"DEAD OR ALIVE"

Written by Frank Lupo

ACT ONE

FADE IN

CLOSE ON AN ALABAMA LICENSE PLATE

And as soon as it's on screen we hear the first pounding
rhythm of the song: "DON'T MESS AROUND WITH JIM." As
the opening lyrics begin we start our pull back and up,
revealing this plate is wired to the front end of a sixty-
eight baby-blue Cadillac convertible, it's ragtop down:

JIM CROCE
(sings)
"Uptown's got its hustlers,
The bowery's got its bums,
Forty-second street got Big
Jim Walker..."

And on those lyrics, we're moving across the long nosed
hood of that car to a close shot of:

JIMMY JO WALKER

at the wheel of his Cad and indeed, you don't mess
around with Jim. This guy's two hundred and twenty pounds
of hard-boned trouble. He'd kick a dog to death just to
see how long it would take. As Jimmy Jo weaves his car
through the night traffic, the song continues over, as we;

CUT TO

CLOSE ON A POOL CUE

lining up a shot. We see a stack of money representing
a huge bet - tense faces as the shooter readies to sink
the eight ball. The cue ball glides across the green felt
of the pool table and just as it's about to sink the eight
ball a hand reaches in and rescues it. The shooter looks
up, as do the others in this down home hangout, and we come
around on:

JIMMY JO

tossing and catching the eight ball as he moves around the
pool table into the midst of this angry crowd. He returns
a half-mocking smile to their vicious glares.

JIMMY JO
I'm lookin' for David Blackfoot...
calls himself The Chief.
(blank stares)
Now which one'a you boys feels
neighborly enough to point me in
the right direction so I might
find him?

And as men start to encircle Jimmy Jo, a couple pool cues
coming up like weapons;

SMASH CUT TO

EXT. THE BAR - DAY

With Jimmy Jo's Caddy sitting at the curb -- and on the
cut, the pool shooter comes crashing out through the
window of the bar, landing in a heap on the sidewalk.
And through the missing window we can see Jimmy Jo has -
cleaned house, and we're into the chorus, which goes
something like:

JIM CROCE
(singing)
"You don't tug on Superman's cape,
You don't spit into the wind,
You don't pull the mask of that 0l'
Lone Ranger,
And you don't mess around with Jim..."

And by now Jimmy Jo has stepped out the barroom door,
moves past the guy who has dragged himself up onto the
fender of the Cad. Jimmy Jo grabs the guy and flings
him away like so much lint, crosses around and gets into
his Cad. And as he does, up with the chorus again, so
as we pull out we hear the words once more:

JIM CROCE
"No, you don't mess around with Jim..."

And on that:

CUT TO

INT. CAPTAIN'S OFFICE - ON HUNTER

as he swings through the door of the Captain's office, a
writ in his hand:

HUNTER
Just what is this?

ANGLE - CAPTAIN

as he looks up from the open file on his desk to see
Hunter wagging the paper in front of his nose.

CAPTAIN
I thought we learned what a war-
rant was in first semester at the
academy.
(brings up file)
I see, you didn't fare too well on
your annual qualifications.

HUNTER
I did fine, ninety-three percent
in target shooting ---

CAPTAIN
Seems you didn't exactly get a
perfect score on the defensive
driving course.

HUNTER
I hit one cone. What's that?

CAPTAIN
Translating that into the real
world? Maybe it's a parked car,
a fire hydrant...maybe an innocent
bystander. Maybe you should let
McCall drive from now on?

HUNTER
I happen to be an excellent
driver! I've never had any ac-
cidents on the street...it's dif-
ferent when you're in the field...
your adrenalin gives you that
edge...
(snaps up writ)
Can we talk abut this? Why are
we bringin' in the Chief?

CAPTAIN
'Cause he's the suspect in an
armed robbery. 'Cause we got two
eyewitnesses that have I.D.'d him
and we have the evidence to con-
vict! Now that doesn't seem like
logic that should escape a homi-
cide detective.

HUNTER
We know he had a partner. We
also know he doesn't have the
money on him! The guy's sittin'
still, McCall's got him under sur-
veillance...why don't we wait till
he contacts his inside man and
we've got the whole plate'a
spaghetti?

CAPTAIN
(pointedly)
We have been sitting on this guy.
For close to a week. We know
this guy was one of the thieves,
we know he killed a guard -- I
want him brought in before we
wind up with nothin' but the dust
he kicks up splittin' town!

HUNTER
I'll radio McCall --

CAPTAIN
You won't radio, you'll go down
there.

HUNTER
That's crazy --

CAPTAIN
You two bein' partners is crazy.
And you're not gonna run that
tired game by me, clockin' in and
out'a shift and not workin' to-
gether. You go down there, this
way you can't tell me she wasn't
near her radio and couldn't get
this message. Your butt is on
the line if you don't round me up
a steer on this one.

Hunter yanks open the door and stalks out;

CAPTAIN
(before Hunter can)
And don't slam the door.

ON HUNTER
stopping from doing just that. He smiles at the Captain.

HUNTER
I wouldn't think of it...
(the Captain nods)
But sometimes it's just a reflex
action.

He slams the door. Hold on the Captain's glare, and:

CUT TO

EXT. A RUNDOWN SECTION OF TOWN - DAY

This is one of those areas where the junkies and prosti-
tutes won't let their children come play.

ANGLE - A SHITHOLE OF A MOTEL

One of those two story affairs with a courtyard where you
park your stolen car. This is a haven for hookers and
drug dealers.

ANGLE - HUNTER'S SEDAN

drags its way into shot and pulls to the curb across from
the motel. Hunter tries to climb out of his car but the
door is jammed. He slides over and climbs out the passen-
ger side. He crosses to:

A ROW OF FOUR CARS

There's a hooker leaning into each one -- all that's
visible are nyloned legs and minishirts stretched tautly
across their derrieres.

HUNTER
(stops by second
hooker)
Yo, McCall, let's shag it.

The hooker leans out of the car and turns - it is Dee Dee.
She makes a quick MOS apology to the guy in the car and
hustles off after Hunter who is already crossing to the
motel.

DEE DEE
(fixes him with
a look)
How'd you know it was me?

HUNTER
(smiles)
I'm a trained detective.
(nods toward motel)
The Chief's just sitting, huh?

DEE DEE
Hasn't left, no one's come in.
What're you do in' here? I've
got it covered.

Hunter slaps the warrant into her hand.

DEE DEE
(eyes it)
What!

HUNTER
I already went through this with
the Captain. If we don't bring
him in, he'll have Terwilliger
do it.

DEE DEE
(resigned)
I'll take the front.

HUNTER
Yeah...?

DEE DEE
I don't think anyone's gonna think
twice about me entering that place
dressed like this. You? They'll
know it's a roust.

ANGLE - ACROSS TRUNK OF CADILLAC

and maybe we have no idea where we are as Jimmy Jo Walker
moves around to unlatch his trunk.

CLOSE TRUNK

as it is opened and Jimmy Jo reaches in and tosses aside
a throw rug in the trunk revealing an array of weaponry;
pistols, shotguns, buck knives. Jimmy Jo picks up a
Winchester rifle, rams shells into the breach, as we:

CUT TO

CLOSE ON THE CHIEF

And we're tight on this guy's eyes. They're just staring
straight ahead, light flickering across them from a tele-
vision. We begin a pull back to reveal this seven foot
tall Indian just sitting in a straight backed wooden chair,
a shotgun in his lap, gripped tightly with white knuckles.
A television drones on with a Bugs Bunny cartoon and al-
though his eyes continue to watch the set they never see
it. His breathing is slow and even -- he's a tightly
wound spring ready to go.

INT. CORRIDOR

Dee Dee moves into position outside door number 310,
From inside we can hear the television.

