches inside, and pulls out
the mike.
MCCALL
This is L-57, go ahead.
DISPATCHER'S VOICE
Sergeant McCall, we have a report
of gunfire at 9852 Webster - a
patrol unit's on the scene. They
found Hunter's car...empty.
MCCALL
I'm on my way.
McCall jumps into her car, starts it up and PEELS out:
CUT TO:
EXT. BOAT DRY DOCK STORAGE YARD - DAY
We come to a storage yard for boats, most of them old and
falling apart. Grimes races across the yard, stumbling,
nearly winded. Grimes stops, turns, aims at Hunter who
drops down on his stomach. Grimes squeezes off a hurried
shot, the bullet kicking up dirt a couple feet away from
Hunter. Grimes charges off toward a row of boats with
Hunter springing to his feet and chasing after.
EXT. ROW OF BOATS - DAY
Grimes is about ready to collapse. He runs between two rows
of boats forming a long corridor. Hunter appears at the
end of the corridor looking like he could run another ten
miles. Grimes glances over his shoulder, sees Hunter
gaining on him. He stops, drops to his knees, rolls
underneath a boat to the other side.
EXT. OTHER SIDE OF BOAT - CONTINUOUS
Grimes rolls out from underneath the craft, stands and makes
a horrible realization. The only way out of the storage
area is up and over a high security fence topped with
strings of barbed wire. Grimes knows he has to nail Hunter,
aims his gun under the boats waiting for him to appear.
Suddenly he spots Hunter, not under a boat, but standing
on the deck of one.
Grimes whips up his gun, pulls the trigger again - his gun
CLICKS EMPTY. Hunter jumps to the ground, approaches Grimes
with his gun held out in front of him.
Grimes staggers to the security fence starts to climb, but
doesn't have the strength to haul himself up. He turns,
back against the fence, faces Hunter who keeps coming toward
him. Hunter's gun is up, aimed directly at Grimes.
SERIES OF SHOTS
ON Hunter and Grimes, each shot CLOSER and CLOSER on the
two adversaries. Grimes drops his gun, puts his hands up
in front of him as if they might protect him from a bullet
and with good reason. From the look in Hunter's eye he
could pull the trigger any second.
INTERCUT TIGHT SHOTS of both men and play the tension as
Hunter nears Grimes, stops about ten feet away looking
lethal as hell, his gun aimed at Grimes's heart. Grimes
cowers back against the fence wishing he could ooze through
the chainlink and escape. CLOSE ON Hunter as he trains his
gun on Grimes, the fury within him fighting for control of
his judgment, ready to pull the trigger. Grimes slides
down against the fence, going down to his knees.
GRIMES
Don't kill me! You're a cop!
ON HUNTER
We know there's nothing he'd rather do than pull the trigger
and blow Wally Grimes away. HOLD ON Hunter for a long beat
as he comes to his moment of decision.
HUNTER
On the ground.
WIDER
Grimes goes face down in the dirt. Hunter walks over to
him, keeping his gun aimed, pulls out his cuffs, and snaps
them on Grimes's wrists.
HUNTER
You took your best shot, loser,
and it wasn't good enough. Stand
up.
Hunter pulls Grimes to his feet. Grimes knows now Hunter
is not going to kill him - the moment has passed. What
little swagger Grimes has left comes to the surface.
GRIMES
You came after me, forced me to
defend myself!
HUNTER
Connie Bleeker's in custody. He's
gonna be I.D.'d in a line-up and
then he's gonna fold and take you
with him.
(takes Grimes by
the arm)
Walk.
As Hunter turns to follow Grimes, he sees:
MCCALL
and something about the way she's standing there looking
at Hunter suggests she may have been watching Hunter all
during his advance on and apprehension of Grimes. Hunter
and Grimes approach McCall.
HUNTER
How long've you been standing
there?
MCCALL
Just long enough to know I owe
you an apology.
HUNTER
(looks puzzled)
What does that mean?
MCCALL
It's a long story...
(off of Grimes)
... I'll tell you when he's not
listening.
Hunter nods, holds McCall's look for a moment, takes Grimes
by the arm and moves off. As McCall follows:
FADE OUT:
END OF ACT FOUR
TAG
FADE IN:
EXT. BEACH - DAY
Ocean waves roll onto a beach that is deserted with the
exception of one lone figure, Hunter. He walks near the
water line, hands shoved into his pockets, in a deep,
contemplative mood. His concentration is broken as he
notices:
MCCALL
coming down a stairway leading to the beach and crossing
to him. McCall approaches her partner, stops before him.
MCCALL
I was just down at division. Word
came in and I thought you'd like
to know.
HUNTER
What's that?
MCCALL
Remick plea-bargained and gave
us Berruzo.
(pauses)
Both cases closed and in the
D.A.'s hands.
HUNTER
Good.
They start walking side-by-side. Hunter looks at McCall.
HUNTER
You never told me what you meant
by "owing me an apology".
MCCALL
No, I didn't.
Hunter stops walking as does McCall.
HUNTER
Well...?
McCall studies him for a moment, looking a little sheepish.
MCCALL
I'd rather just forget about it.
Hunter gives her a look and puts an arm around her as they
continue walking.
HUNTER
It's okay, McCall, I know what
you meant. And you were almost
right.
McCall looks up at Hunter, realizing he had known all along
as we:
FREEZE FRAME
FADE OUT
THE END
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