CUT TO

EXT. ALLEY - DAY

Hunter moving into the alley, his eyes going to;

THE WINDOW
on the third floor.

BACK TO HUNTER

as he moves beside the trash dumpster, taking up a
position.

CLOSE - JIMMY JO'S WINCHESTER
held at his side as he moves "into position."

INT. CORRIDOR

Dee Dee moves her gun to one hand, reaches out and knocks
on the door.

DEE DEE
This is the police! Open up,
we have a warrant --

The center of the door explodes outward under a shotgun
blast. Dee Dee recoils, then yanks the door open and
spins through to see:

INT. ROOM

The Chief swinging his gun up for another shot. Dee Dee
leaps aside as he unleashes the second barrel, then turns
and, giving a wild rebel yell, leaps through the opened
window:

EXT. ALLEY - DAY - ON WINDOW

as the Chief comes through the window in slow motion, and:

ON THE DUMPSTER

as he lands inside it, his fall cushioned by the load of
garbage inside.

ON HUNTER

as he jumps up, gun at ready:

HUNTER
Just like that, champ!

The Chief jumps out of the dumpster, his shotgun at ready,
but:

CLOSE - JIMMY JO'S WINCHESTER

explodes twice into camera, and:

THE CHIEF

takes the brunt and collapses back into the dumpster.
Hunter spins, dropping to his knee, his gun trained on:

JIMMY JO WALKER

rifle in hand. He quickly drops the weapon and throws
his hands up, a huge, disarming smile curling his lips:

JIMMY JO
Whoa there, hoss!

HUNTER
Both hands up and back! Now!

Dee Dee appears at the window alone, sees Hunter is all
right.

JIMMY JO
You got it, officer...! hope you
are an officer or I've gone'n
stepped in it ---

HUNTER
You just may have stepped in it
anyway, pardner.

DEE DEE
What the --?

HUNTER
Call the coroner.

Hunter throws Jimmy Jo against the wall. He immediately
assumes the position as Hunter frisks him.

HUNTER
What the hell was that little
bit'a business?

JIMMY JO
If you look in my inside breast
pocket I got somethin' that'll
explain everything. We can hog-
tie this little beaut and all go
get us a brew.

Hunter carefully reaches into his breast pocket, pulls out
a wanted poster, unfolds it.

JIMMY JO
As you can see, that there's a
wanted poster for that Indian.
Ten thousand dollars on his head
for a murder back in New Jersey...

HUNTER

That doesn't explain you slinging
that rifle around like Buffalo
Bill Cody.

JIMMY JO
Guy had a bead on you, officer,
just thought I was helpin' out.

HUNTER
You hadda hear both shotgun
blasts. He jumped out that win-
dow without enough time to re-
load. Both barrels were empty.

JIMMY JO
Guess I don't have the ears and
the instincts you do, hoss.

HUNTER
Guess you don't...now it looks
like you don't have anyone to re-
turn for that reward.

JIMMY JO
Hey...
(plucks wanted
poster back)
That's why they read, dead or
alive.

Hold on Jimmy Jo...play the beat, then:

CUT TO

EXT. FRONT OF MOTEL DAY

Aftermath of the homicide. A couple black and whites are
here, the coroner's wagon with the covered body of the
Chief being loaded into it. We also see Jimmy Jo Walker
being held by a couple blues.

ANGLE - HUNTER AND DEE DEE
moving down from the Chief's apartment.

DEE DEE

You buy this guy's story? Drop'em
dead in their tracks went out with
scalping.

HUNTER
My stomach's doing once overs
which tells me I don't think this
guy smells right from the bottom
up.

DEE DEE
You want me to find out what his
game is?

HUNTER
What're you gonna do, wave your
magic wand over him and he's gonna
barf out the Almighty truth.

DEE DEE
Something like that. Now, do you
want me to take a run at this guy
or what?

Hunter looks her up and down in her hooker outfit.

HUNTER
Works for me.

CUT TO

CLOSE ON JIMMY JO'S WRIST

as a handcuff is slapped on and we pull back to reveal
Hunter manacling him to Dee Dee who is doing her gum
cracking routine:

DEE DEE
I don't believe this! I mean,
like, I didn't do nothin' but
like go answer the call'a nature
and you guys is comin' through
the door like the Incredible Hulk
and the John...I mean, David, is
leaping out the window like he's
got some kinda magic flyin' power
or somethin' and...

By now Hunter had pushed the two of them into the rear
of his sedan. Hunter climbs in, fires her up and pulls
out.

INT. REAR OF SEDAN

Jimmy Jo sits there, watching the scenery go by as Dee
Dee rambles:

DEE DEE
...So like, what am I doin' but
just makin' an outsida feel'ta
home? You ever been away from
home, you know how it is?

Jimmy Jo just looks at her, flashes her a less-then-
enthusiastic smile.

DEE DEE
You are away from home, aren't
you? Lemme tell ya...I got
the nose for that. You like
know anybody around here?

Jimmy Jo looks at Dee Dee again. She flashes her teeth,
crosses her legs for him. Jimmy Jo shakes his head at
this display, places a toothpick in his mouth.

DEE DEE
Talkative type, ain'tcha? You,
uh,...if ya don't mind my askin'
....you got like some kinda per-
sonal reason for...killin' David?

JIMMY JO
Nothin' personal at all, sweet-
pea. Just ten gees.

DEE DEE
Ten gees! He owed you ten gees...

JIMMY JO
He owed a lotta people things.
Just upholding the law, precious.

ON HUNTER

he can't-help reacting to this asshole.

DEE DEE AND JIMMY JO

JIMMY JO
I just go around and clean up
what the cops can't. And soon as
I finish up my business here, I'm
on my way.

DEE DEE
I'd say if you was after David...
you're business is about as fin-
ished as it's gonna be.

JIMMY JO
I got one or two other little
things to wrap up...

DEE DEE
I'm gonna be around. If you're
gonna be around.

JIMMY JO
Not unless you know a guy goes
under the name Panhandle Pete.

DEE DEE
Panhandle Pete? Is he a party
kinda guy?

JIMMY JO
Not with you, he wouldn't be,
darlin'. You ain't his type.
(settles back)
You ain't mine either. Wake me
when we land.

And as he places his Stetson over his eyes. Dee Dee looks
forward to Hunter who grimaces.

CUT TO

INT. SQUAD ROOM - CLOSE ON THE PHONE

on Hunter's desk. It starts ringing and Hunter reaches
for it. We widen to reveal Dee Dee sitting on the edge
of his desk with him:

DEE DEE
I think I did a very good job consider-
ing the guy doesn't like women.

HUNTER
(reacts)
Doesn't like women...? Because
you couldn't kick start him, he
doesn't like women?

DEE DEE
You think this is some kinda
defense on my part? Huh? Is
that what you think?

HUNTER
Yeah.
(into phone)
Go ahead...Yeah, everything you
got on him...

DEE DEE
Well, it's not.

HUNTER
(into phone)
Uh huh...Yeah...That sounds right.

DEE DEE
It just so happens I can tell
when a guy's just not interested -
or if he doesn't have the right
engine.

HUNTER
(hanging up)
This guy's gay now?

DEE DEE
No...he just...there's a piece
missing.

HUNTER
Sure...

DEE DEE
Hey, look, let me worry about how
to handle men and you worry about
your driving, all right?

HUNTER
My driving...? Is it all over
the precinct?

DEE DEE
(a beat; then)
Yeah.

HUNTER
I don't believe this...

DEE DEE
Hey, anyone can hit a coupla
cones ---

HUNTER
It wasn't a couple, it was one!
And that's a test course...it's
not the same thing and...Forget
it!

DEE DEE
It's forgot. What did you get on
Doc Holliday?

HUNTER
Apparently, this guy's notorious
in a couple'a states. He's been
considered persona non grata in
Texas and Idaho...

DEE DEE
No police department likes bounty
hunters. They're scavengers...

HUNTER
Well, get this...in the past year,
he's collected twenty bounties.
Every one of them was brought in
dead. Shot in self defense.

Hunter and Dee Dee exchange looks, then look off to:

THEIR POV - JIMMY JO WALKER

getting his belongings back and signing for them.

ON HUNTER AND DEE DEE

HUNTER

And he's sticking around to waste
another dude named Panhandle Pete.

DEE DEE
Ya think?

HUNTER
(slaps paper)
That's his m.o.

Hunter gets up and crosses the police squad room. As he
moves off after Jimmy Jo, Dee Dee snaps up the phone and
dials R&I.

DEE DEE
Yeah, Sergeant McCall. Run a
guy goes by the name of Panhandle
Pete. He's a fugitive, maybe
a bail jumper.
(sighes)
No idea...that's all I have. Try
the southwest...Texas panhandle...
That's all I've got.

ANGLE - JIMMY JO

collecting his belongings, turning to move off when
Hunter catches up to him.

HUNTER
Well, Jimmy Jo, guess you're
gettin' ready to saddle up and
ride off into the sunset. Why
don't I run you on down to the
airport? My way of saying thanks.

JIMMY JO
Mighty neighborly of you...But I
ain't aimin' to leave just yet --

HUNTER
You ain't aimin' for Panhandle
Pete, I hope.

Jimmy Jo stops, looks at Hunter evenly. A beat, then
Jimmy Jo's lips curl and he brings up a toothpick which
he sticks into the corner of his mouth.

JIMMY JO
That little twist done me in,
huh?

HUNTER
I ran your record, pard. I
know your game...and it ain't
gonna fly here. Mount up and
head out.

JIMMY JO
You got a piece of legal paper
you wanna lay on me, let's see it.

HUNTER
I wasn't sure you could read any-
thing that didn't say dead or
alive printed on it.

The smile drops from Jimmy Jo's lips.

JIMMY JO
(evenly)
You're a funny man... and you make
me laugh.

Jimmy Jo moves past Hunter and heads out.

ON DEE DEE

as she moves up to Hunter who watches Jimmy Jo strut on
out of the precinct.

DEE DEE
Ya really think he's gonna go
for it? Even though he knows we
know?

HUNTER
Somehow, I think that makes it
better for him. Of course, it
could prove pretty hard for him
with two cops hitched to his rear
bumper.

DEE DEE
With the Chief dead, we have no
leads to the second man in the
robbery...so that case is com-
pletely shut down. Let's go for
it.

CUT TO

EXT. MOTEL SIX - DAY

Hunter's sedan is parked out front. Dee Dee is slumped
down in the passenger seat.

INT. MOTEL CORRIDOR - ON THE STAIRWELL

The door opens and Jimmy Jo Walker steps out, a bounce
to his step as he moves toward the exit.

HUNTER'S VOICE
Well, now ain't we up with the
Roosters, Jimmy Jo?

Jimmy Jo stops in his tracks, turns to find Hunter lower-
ing his morning paper. Jimmy Jo just shakes his head good
humoredly as Hunter rises to meet him. i

JIMMY JO
You got a grip like a bull
terrior, don't you, hoss?

HUNTER
(smiles)
And you're cuter than a speckled
pup under a covered wagon...
(smile drops)
So why don't we drop the down
home by-jiminies and I'll help
you carry your bags to the city
limits?

JIMMY JO
I do believe what you're doin' is
called harassment.

HUNTER
And I do believe what you're doin'
is planning to commit first degree
murder.

JIMMY JO
(tightly)
Lemme lay it out for you. Hunter -

HUNTER
For a minute there, I thought you
were gonna call me tenderfoot.

JIMMY JO
If I was after somebody...it'd
take a lot more'n you've got to
clear me out.

HUNTER
I'm not just gonna clear you out.
I'm gonna leave a crater six miles
long and three deep.

JIMMY JO
Back where I come from, we call
that a threat.

HUNTER
Works for me.

CLOSE - JIMMY JO

just looking at Hunter. Hunter returns the gaze, then
Jimmy Jo turns and walks out of the motel.

CUT TO

EXT. THE MOTEL SIX - DAY - ON HUNTER'S SEDAN

Dee Dee sits up as Jimmy Jo exits the motel and starts
toward his Cad which is parked across the street. He
stops in his tracks at the sight of Dee Dee who waves to
him.

DEE DEE
Y'all don't bother to come back
now, hear?

JIMMY JO
(stops to offer
Dee Dee a charming
smile)

I'll bet there're a lotta gents
out there gonna be real sorry...
should somethin' happen to a
pretty face like yours.

Hold on Dee Dee, her sense of humor now gone, as Jimmy Jo
turns and heads across to his car. Hunter comes out of
the hotel and crosses to his car. He reaches for the door-
handle but the driver door doesn't open. He quickly comes
around and yanks open the passenger door.

ANGLE - JIMMY JO

getting into his Cad, firing her up.

HUNTER

pulls open his passenger door.

HUNTER
C'mon, lemme in.

DEE DEE
I'm driving.

HUNTER
No, you're not.

DEE DEE
(shrugs)
Okay, I'm not.
(starts car)
I'm starting her up.

HUNTER
McCall!

DEE DEE
(drops gear-shift
into drive).
And she's in drive...

CLOSE ON JIMMY JO'S CADILLAC

as the wheel lays rubber and he squeals away from the curb.

INT. HUNTER'S SEDAN

They see this.

DEE DEE
And horse number one is outta.
the chute!

She floors it and Hunter has to jump in as the battered
car does an imitation of leaping away from the curb.

EXT. JIMMY JO'S CAD - DAY

As it brodies around a corner and barrels over camera,
and as it does:

SMASH CUT TO

HUNTER'S SEDAN

puffing and heaving along in pursuit.

THE CHASE

Play this as long as possible with Hunter's sedan not quite
able to overtake the Cad.

INT. HUNTER'S SEDAN

HUNTER
C'mon, c'mon, step on it!

DEE DEE
You wanna compare driving records,
now?

HUNTER
Cut him off, cut him off!

DEE DEE
I can't even catch up!

EXT. THE CADILLAC - DAY

It ramps a curb and takes off down a street, and:

INT. HUNTER'S SEDAN

HUNTER
He's getting away!

Dee Dee shoots him a look, then:

CLOSE - DEE DEE'S FOOT

as she rams the accelerator to the floor, and as we hear
a horrible mangling and wrenching:

CUT TO

EXT. HUNTER'S SEDAN - DAY

as the entire transmission drops out, the car bucking and
kicking and finally slewing to a halt in the middle of
the street. Hunter and Dee Dee just sit there. Hunter
looks back to:

THE TRAIL OF PARTS

from the destroyed transmission lying in their wake.

HUNTER AND DEE DEE

as he turns and looks at her.

HUNTER
Guess you hit a cone.

On their looks:

END OF ACT ONE

FADE OUT

************************************************************

ACT TWO

FADE IN

EXT. MOTEL SIX - DAY

Establishing.

DEE DEE(v.o.)
What are you trying to say?

INT. MOTEL CORRIDOR

Hunter and Dee Dee are moving toward room 247. In b.g.,
we see a maid with her linen cart entering another room.

DEE DEE
That it was me? Huh? It was
that pile'a scrap metal you drive
around in.

HUNTER
It's not the fiddle, it's who's
holding the bow.

DEE DEE
Confucious 101. Why don't you
just come out and say it? You
think it's my fault he got away.
Just say it!

HUNTER
(nods)
It's your fault he got away.

Hunter steps back from the door and gestures at Dee Dee.

HUNTER
You feel like testing your skills
on this lock?

DEE DEE
Not really...I'd like to slam the
lid on this guy with something
that won't get tossed outta court.
Why don't we try something novel --
and find a legal way into his
room.

Hunter nods as he looks around.

HUNTER
Any suggestions?

DEE DEE
(looks around and
spots something)
Yeah....
(and on her smile:)

CUT TO

A WALL CLIP FOR A FIRE EXTINGUISHER

MAID'S VOICE
Fire regulations!

ANGLE - THE MAID

with Hunter and Dee Dee beside her, looking at the empty
slot where a fire extinguisher should be.

MAID
Officers, I don't know nothin'
from any fire regulations. We're
lucky the toilets flush. I'm
surprised this wasn't caught who
know how long ago. Between the
health department and better busi-
ness bureau, this place has seen
more action than Tel Aviv.

DEE DEE
The point is, number three on
the District Superintendant's
fire safety code is access to at
least one fire extinguisher for
every twelve occupants. This is
a definite infraction.

MAID
Far as I'm concerned, you can shut
the dump down. Get me some time
off. I suggest you talk to the
manager.

DEE DEE
That'd be a pain in the tush for
all of us, but what're'ya gonna do.
Let's go downtown, give us your
statement...

MAID
Downtown...? Are you kidding?
(then)
Maybe they're in the staircase
or...uh...?

HUNTER
Could be they're in the rooms.
Why don't we try a couple random
checks...
(points to Jimmy
Jo's room)
Howsa 'bout this one...just for
the heck of it?

INT. JIMMY JO'S MOTEL ROOM - ON THE DOOR
We hear a couple tentative knocks.

MAID
Maid service.

We hear the key in the lock and the door opens. Hunter
and Dee Dee push past the maid and move into the room.

DEE DEE
I'll check in the closets...

Dee Dee moves toward the closet, pulls it open and begins
to ruffle through the clothing hanging there.

HUNTER

moves to the night stand where the phone sits, turned as
if it's been used. There's a newspaper and an open phone
book on the bed which Hunter sits down and checks.

INSERT - YELLOW PAGES-

It's opened to bars -- there are three pieces in particular
circled.

ON HUNTER

as he looks up at Dee Dee who has actually found a fire
extinguisher in the closet. As the maid stands at her
shoulder, beaming proudly;

HUNTER

sneezes as he rips the pages from the phone book. The
maid and Dee Dee turn to him -- the page is nowhere to
be seen. The newspaper is under his arm and he's
smiling innocently.

MAID
So're we okay?

Dee Dee shakes the extinguisher by the maid's ear.

DEE DEE
Just get that filled and you're
all set.

EXT. HOTEL - DAY

Hunter and Dee Dee are coming down the steps and Hunter
is pulling the absconded phone book page from inside the
folded newspaper.

HUNTER
Well, I tell ya...for a guy who
isn't interested in women,
Jimmy Jo's circled about four
places...all meat markets and
hooker hang-outs.

DEE DEE
(grimaces; snatches
the page from Hunter)
I'll hit the street and see what
I can turn.

HUNTER
I'll head back to the office and
see about a new company car. I'll
also try and come up with something
on this Panhandle Pete.

CUT TO

INT. THE "HI-BALL" BAR - CLOSE ON UPTOWN BILL BROWN

As he feeds his quarter into the jukebox and punches out
his selection. He's a well dressed guy with plenty of
jewelry.

UPTOWN BILL
(over his shoulder)
Sorry, Tex, don't know any pan-
handle Pete...
(spins around to
the music that now
plays)
...And I don't deal in long red-
heads .

Jimmy Jo who is leaning against the jukebox, his mouth
working a toothpick overtime, one hand nursing a half
finished drink.

UPTOWN BILL
(starting off
toward the bar)
Doesn't suit the usual taste of
my clientele...

Jimmy Jo suddenly reaches out and spins Uptown Bill around.
Brown pulls away and glares back at Jimmy Jo.

UPTOWN BILL
Nobody jerks around Uptown Bill
Brown, man! Now hit the trail,
Tex!

The rest of the bar exchange smirks -- they've seen Uptown
Bi11 take people down before. Jimmy Jo nods, moves past
a triumphant Bill Brown -- when he suddenly spins around,
a side-by-side coming out from under his jacket. One of
the barrels fires.

THE JUKE BOX

takes the hit and the song winds down. Uptown is suddenly
jammed back against the wrecked jukebox and the shotgun
is jammed into his side. He tries to smile up at a stoney-
faced Jimmy Jo, that toothpick still working.

UPTOWN BILL
Hey, hey...so...I may not know any
redheads but...I'm sure I know
someone who does...

The rest of the room doesn't move.

UPTOWN BILL
C'mon...ain't you got no sense*a
humor ?

JIMMY JO
(smiles through
the toothpick)
I got a great sense'a humor, pimp.
In fact, the people I meet usually
die laughing.

Jimmy Jo moves back, pulling Uptown Bill Brown out of shot
with him, and as they clear frame up with the driving
rhythm of our song, and:

SMASH CUT TO

EXT., JIMMY JO'S CADILLAC - NIGHT

Jimmy Jo is at the wheel, Stetson in place, his scarf
whipping in the wind, and:

JIM CROCE
(sings)
He's big and tough as a man can
come and he's stronger than a
country horse...

CUT TO

ANOTHER BAR

Jimmy Jo has cleaned up house and the quivering bartender
finally tells him what he knows:

JIM CROCE
And when the bad folks all get
together at night...

Jimmy Jo knocks back a drink on the bar, and:

CUT TO

A GROUP OF HOOKERS

watching as Jimmy Jo yanks a Redhead right out of the seat
of her pimp's car. She's not the right one and he tosses
her back as the pimp starts to come after Jimmy Jo who
pushes the guy aside, sending the Pimp sprawling.

JIM CROCE

You know they all call Big Jim boss,
Just because....

ON JIMMY JO IN HIS CADILLAC

heading through town, leaving a trail of mayhem, as the
song continues;

JIM CROCE
You don't tug on Superman's cape.
You don't spit into the wind.
You don't pull the mask of that
ol' Lone Ranger.
And you don't mess around with Jim...

And as the Cad angles away and off:

CUT TO

EXT. POLICE STATION - NIGHT
Establishing.

INT. SQUAD ROOM
Hunter is on the phone when his other one rings.

HUNTER
And you know this Jimmy Jo
Walker personally, huh? Could
you hold on? Yeah, just a sec...

He snatches up the other phone, tangling the wires.

HUNTER
Hunter...

DEE DEE(v,o.)
It's McCall....

HUNTER
Just a sec, okay?
(switches phones)
Sheriff?

DEE DEE(v.O.)
It's McCall...

HUNTER
Right, just a minute...
(untangles phone)
Sheriff Masters? Yeah...right.
Thanks again. I appreciate you
getting back to me. Right.

Hunter untangles phone, reaches out and hangs one up.

HUNTER
(realizes)
Damn...

It rings again and he snatches it up.

DEE DEE(v.o.)
Are you crazy?

HUNTER
Sorry...sorry... What's up?

INT. THE "HI-BALL" BAR - CLOSE ON DEE DEE

on the phone with Hunter. Behind her we can see the busted
up jukebox. Uptown Bill Brown is at the end of the bar
with a bandaged jaw. Intercut Hunter and Dee Dee.

DEE DEE
This guy's leaving a wake like a
runaway torpedo. I've found
three places, all look like
they've been through a hurricane.
(eyes Uptown
Bill Brown)
Unfortunately, ain't a body wants
to say the hurricane is Jimmy Jo.

Uptown Bill Brown just eyes her balefully.

HUNTER
This guy after anything in par-
ticular or is this just a hobby
with him?

DEE DEE
(hates to admit it)
Apparently, he's in the market
for long-legged redheads.
One in particular, although he
doesn't have a name...

HUNTER
That doesn't make any sense, for
someone who's not into chicks.

DEE DEE
Okay, Hunter, give it a rest...
so I was wrong.

HUNTER
No, no, you weren't. That's just
it. I just got off the horn with
a sheriff outta Alabama knows
Walker real good. And you hit
it... Women ain't part'a this
guy's vocabulary. He runs on
straight ether.

DEE DEE
Then what the hell is he doin'
kickin' over this town lookin'
for a redhead?

HUNTER
When we find him, we'll ask him.

DEE DEE
I'm headin' on over to a place
called the Body Shop on
Alameda. That was gonna be his
next stop.

HUNTER
Meetcha there.

Hunter hangs up.

ON DEE DEE
as she hangs up, turns to Uptown Bill Brown.

DEE DEE
You sure you don't want to swear
out a complaint?

UPTOWN BILL
Do I look like I want to?

Dee Dee shrugs, moves out of the bar, and we:

CUT TO

EXT. HUNTER'S NEW BUSTED UP CAR - NIGHT

As it pulls to a halt in front of a strip joint called
The Body Shop. Hunter climbs out and reacts to the
shattered front window. He hustles to the bar and enters.

INT. "THE BODY SHOP

Dee Dee is here with the bartender and about a half dozen
customers and dancers. The place is a shambles. Hunter
looks around.

HUNTER
Is this a joke?

DEE DEE
(to the room)
And nobody saw who did this?

ON THE BARTENDER

behind him, every bottle and glass is destroyed. He
shrugs.

HUNTER
C'mon, are you kidding? You
think this is his last stop?

BARTENDER
As long as it's not one of his
future ones.

Hunter and Dee Dee can do no more but exchange frustrated
looks.

DEE DEE
The guy who didn't do this...any
idea where he was going?

No one answers...then one of the STRIPPERS steps forward.

STRIPPER
Ginger...he wanted to find Ginger...
and was gonna look for her pimp...

DEE DEE
I take it by her name. Ginger's a
red head?

STRIPPER
(nods)
He was lookin' for a red
head who'd tricked for a guy
called Panhandle Pete.

Dee Dee and Hunter exchange looks.

STRIPPER
I'd remembered her saying the
name...

HUNTER
Where? Where could we find her?

STRIPPER
She usually works outta the
Tickle Pink.

And on that:

CUT TO

EXT. THE TICKLE PINK MOTEL - NIGHT

Hunter's sedan squeals to the curb and he's jumping out
almost before he's shut the engine. Dee Dee is leaping
out of her car and running for the motel, also, as we:

CUT TO

INT. MOTEL/OFFICE

And there's a MANAGER on the wall phone and this guy's
scared out of his mind, his attention going from trying
to place his phone call to the muted cries of "NO!" that
are coming from down the corridor.

MANAGER
(into phone)
Just send someone! Anyone... it
sounds like someone's killing
her! No, I don't know...

Hunter grabs the Manager.

HUNTER
Where are they? What room?

MANAGER
I'm...tryin't call the police --

HUNTER
What room!

MANAGER
Two-twelve...upstairs...

And Hunter and Dee Dee take off up the stairs, Hunter
taking them two at a time, and:

INT. SECOND FLOOR CORRIDOR

as we come up the steps we can hear the woman's wails
getting louder, and Hunter and Dee Dee are pulling their
guns, running to the door, flanking it, and over we hear;

INT. ROOM - CLOSE ON GINGER

a redheaded hooker who looks like she's gone through a
meatgrinder -- on the cut, she crashes down on the
bed.

ANGLE - JIMMY JO

moves into shot, towering over us like King Kong. He
reaches down toward her, and:

GINGER
cowers back, shivering for her life, when:

THE MOTEL ROOM DOOR

gets kicked in and Hunter and Dee Dee are into the room,
guns drawn. Jimmy Jo spins -- Ginger cringes. Hunter
grabs Jimmy Jo and tosses him against the wall.

JIMMY JO
Aw...what this time?

HUNTER
How about assault and battery!
And attempted murder, you pile'a
pigslop.

JIMMY JO
(chuckles)
You're outta yer holster a little
soon, hoss.

ANGLE - DEE DEE
is by Ginger, checking her out..

DEE DEE
It's okay, you're gonna be okay..
does anything feel broken?

Ginger just lays there, whimpering.

JIMMY JO
Is that gratitude for ya in the
big city? Where I come from,
I'd be gettin' a big yahoo for
comin' to the aid of this little
thing here...damn near gettin'
her butt beat off.

HUNTER
It won't wash, pal, so put it
back in your saddle bag.

JIMMY JO
You're gonna rile me some, hoss.

Hunter slams him back against the wall.

JIMMY JO
I'm just bein' a good Samaritan.
Ain't nobody around here gonna
tell you otherwise...
(looks over at
Ginger)
Right, sweetpea?

ANGLE - GINGER

on the bed, still shivering in fear. She looks from
Jimmy Jo to Dee Dee.

GINGER
He...yeah...yeah...he tried to
help me...

Dee Dee can't believe this bullshit:

DEE DEE
Ginger -- !

GINGER
It's true! I swear! He didn't
do nothin'!

Jimmy Jo turns from the wall, smiles at Hunter with a
shit-eating grin.

JIMMY JO
See? I didn't do nothin'.

Hunter makes a move for Jimmy Jo but Dee Dee practically
leaps between them.

DEE DEE
Hunter, no!

GINGER
I told you! Wasn't him...it was...
a bad trick. I don't know his
name...never saw him before...He
ran out and...
(quietly)
I hope I never see him again...

Hunter and Dee Dee exchange looks -- there's nothing they
can do. Dee Dee picks up a phone and dials for an
ambulance.

JIMMY JO
Well...You'd best take care of
that little lady...! Got to be
off.

HUNTER
To play good Samaritan to Pan-
handle Pete?

JIMMY JO
(looks at Ginger)
I'll look ya up, sweetpea...just
to see how you're comin' along
'fore I leave L.A.

He exits the room.

DEE DEE
(into phone)
Police emergency. -I need a
paramedic...

ANGLE - HUNTER

as he sits down on the bed beside Ginger and strokes her
hair.

HUNTER
Ginger...you told him something,
didn't you?

She continues to lay there, shivering. Dee Dee hangs up.

HUNTER
You told him where to find Pan-
handle Pete.

Ginger tenses -- looks at Hunter wide-eyed, starts to
shake her head in denial but it's obvious she's lying.

GINGER
Oh, please...I...

HUNTER
It's okay...you had to tell him
and that's okay...but you did
tell him, didn't you?

GINGER
I...I was so afraid...

Hunter brushes the hair back from her face, then gets up
and starts out. Dee Dee grabs his arm.

DEE DEE
What're you gonna do?

HUNTER
Stop him.

DEE DEE
(worried)
What do you mean? How?

HUNTER
I don't know...I'll think of some-
thing. But right now, he's got
us beat on laps, so I've gotta
flag him off the track.

And Hunter is out the door. Hold on Dee Dee, and we;

OMITTED

FADE OUT

END OF ACT TWO

***********************************************************

ACT THREE

FADE IN

EXT. JIMMY JO'S CADILLAC - NIGHT

He's grooving down the street leaving the Tickle Pink be-
hind him when suddenly:

HUNTER'S SEDAN

swings around in front of the Cadillac and Jimmy Jo has
to slam on his brakes. The Cad fishtails to a halt, its
wheels slamming the curb.

CLOSE - JIMMY JO

He's ready to go for it -- and for a minute we may think
he's going to jump out of the Cad. Then we see him visibly
relax and lean back, pushing his Stetson back, as:

HUNTER

moves up beside the Cad.

JIMMY JO
You need some drivin' lessons,
hoss.

HUNTER
A lotta people been telling me
that lately.

Hunter peers into the back seat of Jimmy Jo's car.

JIMMY JO
Lookin' for somethin' in par-
ticular?

HUNTER
Just noticin' you got a seat back
there.

JIMMY JO
And just what'd you expect to
find?

HUNTER
Just that I knew two or three guys
who worked as bounty hunters, too.
They had found that if they re-
moved the rear seats it made more
room for shackles that could be
anchored to the floor...y'know,
to keep the prisoners they picked
up from givin' them any trouble
while taking them in.
(smiles at Jimmy Jo)
But I guess the folk you find
don't give you much trouble at
all.

JIMMY JO
What is it you want...officer?

HUNTER
Why don't you step out of your
car.

A beat, as Jimmy Jo and Hunter meet each other's gaze.
Finally, that smile curls Jimmy Jo's lips as he climbs
out, stands up to his full height to face off with Hunter,

JIMMY JO
Just what you got in mind?

HUNTER
Seems you been leaving a trail
from bar to bar in this town,
Jimmy Jo....

JIMMY JO
That what people saying?

HUNTER
Yup...everyone thinks you're a
fine, upstanding patron ... just
coming in, having your drink and
moving on.

JIMMY JO
I don't see nothin' wrong with
that.

HUNTER
Neither do I...
(nods toward the
ground)
Long as you can walk that single
white line...

JIMMY JO
Are you kiddin' me? What white
line?

HUNTER
Uh oh...that's bad. How about a
motor response test...close your
eyes, extend your arms and see if
you can touch your nose.

JIMMY JO
Somehow, I get the feelin' your
square dancin' with me. Where
is this leading?

HUNTER
Downtown, so you can submit to
a blood alcohol test and 'fore
you know it, you're free in
time to be out of town before
rush hour.

JIMMY JO
You must single-handedly put a
damper on the tourist trade'a
this city.

HUNTER
Hey, Jimmy Jo, we got laws in this
burg...and I'm just tryin' to keep
the streets safe for everybody.
The life you save could be your
own.

Play the moment, and we:

EXT. HOSPITAL - DAY

Push in toward a window:

DISSOLVE TO

GINGER(v.o.)
It's my life I'm worried about,
Sergeant McCall...

INT. HOSPITAL ROOM - CLOSE ON GINGER

Her face is bandaged and bruised and we can see she is still
frightened for her life. Dee Dee moves around the bed into
shot.

DEE DEE
Ginger, I'm worried about you,
too. I'm also worried about who
this guy Walker is after. If you
don't help me nail Jimmy Jo, then
there's a chance he'll come back.
To you...to the other people he's
terrorized. The only way to stop
this is to help me put him away...

GINGER
I can't! You and I both know
what'll happen. You'll arrest
him...he'll go before a judge and
either get off on bail or be set
free on his own recognizance...

ON DEE DEE
she can't argue with this...she knows this could be true.

GINGER
And then what? I have no place I
can run to...or hide...

DEE DEE
(sits on the edge
of the bed)
I don't know what to say, except..,
He's gonna kill somebody.

GINGER
He... He knows you and Hunter know...
and he...wouldn't try...

DEE DEE
(frustrated,
exploding)
I don't know what it is that spins
his windmill, but this guy's going
for it! He doesn't give a damn
about nothin' and nobody! He's
gonna kill this guy. Panhandle
Pete...and after that, if he feels
like it, he'll kill someone else...
and then someone else! After what
you've gone through, I don't mean
to stand over you, yelling, but...
you're my only chance to stop him!
(pleading)
All I can promise is to do every-
thing...more than everything...to
protect you. I'll personally baby-
sit you day and night until he's
convicted and sent away...I'll
move you in with me. But you have
to tell me what you told him,
Ginger.
(runs out of
steam; desperate)
God, you just have to.

Hold on the two of them, and:

INT. SQUAD ROOM - ON HUNTER

He's on the phone.

CUT TO

HUNTER
(trying to digest
what he's hearing)
Panhandle Pete was friends with
the Chief?

INT. HOSPITAL ROOM

In b.g., a doctor is examining Ginger,

DEE DEE
Yeah...Ginger says once or twice
when Pete came around to the bar
she was working a seven foot tall
Indian was with him. She said,
Jimmy Jo seemed to know they were
friends...

HUNTER
Well, if they came out to L.A.
Together, Panhandle Pete's pro-
bably from New Jersey also.
That's where the wanted poster on
the Chief was from. I'll run it
through R&I and see what tips over.

DEE DEE
Ginger says, Pete was staying at
the Marquis Plaza on Sunset just
last Sunday...so I'll head over
there.

HUNTER
The Marquis Plaza? Pretty swank
place for a guy with a name like
Panhandle Pete.

DEE DEE
I'll point that out to him when I
get there. How about our Alabama
baby? Am I gonna run into him?

HUNTER
I've got him off the game board...
at least for the time being.

SMASH CUT TO

INT. CAPTAIN'S OFFICE - CLOSE ON THE CAPTAIN

CAPTAIN
Drunk driving?

Widen to include Hunter as the Captain circles his desk
shaking a report at him:

CAPTAIN
You been inhaling some strange
substances lately, if you
think you can get away with
this kinda thing ---

HUNTER
I was just trying to shut the guy
down legitimately for a while --

CAPTAIN
Legitimately? You call this
beefed up nonsense legitimate?
(shakes his
head; chuckles)
Y'know, Hunter...there really are
times when I actually forget what
it is about you that I don't like.
But just as that's about to happen,
you come right along and ram it up
my nose, reminding me. We can't
go around fabricating charges like
this!

HUNTER
It wasn't a fabrication. He'd
had at least three drinks...that
would be over the legal alcohol
content. And I was just trying to
get him off the bricks long enough
to figure out his game...
(slaps file on desk)
Which we did.

CAPTAIN
What's this?

HUNTER
That's an outstanding warrant
for a Peter Montagne from New
Jersey. He's a longtime associate
of David Blackfoot.

CAPTAIN
The Chief? This who Walker's
hanging around to find? A thou-
sand dollar wanted poster?

HUNTER
That's just it. Knowing me and
McCall are on him, I don't think
he'd stick around for a cheap
grand.
I think he's after more...some-
thing like a hundred and thirteen
thousand...

CAPTAIN
That's the amount from the bank
hold-up.

HUNTER
Montagne's moniker is Panhandle
Pete. The way he got that was,
he plays look-out on armed
robberies by positioning himself
as a street begger outside the
place they're gonna hit.
(throws open
another file)
Out of the eyewitness testimonies,
two mention a blind guy panhandling
in front of the bank the day
it was hit...Pete Montagne was
the second guy in the robbery.

CAPTAIN
And when Walker read about the
robbery in the paper after killing
Blackfoot, he realized right away,
Panhandle Pete was the Chief's partner,

HUNTER
And figure's Pete probably still
has the money. He was gonna bag
'em, make Pete hand over the
dough and probably waste'em.
Now, McCall's got a line on
Montagne...all I want to do with
Walker is keep him locked up un-
til we can get to Pete and take
him into custody.

CAPTAIN
That's not possible...

HUNTER
(smells it)
What?

CAPTAIN
Walker was released just before I
called you in here.

HUNTER
(sinks right in)
McCall!

And he spins and races out the Captain's door, and we:

CUT TO

EXT. MARQUIS PLAZA - DAY

A semi-swank hotel residence with private entrances to
the bungalows.

ANGLE - DEE DEE

is just getting out of her car and starting across the
street. As she moves off, we:

CUT TO

INT. DEE DEE'S CAR - THE RADIO

is squawking:

HUNTER'S VOICE
(filtered)
McCall! McCall, this is Hunter,
do you copy?

In b.g., we can see Dee Dee continuing her way across the
street, and:

INT. HUNTER'S SEDAN

HUNTER
(into mike)
McCall!

He slams down the mike, slaps the cherry onto the roof,
and:

EXT. HUNTER'S SEDAN - DAY

hauling ass through the city, mars light spinning.

EXT. MARQUIS PLAZA - DAY - DEE DEE

moves to the walkway that leads to Panhandle
Pete's bungalow. As she disappears past the shrubbery
lining the walkway we pan over to find:

JIMMY JO'S CADILLAC

in the neighboring alley, sitting there like an evil
predator. Hold, then;

CUT TO

INT. BUNGALOW NUMBER 12 - ON THE DOOR

And we see it's slightly ajar. There's a knock. The door
is slowly pushed inward by Dee Dee who peers cautiously
inside.

HER POV - THE ROOM

is a mess. The whole place has been tossed, no one
seeming to care about hiding the fact the place has been
searched.

ON DEE DEE

as she brings out her gun, presses to the wall of the foyer
and inches forward, spinning past corners, eyes darting
into archways. There's a noise and she spins:

AN OPEN WINDOW

with the curtains billowing. Dee Dee crosses into the
shot and peers out. Apparently nothing, and she turns
back into the room, and:

JIMMY JO

is suddenly there. He smacks the gun from her grasp.
Dee Dee brings up an arm in self defense but he tosses
her across the room.

DEE DEE

hits the bed and rolls off onto the floor as Jimmy Jo
snatches up her fallen gun.

DEE DEE
You're crazy, man!
I'm a police officer!

Jimmy Jo just chuckles - a little bit crazily. And he
keeps closing on Dee Dee who's trapped in a corner of the
room. Jimmy Jo places her gun in his pocket and, as he
does, Dee Dee snatches up the lamp from the bedside table
and flings it at him. He brushes the lamp aside and grabs
her as she tries to ram past him. Now he has her, and:

CLOSE - DEE DEE

staring up into that maniacal look of Jimmy Jo's, and:

CLOSE - JIMMY JO

that crazed half-smile still curling his lip as he slams
her into the corner of the room, as we:

SMASH CUT TO

EXT. HUNTER'S SEDAN - DAY

swinging down a street and around a corner onto the block
where the Marquis Plaza is. The sedan slams to the curb
right behind Dee Dee's car and Hunter is out the door and
running across the street before the car has stopped
rocking on its suspension.

ANGLE - HUNTER

pulling his gun as he hits the walkway to Bungalow number
12.

OMITTED

CUT TO

INT. BUNGALOW 12

Hunter is through the door which is wide open now. He
makes his way down the foyer, reacts to someone's moan.

HUNTER
McCall!

Throwing caution aside he runs into the bungalow, reacting
to:

DEE DEE'S HAND

reaching up to grip onto the nightstand to pull herself
up, knocking over the phone as she slips back.

HUNTER
runs forward around the bed and looks down at Dee Dee.

HUNTER
(under his breath)
My God...!

And he drops to his knees and helps her sit up, grabbing
the phone and dialing for an emergency. As the phone
rings at the other end and Hunter holds Dee Dee, we;

FADE OUT

END OF ACT THREE

*************************************************************

ACT FOUR

FADE IN

EXT. MARQUIS PLAZA - DAY

There's now a paramedic unit parked in front of the place
and a small crowd of onlookers.

INT. BUNGALOW 12 - CLOSE ON DEE DEE

Her forehead is bandaged and she's sporting a shiner. The
PARAMEDIC is finishing up applying some adhesive to her
ribcage.

DEE DEE
That scumball took my gun.

ANGLE - HUNTER

who is busy going through the already pulled open bureau
drawers.

HUNTER
Yeah, and when he catches up with
Panhandle Pete he's gonna take
the hundred and ten grand. Since
he took the time to beat on a cop,
chances are he then plans to fill
up that baby-blue drop-top and
point it toward Me-hi-co.

Hunter crosses to Dee Dee and looks at her face. She
feels for a tooth with her tongue.

DEE DEE
Feels like he chipped a tooth,
also.

HUNTER
It gives you character.

PARAMEDIC
I really think you should at least
come down and get x-rayed. Who
knows what's goin' on inside.

DEE DEE
I'm fine, I'm fine...thank you...
you did a terrific job...

The Paramedic looks from her to Hunter.

HUNTER
(shrugs)
I won't let her change any flats.

The Paramedic shakes his head at Dee Dee and heads out.

DEE DEE
(wobbles for a moment,
sits back down)
How come Ben Casey always used to
say, "It's only a concussion."

HUNTER
Maybe you should go to the hos-
pital.

DEE DEE
Lay off, all right? I'm not going
to any hospital!

HUNTER
(goes back to
his search)
Hey, okay...spill all over the
floor.

DEE DEE
All right...I didn't mean...I'm
not in any shape for you to make
me apologize.

HUNTER
(holds up an auto
brochure from the
clutter on the floor)
News flash. Panhandle Pete
Montagne envisioned himself at
the helm of a maroon Continental
Mark VI.

Dee Dee limps over to take the brochures from Hunter.

HUNTER
(as she takes
the brochure)
You sure that's not too heavy?
(off her look)
Humor is a great cure-all.

DEE DEE
Hunter...Pete and the Chief pulled
the robbery. And Pete's the one
who hung onto the money, right?

HUNTER
So?

DEE DEE
The Chief was sitting in a fur-
nished armpit...
(gestures around)
And Pete's at the Marquis Plaza.
You get the feeling Pete already
started spending his share?

Hunter snatches the brochure from her and spins it over;

HIS POV - THE BROCHURE
stamped on the back is the legend:

PRESTIGE LINCOLN

5676 Sunset Boulevard

BACK TO DEE DEE AND HUNTER

as they exchange looks.

DEE DEE
Ya think?

CUT TO

EXT. PRESTIGE LINCOLN - DAY

This is one of those sprawling dealerships with a new car
showroom and an adjoining lot with row upon row of gleaming
automobiles. From here we pull back to reveal:

JIMMY JO WALKER

sitting in his Cadillac at the curb, his fingers impatiently
drumming the wheel. He sits up a little straighter
at the sight of two people exiting the new car showroom.

ANGLE - THE TWO MEN

The telltale red blazer with 'Prestige' over the breast
pocket I.D.'s one as a SALESMAN. The other guy is
PANHANDLE PETE. He's a medium sized wiry sort who is
trying to give off the air that he's comfortable in his
newly purchased too-chic clothing. They approach a gleam-
ing maroon Lincoln that is being hosed off by an attendant.

SALESMAN
Is this lady bait or what?
(pulls open
driver door)

The double plush mats like I
promised? If I could afford one
'a these, I'd be divorced in an
instant.

PETE
Hang tough, my man, maybe you
will some day.

SALESMAN
(holds up sales
receipt)

I wish...lemme just get this outta
the way and your off.
(to attendant)
Rocco, don't miss those whitewalls.

The Salesman moves off and Pete moves in closer to inspect
his new prize. He half-sits behind the wheel, adjusts the
rearview mirror.

HIS POV - IN REARVIEW MIRROR

As he smoothes his hair, throws himself a kiss.

PETE
Look out, mamas, I'm comin' at ya.

Dee Dee's gun appears in the reflection in front of Pan-
handle Pete's nose.

ANGLE - JIMMY JO

Panhandle Pete immediately sees he doesn't look like a
man to mess with, that's for sure.

JIMMY JO
Outta the car. Now!

Pete does as he's told.

PETE
You a cop...?

JIMMY JO
You ain't that lucky, hoss.
(puts gun in
his pocket)
You just walk along with me and
look like you're lovin' it or
you're gonna make a mess all over
these shiny new cars.

And as Jimmy Jo ushers a scared shitless Pete toward the
Cadillac:

CUT TO

HUNTER'S SEDAN

pulling onto the car lot and coming to a halt. Hunter
climbs out and Dee Dee struggles her way out of the passen-
ger side. She shoots him a look:

DEE DEE
Don't bother to help me.

HUNTER
Okay...

Hunter crosses around and opens the trunk of the car. He
gets a butterfly case out, closes the trunk and moves up
to Dee Dee who is now managing to stand upright. He un-
holsters his gun and hands it to her.

HUNTER
Here ya go...

DEE DEE
(looks at him)
I'm touched really, but what if
you need it?

Hunter brings up the butterfly case, unzips it and pulls
out a huge, black Eagle .357 automatic.

DEE DEE
(eyes this thing
as he loads the
clip and holsters it)
Where did you get that?

HUNTER
(smiles)
Graduation gift from my dad.
(and he moves off)

DEE DEE
(putting Hunter's
.45 in her purse)
And all I got was a new set of
encyclopedias...

ANGLE - THE SALESMAN

is exiting the showroom with the papers and keys to Pete's
new Lincoln as Hunter moves up.

HUNTER
Excuse me...I called a few minutes
ago. I was told a Pete Montagne
was gonna be picking up his new
car some time today...

SALESMAN
(looks around)
Actually, he was picking it up
just two minutes ago...
(spots Pete; puzzled)
There he is...Mister Montagne!

Hunter looks up, as does Dee Dee who moves up beside them.

THEIR POV - JIMMY JO

shoving Pete into the Cadillac at the curb.

CLOSER - AT THE CADILLAC

as Jimmy Jo forces Pete over behind the wheel and slides
in beside him, keeping the gun pointing at Pete's midriff,

JIMMY JO
You're driving.

PETE
Where? Where we goin'?

JIMMY JO
Wherever you got that hundred
grand stashed.
(Pete goes to say
something, but:)
Now, I'd put the pedal to the
metal or I'll do you right here.

Pete looks at Jimmy Jo - there'"s no mistaking he means it.
Pete fires up the car when:

HUNTER'S VOICE
Hold it, Walker! Police!

Jimmy Jo spins to see:

HUNTER

running across the lot toward the Cad, the Eagle .357
coming up.

JIMMY JO
brings his gun around:

JIMMY JO
Hit it!

And Pete does. The Cad squeals away from the curb as Jimmy
Jo fires off two shots that make Hunter duck for cover.

ANGLE - DEE DEE

She shoves the startled Salesman to the ground, out of
gunfire range. She snatches the keys from his hand and
leaps behind the wheel of Panhandle Pete's new Lincoln.
She wheels out.

ANOTHER SALESMAN

is hunkered down beside another new Lincoln he was showing
to a potential customer.

HUNTER
(runs up)
I'll take her for a spin.

Hunter leaps into the open door and fires up the car.

HUNTER
Official police business.

And he lays rubber out of the lot behind Dee Dee in Panhandle
Pete's Lincoln.

CUT TO

EXT. JIMMY JO'S CADILLAC - DAY

As it blows over camera, and:

ON JIMMY JO

turning in his seat to see:

HUNTER'S LINCOLN

screaming past camera, hot on Dee Dee's tail, and:

DEE DEE IN PANHANDLE PETE'S LINCOLN

right on Jimmy Jo's tail, then swinging around to pull along-
side him.

ON JIMMY JO

as he throws a look at Panhandle Pete who is too frightened
to do anything but drive.

JIMMY JO
Shake'em!

And Jimmy Jo spins and starts firing at the two Lincolns.

INT. DEE DEE'S LINCOLN

as bullets blow through the windshield and she swerves, and;

HUNTER IN HIS LINCOLN

as Dee Dee's car side swipes him. Then bullets are rain-
ing his windshield and he swerves, and:

THE THREE CAR CHASE

as Jimmy Jo fires first at one Lincoln, then the other.
Both cars are gaining on the Cadillac, inching up to flank
the convertible, as:

JIMMY JO

continues to fire.

PLAY THE CHASE

as long as possible, Pete trying some evasive action up
alleys and side streets and Hunter and Dee Dee splitting
up to try and cut the Caddy off until, finally:

DEE DEE'S LINCOLN

comes careening around a turn, cutting off the fleeing
Cadillac.

INT. CADILLAC

Panhandle Pete slams on the brakes and cranks the wheel
but ends up plowing nose first into the front end of his
own brand new Lincoln. Pete uses the moment to leap out
of the Cadillac and try to flee.

JIMMY JO

spins to take a bead on him, but:

HUNTER'S LINCOLN

slews to a halt and Jimmy Jo spins back and fires at him.

PANHANDLE PETE

runs right into Dee Dee's line of fire:

DEE DEE
Freeze!

He does.

HUNTER

moves out from his Lincoln as Jimmy Jo moves from the
Cadillac firing. Bullets pelt the door and hood of the
Lincoln and Hunter finally brings up his gun, and:

CLOSE - THE EAGLE .357
fires once..... twice.... and:

JIMMY JO

takes both hits, and:

IN SLOW MOTION

he gets lifted up off the ground and goes crashing back-
ward into a pile of trashcans in the alley. As he lays
there we come up with:

JIM CROCE
(singing)
...And you better believe they sung
a different kind of story
When Big Jim hit the floor...

CLOSE - DEE DEE'S GUN

laying beside Jimmy Jo's lifeless hand. As a hand reaches
into shot:

ON HUNTER - UP ANGLE

as he bends down and picks up Dee Dee's gun. He turns and
crosses to where she's cuffing Panhandle Pete, Jimmy Jo's
body in f.g. Over we hear:

JIM CROCE
(for the last time)
You don't tug in Superman's cape,
You don't spit into the wind,
You don't pull the mask of that
0l' Lone Ranger,
And you don't mess around with Jim...

FADE OUT

END OF ACT FOUR

(TAG TO FOLLOW)

TAG

FADE IN

INT. CAPTAIN'S OFFICE - ON HUNTER

stands there as the Captain paces angrily.

CAPTAIN

You dare...absolutely dare put in
a request for another vehicle
after arranging it so we have to
reimburse that car company for
undercarriage and front end damage
to two luxury sedans! You have
some kinda sense'a humor. Hunter,
you know that? And ---

EXT POLICE STATION

As Hunter and a still bandaged Dee Dee exit and move toward
Hunter's battered sedan at the curb.

HUNTER
...and he complimented us on the
apprehension of Panhandle Pete in
connection with the robbery. And
locating the missing hundred
thousand...and then he said he
hoped you were feeling better and
your ribs --

DEE DEE
You are a terrible liar.

HUNTER
(climbing into car)
I am not...I'm a great liar.

DEE DEE
(getting in beside
him)
If he was in such a great mood
and feeling so beholden to us,
why didn't you hit him up for a
car.

INT. SEDAN

HUNTER
I wouldn't to that.
(off her look)
I see no reason to ask for another
car, there's nothin' wrong with
this one. There was nothing wrong
with the other one...Nothing that
couldn't have been fixed by a
tune-up.

DEE DEE
Or a crusher.

HUNTER
Hey...it's not the fiddle, it's
who's playin' it.

And Hunter pulls out -- and over we hear a horrible wrench-
ing and grinding. Dee Dee turns to look out the rear
window:

HER POV - THROUGH REAR WINDOW

a trail of engine parts in the street,

DEE DEE AND HUNTER

as she turns back to him.

DEE DEE

Ya think?

FREEZE FRAME

FADE OUT

THE END